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ОглавлениеSupplicanten is hereby graciously assured that in the event of a vacatur of a court musician’s salary he shall have special consideration. Attest our gracious sign manual and the impress of the seal of the Privy Chancellary.
Max Fried. Elector.
v. Belderbusch, (:L. S.:)
Bonn, November 27, 1762.
About December, 1763, a singer, Madame Lentner, after some four and a half years of service, threw up her appointment, giving occasion, through the vacancy thus caused, for the following petition, report and decrees:
Most Reverend Elector, Most Gracious
Lord, Lord.
Will Your Electoral Grace deign to receive the representation that by the acceptance of service elsewhere of Court Musician Dauber there has fallen to the disposition of Your Reverend Electoral Grace a salary of 1,050 rth., wherefore I, Joannes van Beethoven, having graciously been permitted for a considerable time to serve as court musician and have been graciously assured by decree of appointment to the first vacancy, and have always faithfully and diligently performed my duties and graciously been permitted to be in good voice, therefore my prayer is made to Your Reverend and Electoral Grace for a grant of the aforesaid 1,050 rth. or a gracious portion thereof, which act of highest grace I shall try to merit by fidelity and zeal in the performance of my duties.
Your
Reverend Electoral Grace’s
most obedient servant
Joannes van Beethoven,
vocalist.
This petition was seconded by the father in the following manner:
Most Reverend Archbishop and Elector,
Most gracious Lord, Lord.
Your Electoral Grace having graciously been pleased to submit for my humble report the humble petition of Your Highness’s court musician Joann Ries that his daughter be appointed to the place in the court music of Your Highness made vacant by the discharged soprano Lentner sub Litt. A.
Humbly obeying Your gracious command I submit an impartial report that for about a year the daughter of the court musician Ries has frequented the “Duc sahl” (doxal) and sung the soprano part and that to my satisfaction.
But now that my son Joannes van Beethoven has already for 13 years sung soprano, contralto and tenor in every emergency that has arisen on the “Duc sahl,” is also capable on the violin, wherefore Your Reverend Electoral Grace 27 Novembris 1762 granted the accompanying decree graciously bearing your own high sign manual sub Litt. B.
My humble and obedient but not anticipatory opinion is that the court singer Lentner’s vacated salary ad 300 fl. (: who went away without the gracious permission of Your Highness over a quarter of a year ago and reported to me in specie she was going without permission and would not return:) be graciously divided so that my son be decreed to receive 200 florins and the daughter of Court Musician Ries 100 fl.
Zu Ewr. Churfürst. gnaden beständige hulden und gnaden mich unterthänigst erlassendt in tieffester submission ersterbe.
Your Reverend Electoral Grace’s
most humble and obedient
Ludwig van Beethoven,
Chapel Master.
Johann van Beethoven’s Salary
Increase of salary of 100 rthr. for Court Musician Beethoven.
M. F.
Whereas We, Maximilian Friedrich, Elector of Cologne, on the humble petition of our court musician Johann van Beethoven, have shown him the grace to allow him 100 rthr. out of the salary vacated by the departure of the singer Lentner to be paid annually in quartalien we hereby confirm the allowance; for which this decree is graciously promulgated to be observed by our Electoral exchequer which is to govern itself accordingly.
Attest p.
Bonn, April 24, 1764.
Under the same date a decree was issued appointing Anna Maria Ries, daughter of Johann Ries, Court Singer, with a salary of 100 th. also out of that of the Lentner. A few days later the following action was taken:
M. F. E.
To the Electoral Exchequer touching the appointment of Court Musician Beethoven and the Singer Ries.
You are hereby graciously informed that our court musician Bethoven junior and the singer Ries will soon lay before you two decrees of appointment. Now inasmuch as with this the salary of the former singer Lentner is disposed of but since she received an advance of 37½ rth. from our Master of Revenues and 18 rth. spec. was paid to her creditors we graciously command you herewith so to arrange the payment of the two salaries that the advance from the Revenues and then the payment to the creditors be covered from the Lentner’s salary; and that until this is done the salaries of the beforementioned Ries and Bethoven do not begin.
We etc.
Bonn, April 27, 1764.
On April 3, 1778, Anna Maria Ries received an additional 100 fl. A few more documents lead us to the family of Johann Peter Salomon:
ad Supplicam Philip Salomon.
