Music-printing in the eighteenth century was not in the flourishing state which it has now attained. The composers had other sources of profit besides the sale of their manuscripts, – such as public performances, dedications of works to wealthy patrons of the art, or by having an appointment, with a fixed salary, in the service of a sovereign. To judge correctly of the capacity for business of a distinguished musician, it is necessary to take into consideration the usages of his time.
Haydn, on his first visit to London, in 1791, was engaged by Salomon for £500, for which sum he had to compose six symphonies, and personally to direct the performance of them at the concerts; and to resign the copyright of those six symphonies. Furthermore, £200 were guaranteed to him by Salomon for a benefit concert.
That Rossini could be practical in England, is evident from the following conversation of this composer with F. Hiller. It is given here in translation from the German. By way of preface to it, may be mentioned that Rossini, in Italy, received for an opera from twenty to thirty pounds. However, for the 'Barber of Seville' he received about eighty pounds.
Hiller. "Considering, Maestro, that you have grown up among singers and actors, and that you possessed a fine voice, it seems almost singular that you did not think of becoming an operatic singer."
Rossini. "I had no other intention, dear sir; but I also wished to learn my art more thoroughly than most of the singers with whom I came into contact at that time had learnt it. This was easy enough; at an early period I already officiated as Maëstro al Cembalo; then there came the period when the mutation of my voice interfered with my singing; my attempts at composition found favourable reception; and thus I fell almost accidentally into the career of the composer. I adhered to it, although I had from the beginning the opportunity of observing how incomparably better the singers are rewarded than we are."
Hiller. "Heaven knows! Beethoven has hardly received for all his works as much as Cruvelli obtains annually at the Grand Opera."
Rossini. "It was not quite so bad at that time as it is now; but that makes no difference. When the composer received fifty ducats, the singer received a thousand. I confess that I never could help feeling vexed at this injustice, and often have I given vent to my dissatisfaction in the presence of the singers. You ignorant fellows, I said, you cannot sing even so well as I can, and you gain more in one evening than I am paid for a whole score! But, what was the use of talking thus. Neither do the German composers get rich."
Hiller. "Certainly not, Maestro! But they obtain appointments which, though they are not lucrative, ensure the most important necessities of life. No German composer has ever gained so much by his operas that he could live upon the proceeds. However, it appears to be now better in this respect than it formerly was."
Rossini. "Incomparably better. The former Italian opera composers could write Heaven knows how many operas, and had nevertheless to struggle to make both ends meet. I was scarcely better off until I obtained an appointment with Barbaja."37
Hiller. "Tancredi was the first of your operas which proved a decided hit; how much did you get for it, Maestro?"
Rossini. "Five hundred francs. And when I composed my last Italian opera, 'Semiramide,' and insisted upon having five thousand francs for it, not only the theatrical manager, but the whole public regarded me as a sort of highwayman."
Hiller. "You have the consolation of knowing that singers, managers, and publishers have become rich through you."
Rossini. "A fine consolation! Except during my stay in England, I have never gained by my art so much that I could lay anything by; and the money which I made in London, I did not make as a composer, but as an accompanist."
Hiller. "Yet it was because you were a celebrated composer."
Rossini. "That is what my friends said, to persuade me to take to the new occupation. It may have been a prejudice with me, but I had a dislike to being paid for accompanying on the pianoforte, and I have submitted to it nowhere but in London. However, they were determined to see my nose, and to hear my wife. I had fixed for our co-operation at musical evenings the rather high terms of £50. We attended at about sixty of such evenings, and the pecuniary result was certainly worth the trouble. Moreover, in London the musicians will do anything to make money. I have witnessed there, queer doings."
Hiller. "There one scarcely trusts one's eyes, still less one's ears."
Rossini. "Thus, for instance, when I accepted my first engagement as accompanist at such a Soirée, I was told that Puzzi, the celebrated virtuoso on the horn, and Dragonetti, the celebrated double-bass player, would also be present. I thought they would play solo, but this was far from being the case, they had only been engaged to assist me in accompanying. Have you then written parts for all these pieces? I asked – 'Oh, dear, no!' they replied, 'but we get well paid, and so we accompany with whatever comes into our head.' These attempts at improvised instrumental performances appeared to me, however, too venturesome; I therefore begged Dragonetti to restrict himself to twanging occasionally some Pizzicatos, whenever I should wink my eyes to him; and I suggested to Puzzi to fall in with his horn whenever a cadence occurred, which he, as a good musician, easily accomplished. Thus we went through it without very serious accidents, and everyone was contented."