To inform our chapelmaster van Betthoven appointed on his humble petition that we are not minded to grant the letter prayed for to the Prince v. Sulkowsky, but in case his son is not returned by the beginning of the coming month 8bris, we are graciously determined to make disposition of his place and salary.
Attest. Münster, August 8, 1764.
Sent, the 22 dito.
In spite of this order on July 1, 1765, the Elector gave a document to the son, Johann Peter Salomon, certifying that he had served him faithfully and diligently and had “so conducted himself as to deserve to be recommended to every one according to his station.”[2] On petition of Philipp Salomon, the father, he and his daughter were appointed Court Musicians by decree dated August 11, 1764.
Several papers, dated April 26, 1768, although upon matters of very small importance, have a certain interest as being in part official communications from the pen of Chapelmaster van Beethoven, and illustrating in some measure his position and duties. They show, too, that his path was not always one bordered with roses. Being self-explanatory they require no comment:
I.
Most Reverend Archbishop and Elector,
Most Gracious Lord, Lord.
Will Your Electoral Grace deign to listen to the complaint that when Court Singer Schwachhofer was commanded in obedience to an order of His Excellency Baron von Belderbusch to alternate with Jacobina Salomon in the singing of the solos in the church music as is the custom, the said Schwachhofer in the presence of the entire chapel impertinently and literally answered me as follows: I will not accept your ordre and you have no right to command me.
Your Electoral Grace will doubtless recall various disordre on the part of the court chapel indicating that all respect and ordonance is withheld from me, each member behaving as he sees fit, which is very painful to my sensibilities.
Wherefore my humble prayer reaches Your Electoral Highness that the public affront of the Schwachhofer be punished to my deserved satisfaction and that a decree issue from Your Highness to the entire chapel that at the cost of Your Gracious displeasure or punishment according to the offence my ordre shall not be evaded.
Your Electoral Grace’s
Humble and Most Obedient Servant
Ludovicus van Beethoven.
II.
To Chapelmaster van Beethoven
Concerning the Court Musicians.
M. F. E.
Receive the accompanying Command to the end that its contents be conveyed to all of our court musicians or be posted on the “toxal.”
We remain, etc.
Bonn, April 26, 1768.
III.
Command respecting the Court Musicians.
Having learned with displeasure that several of our court musicians have tried to evade the ordre issued by our Chapel Master or refused to receive them from him, and conduct themselves improperly amongst themselves, all of our court musicians are hereby earnestly commanded without contradiction to obey all the commands given by our Chapel Master in our name, and bear peaceful relations with each other, since we are determined to proceed with rigor against the guilty to the extent of dismissal in certain cases.
Sig. Bonn, April 26, 1768.
Johann van Beethoven Needs More Money
On November 17, 1769, Johann van Beethoven submits a petition in which he exhibits anew his genius for devising methods for varying the spelling of his own name. That he could no longer live on 100 th. salary is evident when it is remembered that he has now been married two years; but as there were several applicants for the salary which had fallen to the disposal of the Elector, it was divided among the four most needy. Beethoven’s memorial contains a fact or two in regard to his duties as Court Musician which are new:
To
His Electoral Grace
of Cologne, etc., etc.
The Humble Supplication
and Prayer
of
Johann Bethof, Court Musician.
Most Reverend Archbishop and Elector,
Most Gracious Lord, Lord.
May Your Most Reverend Electoral Grace, graciously permit the presentation of this humble supplicando, how for many years I have served Your Highness faithfully and industriously on the “Duc saahl” and the theatre, and also have given instruction in various supjecta concerning the aforesaid service to the entire satisfaction of Your Electoral Grace, and am engaged now in study to perfect myself to this end.
My father also joins in this supplic in his humble capacity of the theatri and will participate in the gladness should Your Electoral Grace graciously grant the favor; as it is impossible for me to live on the salary of 100 th. graciously allowed me, I pray Your Electoral Grace to bestow upon me the 100 th. left at Your gracious disposal by the death of Your court musician Philip Haveck; to merit this high grace by faithful and diligent service shall be my greatest striving.
Your Electoral Grace’s
most humble
Joannes Bethof,
Court Musician.
In answer to this there came the following decree:
Whereas we, Max. Frid. p. on the death of Court Musician Philipp Haveck and the submissive petition of our court musician Philipp Salomon bestowed upon him the grace of adding 50 fl. for his two daughters to the salary which he already enjoys out of the salary of the above mentioned Haveck per year; we confirm the act hereby; wherefore we have graciously issued, this decree, which our Electoral Court Exchequer will humbly observe and make all necessary provisions.
Attest, p. Münster, 17th 9bris 1769.
(On the margin:) “Gracious addition of 50 fl. for the court musician Philipp Salomon” and, besides Brandt and Meuris, also “in simili for Court Musician Joann Bethoff 25 fl.”
There need be no apology for filling a few more pages with extracts from documents found in the Düsseldorf archives; for now a period has been reached in which the child Ludwig van Beethoven is growing up into youth and early manhood, and thrown into constant contact with those whose names will appear. Some of these names will come up many years later in Vienna; others will have their parts to play in the narrative of that child’s life. Omitting, for the present, a petition of Johann van Beethoven, we begin them with that of Joseph Demmer, of date January 23, 1773, which first secured him his appointment after a year’s service and three months’ instruction from “the young Mr. van Beethoven.”
Most Reverend Archbishop and Elector,
Most Gracious Lord, etc., etc.
I have been accepted as chorister in the cathedral of this city at a salary of 80 th. per year, and have so practised myself in music that I humbly flatter myself of my ability to perform my task with the highest satisfaction.
It being graciously known that the bass singer van Beethoven is incapacitated and can no longer serve as such, and the contra-bassist Noisten can not adapt his voice: therefore this my submissive to Your Reverend Electoral Grace that you graciously be pleased to accept me as your bass singer with such gracious salary as may seem fit; I offer should it be demanded to attend the operettas also and qualify myself in a short time. It depends upon a mere hint from Your Electoral Grace alone; that it shall not be burdensome to the cantor’s office of the cathedral to save the loss of the 80 th. yearly which it has bestowed upon me.
I am in most dutiful reverence
Your Electoral Grace’s
most obedient
Joseph Demmer.
Pro Memoria.
Cantor Demmer earned at the utmost 106 rth. per year if he neglected none of the greater or little Horis.
Pays the Chamber Chancellor Kügelgen
for board, annually, 66 rth.
for quartier (lodging) 12 rth.
moreover, he must find himself in clothes and washing since his father, the sub-sacristan in Cologne, is still overburdened with 6 children.
He has paid 6 rth. to young Mr. Beethoven for 3 months.
Joseph Demmer Succeeds Beethoven
In response to another petition after the death of L. van Beethoven the following decree was issued:
Decree as Court vocal bass for Joseph Demmer.
Whereas His Electoral Grace of Cologne, M. F. our most gracious Lord, on the humble petition of Joseph Demmer has graciously appointed and accepted him as His Highness’s vocal bass on the Electoral Toxal, with a yearly salary of 200 fl. divided in quartalien to begin with the current time, the appointment is confirmed hereby and a decree granted to the same Demmer, of which, for purposes of payment, the Electoral Chancellary will take notice and all whom it may concern will respect and obey the same and otherwise do what is necessary in the premises. Attest, p. Bonn, May 29, 1774.
Two years later leave of absence, but without salary, was granted to Joseph Demmer to visit Amsterdam to complete his education in music. Further notes from documentary sources:
| 1774. | May 26. Andreas Lucchesi appointed Court Chapelmaster in place of Ludwig van Beethoven, deceased, with a salary of 1,000 fl. May 29. Salary of Anna Maria Ries raised from 230 fl. to 300 fl. On May 13, 1775, together with Ferdinand Trewer (Drewer), violinist, she receives leave of absence for four months, to begin in June with two quarters’ pay in advance. In the Court Calendar for 1775, which was printed about seven months in advance, she is already described as Madame Drewers, née Ries. She was considered the best singer in the chapel. November 23. Franz Anton Ries has granted him 25 th. payable quarterly. |
| 1775. | March 23. Nicolas Simrock appointed on petition “Court Hornist on the Electoral Toxal, in the cabinet and at table,” and a salary of 300 fl. was granted April 1. This is the first appearance in these records of a name which afterwards rose into prominence. |
| 1777. | April 20. B. J. Mäurer, violoncellist, “who has served in the court chapel from the beginning of the year till now on a promise of 100 th.,” prays for an appointment as court ’cellist at a salary of 400 th. Appointed at a salary of 200 th.; we shall have occasion to recur to him presently in connection with notices touching Beethoven. |
Under date May 22, 1778, J. van Beethoven informs the Elector that “the singer Averdonck, who is to be sent to Chapelmaster Sales at Coblenz, is to pay 15 fl. per month for board and lodging but that only a douceur is to be asked for her instruction and that to take her thither will cost 20 th.” There followed upon this the following document:
To the humble announcement of Court Musician Beethoven
touching the singer Averdonck.