Hiller. "That is capital! But the English, it appears to me, have made great progress in regard to music. They have at present much good music well performed and attentively listened to; that is, in public concerts. In the drawing-room, music is still painfully maltreated. Many persons without the least musical talent parade themselves with an incredible boldness, and give instruction in things of which they know little or nothing."
Rossini. "I knew in London a certain X., who as teacher of the pianoforte had amassed a large property. All he knew of music, however, was that he blew the flute a little, and that quite miserably. Another, who was greatly in demand as a teacher of singing, did not know even the notes. He kept his own accompanist, whose business it was first to hammer those pieces into his master, and afterwards to accompany him when he taught the pieces to the pupils. This singer possessed however a nice voice."38
For the sake of truth some business letters written by distinguished German composers to English publishers must be noticed here, although they redound to the honour of the writers as little as do some of the letters of the German publishers just cited. Not that they reveal a deficiency in common sense as regards business transactions; they exhibit the writers as rather too practical. Among the letters which the music-seller W. Forster, in London, received from Haydn, with whom he kept up a correspondence about the purchase of manuscripts for publication in England, the following, which was originally written in German, is selected as a characteristic specimen. It dates from the year 1788, and was published by S. A. Forster, a son of the music-seller, in his account of the correspondence which his father had with Haydn.
"My dear Mr. Forster,
Do not be annoyed with me that on my account you have had trouble with Mr. Longman. I will satisfy you another time on that point. It is not my fault, but that of the usurer Artaria. So much I promise you that so long as I live, neither Artaria nor Longman shall receive anything from me or through me. I am too honourable and upright to annoy or injure you. So much, however, you will yourself plainly understand that whoever will have six new pieces from me must give me more than twenty guineas. I did, in fact, some time ago conclude a contract with somebody who pays me for every six pieces one hundred guineas and more. Another time I will write you more; meanwhile I am with all respect,
Your obedient servant,Joseph Haydn."
Still less creditable to the writer are the following extracts from letters addressed by Beethoven to the publisher, R. Birchall, of London, who had bought the copyright for Great Britain and Ireland of four works by Beethoven, viz.: – The pianoforte arrangement of the Battle Symphony, Op. 91; the pianoforte arrangement of the A major Symphony, Op. 92; the Sonata for pianoforte and violin in G major, Op. 96; and the B-flat major Trio for pianoforte, violin, and violoncello, Op. 97. The letters were originally written in English. They are too long for entire insertion here. To render the extracts fully comprehensible, it is necessary to state that Beethoven, after having received from Birchall the sum agreed upon for those works, unexpectedly demanded five pounds for the copying and postage of them; and when Birchall had shown him so much consideration as to satisfy him also on this point, Beethoven wrote to him as follows: —
"Vienna, October 1st, 1816.
"My dear Sir,
I have duly received the £5, and thought previously you would not increase the number of Englishmen neglecting their word and honour, as I had the misfortune of meeting with two of this sort. In reply to the other topics of your favour, I have no objection to write variations according to your plan, and I hope you will not find £30 too much; the accompaniment will be a flute, or violin, or a violoncello; you'll either decide it when you send me the approbation of the price, or you'll leave it to me… Concerning the expenses of copying and packing, it is not possible to fix them beforehand; they are at any rate not considerable, and you'll please to consider that you have to deal with a man of honour, who will not charge one sixpence more than he is charged himself… With all the new works which you will have of me, or which I offer you, it rests with you to name the day of their publication at your own choice. I entreat you to honour me as soon as possible with an answer, having many orders for compositions, and that you may not be delayed…
Your most humble Servant,
Ludwig van Beethoven."
These remarks of Beethoven elicited the following reply from Mr. C. Lonsdale, the manager at R. Birchall's.
"London, Nov. 8, 1816.
"Sir,
In answer to yours of the 1st October I am desired by Mr. Birchall to inform you he is glad to find you are now satisfied respecting the promise of paying you £5, – in addition to what you before received according to agreement, – but he did not think you would have delayed sending the receipt signed, after the receipt of the 130 ducats, merely because you had not received the £5, which latter sum was not included in the receipt. Till it arrives, Mr. Birchall cannot at any rate enter into any fresh arrangement, as his first care will be to secure those pieces he has already paid for, and see how they answer his purpose as a music-seller; and without the receipt he cannot prevent any other music-seller from publishing them. In regard to the airs with variations, the price of £30, which it is supposed you mean for each, is considerably more than he could afford to give, – even to have any hopes of seeing them repay him; if that should be your lowest price, Mr. Birchall will give up his idea of them altogether… I am sorry to say Mr. Birchall's health has been very bad for two or three years back, which prevents him from attending to business; and as there are, I fear, but little hopes of his being much better, he is less anxious respecting making any additions to his catalogue than he otherwise would have been. He is much obliged to you for the offer of the Sonata and the Trio; but he begs to decline it for the reasons before mentioned. Hoping to hear soon respecting the paper sent for your signature.