Electoral Councillor Forlivesi is to pay to the proper authorities for a year beginning next month, 15 fl. a month and for the travelling expenses 20 rth. once and for all as soon as the journey is begun.
Attest. p. Bonn, May 22, 1778.
This pupil of Johann van Beethoven, Johanna Helena Averdonk, born in Bonn on December 11, 1760, and brought forward by her teacher at a concert in Cologne, received 120 th. “as a special grace” on July 2, and was appointed Court Singer on November 18, 1780, with a salary of 200 th. She died nine years later, August 13, 1789.
The petitions sent in to the Elector were rarely dated and were not always immediately attended to; therefore the date of a decretum is not to be taken as conclusive in regard to the date of facts mentioned in a petition. An illustration is afforded by a petition of Franz Ries. He has returned from a tour to Vienna and prays for a salary of 500 fl. “not the half of what he can earn elsewhere.” The petition is dated March 2. Two months passing without bringing him an answer, he petitions again and obtains a decree on May 2 that in addition to his salary of 28 th. 2 alb. 6, he shall receive “annoch so viel,”—again as much—i.e., 400 fl.
| 1780. | August. Court Organist Van den Eede prays that in consideration of his service of 54 years he be graciously and charitably given the salary vacated by the death of Court Musician Salomon. Eighteen others make the same prayer. The decision of the privy council is in these words: “To be divided between Huttenus and Esch. A decree as musical vocalist must first be given to the latter.” |
| 1781. | February 15. The name of C. G. Neefe is now met with for the first time. He petitions for appointment to the position of organist in succession to Van den Eede, obviously aged and infirm. A decree was issued “placet et expediatur on the death of Organist Van den Eede,” and a salary of 400 fl. granted. |
| 1782. | May 16. Johann van Beethoven petitions for “the three measures (Malter) of corn.” |
The archives of Düsseldorf furnish little more during the time of Max Frederick save certain papers relating to the Beethoven family, which are reserved for another place.
Opera at the Elector’s Court
The search for means to form some correct idea of the character of the musical performances at the Elector’s court during this reign has been more successful than for the preceding; but much is left to be desired down to the year 1778, when the theatre was placed upon a different basis and its history is sufficiently recorded. Such notices, however, in relation to the operatic entertainments as have been found scattered, mostly in the newspapers of Bonn, in those years, are numerous enough to give an idea of their character; while the remarks upon the festivities of the court, connected with them, afford a pretty lively picture of social amusement in the highest circle. We make room for some of the most significant occurrences, in chronological order:
| 1764. | January 3. Galuppi’s opera “Il Filosofo di Campagna,” given in the Electoral Theatre with great applause. January 8. A grand assembly at the palace in the afternoon, a magnificent supper in the grand gallery at which many spectators were present, and finally a masked ball. March 23. Second performance of “La buona Figliuola,” music by Piccini. May 13. Elector’s birthday; “Le Nozze,” music by Galuppi, and two ballets. May 20. “II Filosofo” again, the notice of which is followed by the remark that the Elector is about removing to Brühl for the summer but will visit Bonn twice a week “on the days when operas are performed.” September 21. “La Pastorella al Soglio” (composer not named, probably Latilla), and two ballets. December 16. “La Calamità di cuori,” by Galuppi, and two ballets. This was “the first performance by the Mingotti company under the direction of Rizzi and Romanini.” |
| 1765. | January 6. “Le Aventure di Rodolfo” (Piccini?), given by the same company together with a pantomime, “L’Arlequino fortunato per la Maggia.” After the play there was a grand supper at which the Pope’s nuncio was a guest, and finally a masked ball kept up till 6 o’clock in the morning. |
| 1767. | May 13. The Archbishop’s birthday. Here is the programme condensed from the long description of the festivities in the “Bonnischer Anzeiger”: 1, Early in the morning three rounds from the cannon on the city walls; 2, The court and public graciously permitted to kiss His Transparency’s hand; 3, solemn high mass with salvos of artillery; 4, Grand dinner in public, the pope’s nuncio, the foreign ministers and the nobility being the guests and the eating being accompanied by “exquisite table-music”; 5, After dinner “a numerously attended assembly”; 6, “A serenata composed especially for this most joyful day” and a comic opera in the palace theatre; 7, Supper of 130 covers; 8, Bal masqué until 5 a. m. The two dramatic pieces were “Serenata festivale, tra Bacco, Diana ed il Reno,” the authors unnamed, and “Schiava finta,” drama giocoso dal celebre don Francesco Garzia, Spagnuolo, the music probably by Piccini; “Giovanni van Beethoven” sang the part of Dorindo. |
| 1768. | May 16. “On the stage of the Court Theatre was performed with much applause a musical poem in German, specially written for the birthday of His Highness, and afterward an Italian intermezzo entitled ‘La Nobiltà delusa.’ ” |
| 1769. | The festivities in honor of the birthday of the Elector took place May 17th, when, according to the “Anzeiger,” “an Italian musical drama written expressly for this occasion was performed”—but the title suggests the possibility of a mistake; “II Riso d’Apolline,” with music by Betz, had been heard in 1701. |
| 1771. | A single discovery only for this year has rewarded search, that of a text-book, one of particular interest: “Silvain,” comédie en une acte, mélée d’ariettes, représentée, etc. Text by Marmontel, music by Grétry. Dolmon père, Mons. Louis van Beethoven, Maître de Chapelle; Dolmon, fils ainé, Jean van Beethoven, etc. |
| 1772. | February 27. “Le Donne sempre Donne,” music by Andreas Lucchesi. In March, on occasion of the opening of the Estates, “La Contadine in Corte,” music by Sacchini. The pieces given on the birthday this year were “Il Natal di Giove,” music by Lucchesi, and “La buona Figliuola,” music by Piccini. On the 17th the latter was repeated on the arrival of the French ambassador. |
| 1773. | May 30. The Elector’s birthday; “L’Inganno scoperto, overo il Conte Caramella,” music by Lucchesi, in which Ludovico van Beethoven sang the part of Brunoro, contadino e tamburino. |
Versatility of the Court Musicians
There are three more operettas which evidently belong to the succeeding winter when the Bonn company had the aid of two singers from the electoral court of Trèves. Their titles are “L’Improvvisata, o sia la Galanteria disturbata,” by Lucchesi, “Li tre Amanti ridicoli,” by Galuppi, and “La Moda,” by Baroni. Ludwig van Beethoven did not sing in them. The means are still wanting to fill up the many gaps in the annals of this period or to carry them on during the next three years. Perhaps, however, the loss is not of much importance, for the materials collected are sufficient to warrant certain conclusions in regard to the general character of the court music. The musicians, both vocal and instrumental, were employed in the church, concert-room and theatre; their number remained without material change from the days of Christopher Petz to the close of Chapelmaster van Beethoven’s life; places in this service were held to be a sort of heritage, and of right due to the children of old incumbents, when possessed of sufficient musical talent and knowledge; few if any names of distinguished virtuosos are found in the lists of the members, and, in all probability, the performances never rose above the respectable mediocrity of a small band used to playing together in the light and pleasing music of the day.
The dramatic performances appear to have been confined to the operetta; and the vocalists, who sang the Latin of the mass, seem to have been required to be equally at home in German, Italian and French in the theatre. Two visits of the Angelo Mingotti troupe are noted; and one attempt, at least, to place the opera upon a higher basis by the engagement of Italian songstresses, was evidently made in the time of Clemens August.; it may be concluded that no great improvement was made—it is certain that no permanent one was; for in the other case the Bonn theatrical revolution of 1778 had not been needed. This must be noticed in detail.
Chronologically the following sketch belongs to the biography of Ludwig van Beethoven, as it embraces a period which happens in his case to be of special interest, young as he was;—the period from his 8th to his 14th year. But the details given, though of great importance for the light which they throw upon the musical life in which he moved and acted, would hardly be of so much interest to most readers as to justify breaking with them the course of the future narrative.