I am, Sir,For R. Birchall, etc.,C. Lonsdale."
To this reasonable letter Beethoven replies (in English):
"Vienna, Dec. 14th, 1816.
"Dear Sir,
I give you my word of honour that I have signed and delivered the receipt to the house Fries and Co., some day last August, who, as they say, have transmitted it to Messrs. Coutts and Co., where you'll have the goodness to apply. Some error might have taken place, that instead of Messrs. C. sending it to you they have been directed to keep it till fetched. Excuse this irregularity, but it is not my fault, nor had I ever the idea of withholding it from the circumstance of the £5 not being included. Should the receipt not come forth at Messrs. C., I am ready to sign any other, and you shall have it directly with return of post.
If you find variations – in my style – too dear at £30, I will abate for the sake of your friendship one third, and you have the offer of such variations, as fixed in our former letters, for £20 each air… I anxiously hope your health is improving. Give me leave to subscribe myself,
Dear Sir,Your very obedient Servant,Ludwig van Beethoven."39
Beethoven being unacquainted with the English language was obliged to employ some person to write these letters for him. But, as he signed them, he must be held answerable for their contents. Had he been able to read them, he would probably have disapproved of the manner in which his business transactions were conducted by his interpreter.
During the later years of his life it was a favourite idea with Beethoven to visit England for the purpose of making money. In the year 1817 he corresponded (in German) with F. Ries, in London, on the subject, in consequence of an invitation from the Philharmonic Society. The conditions under which he was willing to accept the invitation he carefully specified as follows: —
"1. I propose to be in London at the latest during the first half of the month of January, in 1818.
2. I promise to bring with me two new large symphonies, which shall become the exclusive property of the Philharmonic Society.
3. The Philharmonic Society pledges itself to pay me for the two symphonies three hundred guineas, and for my travelling expenses one hundred guineas. I expect that the journey will cost me much more than the sum which I ask, because I shall necessarily require a travelling companion.
4. In order that I may be enabled to occupy myself at once uninterruptedly with composing those large symphonies, the Philharmonic Society binds itself to pay 150 guineas of the above sum in advance, so that I may procure without delay a travelling carriage and other travelling equipments.
5. The conditions proposed by the Philharmonic Society as regards my non-appearance in any other public orchestra than its own, about not conducting the orchestra, and about suchlike matters for the advantage of the Society, I consent to unreservedly. My feeling of honour would have dictated them to me as a matter of course.
6. I dare to hope that the Philharmonic Society will oblige me with its assistance in the preparation and promotion of one benefit concert, or perhaps more…
7. I must beg that the conditions, or the agreement to the above, shall be written in the English language, signed by three Directors of the Philharmonic Society in the name of the Society, and forwarded to me."
Failing health prevented Beethoven from undertaking the journey. The Philharmonic Society, believing him to be in want, which was far from being the case, in a delicate way presented him with £100. Indeed, Beethoven had every reason to feel gratified by the generous attention shown to him by those Englishmen who were able to appreciate his merits. In the year 1817, some of his London admirers gave him great pleasure by sending him a new grand-piano of Broadwood's manufacture; and in 1826, the kind-hearted Mr. J. A. Stumpff, in London, a German by birth, and a harp-maker in by no means affluent circumstances, made him a present of Arnold's edition of Handel's works, in forty volumes folio, – a gift which was taken to the bedside of the dying composer, and which soothed his last days of suffering.
Also Haydn received from England touching marks of veneration. Some instances of homage offered by enthusiastic amateurs, must have caused him amusement on account of their singularity, if for no better reason. The worsted-spinner W. Gardiner, of Leicester, forwarded to him a present of six pairs of cotton stockings in which he had worked the notation of some popular melodies by Haydn, – such as the air "My mother bids me bind my hair;" the theme of the Andante in the Surprise Symphony; the tune of the Hymn "God preserve the Emperor," etc. W. Gardiner was himself a musical composer, his mode of composing being that of the Bavarian prince Joseph Clemens, who set about it "like the bees which extract honey from the most beautiful flowers, and mix it together."40 Thus W. Gardiner "composed" a whole oratorio, which he made up of choruses and airs borrowed from various masters, and more or less distorted to suit them to their new place. Only the overture was wanting. He wrote to Beethoven to induce him to compose one for this oratorio, and offered to pay 100 guineas for it. Beethoven never answered the letter.41 Had he been really as greedy of gain as in his correspondence with Birchall he appears to be, he would probably have accepted the offer, which was rather liberal. Nevertheless, had he accepted it, the result would very likely have proved the manufacturer a more practical man than the composer. Be this as it may, it is quite comprehensible that to Beethoven an attempt to associate him with musical jobbery must have been especially repulsive.
Perhaps no opera composer had a better chance of becoming a rich man than had Carl Maria von Weber. The success of 'Der Freischütz' was immense. The fascinating melodies of this opera were sung, played and whistled everywhere, by musical and unmusical people. It would be difficult to point out a civilized country in which 'Der Freischütz' has not been performed and listened to with rapture. Before the popularity of the opera was fully established, Weber offered the pianoforte score to the publisher Schlesinger, in Berlin, for sixty Frederick-d'ors (£51). Schlesinger thought the demand exorbitant, and offered two hundred and twenty thalers (£33), which Weber accepted.42 Nevertheless, in consequence of the many performances of 'Der Freischütz' in various towns on the Continent, from which the composer derived some pecuniary advantage, the opera proved rather lucrative to him. Still, it was more remunerative indirectly than directly, inasmuch as its universal success induced Charles Kemble, the manager of the Theatre Royal, Covent Garden, to engage Weber to compose 'Oberon,' and to visit London for the purpose of conducting the new opera. Thus Weber had an excellent opportunity of exercising his aptitude for business. How he acquitted himself of the task, may be gathered from his rejecting at the outset the terms offered by Kemble, – which were £500, and all his expenses paid, – and proposing his own terms, which, with the help of some one acquainted with the English language, he had penned as follows: —
"At my arrival at London I will first of all preside at the piano in six representations of the 'Freischütz'; for the first five you will give me every night a pecuniary compensation of two hundred pounds, and the sixth as a benefit for me. During this time we will prepare 'Oberon' and I will preside at the piano also the first six representations at the same conditions. I must be assured that all this be settled in three months, otherwise I should claim an adequate indemnification. The music of 'Oberon' (Partition, and adapted by me for the Piano) is then your property for Great Britain. The poem and the music are mine for all the rest of Europe."
According to this proposal Weber would have realized in the course of three months £2,400. But he soon experienced that one may also be too practical. His shattered health rendered the journey to England exceedingly fatiguing, and the trouble, excitement and disappointments connected with the rehearsals and representations of 'Oberon,' and with the necessary preparations for his concerts, accelerated his dissolution. He died in 1826, when he had been about three months in London, and the proceeds of his toil during the time amounted to about £1,100, or less than half the sum which he at first demanded from Kemble.
The musical student, in perusing the master-works in his art, has continually occasion to admire the careful consideration which the composers have given to every bar so as to produce great effects by simple means, interesting variety in unity, thus achieving as nearly as possible a perfect work of art. Also, their remarks upon their compositions show how thoughtfully they laboured, considering and reconsidering every step they took. It is unnecessary to illustrate this fact by quotations, as instances will probably occur to the reader. Suffice it to notice a remark by Mozart, which shows how cleverly he contrived to make concessions to the popular taste, in as far as he could accomplish this without deterioration to his compositions as works of art. In a letter to his father, which he wrote from Paris, he thus describes the performance of a new symphony, which he had been requested to compose for the Concert Spirituel: —
"In the middle of the first Allegro is a passage of which I knew well that it would please. All the auditors were transported by it, and there was great applause. As I knew, when I wrote the passage, what its effect would be, I introduced it once more towards the end of the movement. Then they demanded a repetition of the entire Allegro. The Andante pleased also; but especially the last Allegro. As I had been told that it was the usual custom with the composers here in Paris to commence the last Allegro of a symphony, like the first, with the full orchestra, generally in unison, I commenced mine with only the first and second violins, piano through eight bars. Then came suddenly forte. Consequently, the auditors made first, as I had expected, – hush! and then the forte surprised them so greatly, that they applauded as a matter of course."
Is this not thoroughly practical in an artistic point of view?