It was a period of great awakening in theatrical matters. Princes and courts were beginning everywhere in Germany to patronize the drama of their mother tongue and the labors of Lessing, Gotter and other well-known names, in the original production of German, or in the translation of the best English, Italian and French plays, were justifying and giving ever new impulse to the change in taste. From the many itinerant troupes of players performing in booths, or, in the larger cities, in the play-houses, the better class of actors were slowly finding their way into permanent companies engaged and supported by the governments. True, many of the newly established court theatres had but a short and not always a very merry life; true, also, that the more common plan was merely to afford aid and protection to some itinerant troupe; still the idea of a permanent national theatre on the footing of the already long-existing court musical establishments had made way, and had already been carried out in various places before it was taken up by the elector at Bonn. It can hardly be supposed that the example of the imperial court at Vienna, with the immense means at its disposal, could exert any direct influence upon the small court at Bonn at the other extremity of Germany; but what the Duke of Gotha and the elector at Mannheim had undertaken in this direction, Max Friedrich may well have ventured and determined to imitate. But there was an example nearer home—in fact in his own capital of Münster, where he, the prince primate, usually spent the summer. In 1775, Dobbler’s troupe, which had been for some time playing in that city, was broken up.
The Westhus brothers in Münster built up their own out of the ruins; but it endured only a short time. Thereupon, under the care of the minister, H. von Fürstenberg (one of those rare men whom heaven elects and equips with all necessary gifts to cultivate what is good and beautiful in the arts), a meeting of the lovers of the stage was arranged in May and a few gentlemen of the nobility and a few from the parterre formed a council which assumed the direction. The Elector makes a considerable contribution. The money otherwise received is to be applied to the improvement of the wardrobe and the theatre. The actors receive their honoraria every month.[3]
Opera and Drama at Bonn in 1779
At Easter, 1777, Seyler, a manager famous in German theatrical annals, and then at Dresden, finding himself unable to compete with his rival, Bondini, left that city with his company to try his fortunes in Frankfort-on-the-Main, Mayence, and other cities in that quarter. The company was very large—the Theatre Lexicon (Article “Mainz”) makes it, including its orchestra, amount to 230 individuals!—much too large, it seems, in spite of the assertion of the Theatre Lexicon, to be profitable. Be that as it may, after an experience of a year or more, two of the leading members, Grossmann and Helmuth, accepted an engagement from Max Friedrich to form and manage a company at Bonn in order that “the German art of acting might be raised to a school of morals and manners for his people.” Taking with them a pretty large portion of Seyler’s company, including several of the best members, the managers reached Bonn and were ready upon the Elector’s return from Münster to open a season. “The opening of the theatre took place,” says the Bonn “Dramaturgische Nachrichten,” “on the 26th of November, 1778, with a prologue spoken by Madame Grossmann, ‘Wilhelmine Blondheim,’ tragedy in three acts by Grossmann, and ‘Die grosse Batterie,’ comedy in one act by Ayrenhofer.” The same authority gives a list of all the performances of the season, which extended to the 30th of May, 1779, together with débuts, the dismissals and other matters pertaining to the actors. The number of the evenings on which the theatre was open was 50. A five-act play, as a rule, occupied the whole performance, but of shorter pieces usually two were given; and thus an opening was found occasionally for an operetta. Of musical dramas only seven came upon the stage and these somewhat of the lightest order except the first—the melodrama “Ariadne auf Naxos,” music by Benda. The others were:
| 1779. | February 21. “Julie,” translated from the French by Grossmann, music by Desaides. February 28. “Die Jäger und das Waldmädchen,” operetta in one act, music by Duni. March 21. “Der Hofschmied,” in two acts, music by Philidor. April 9. “Röschen und Colas,” in one act, music by Monsigny. May 5. “Der Fassbinder,” in one act, music by Oudinot. May 14. A prologue “Dedicated to the Birthday Festivities of His Electoral Grace of Cologne, May 13, 1779, by J. A. Freyherrn vom Hagen.” |
The selection of dramas was, on the whole, very creditable to the taste of the managers. Five of Lessing’s works, among them “Minna von Barnhelm” and “Emilia Galotti,” are in the list and some of the best productions of Bock, Gotter, Engel and their contemporaries; of translations there were Colman’s “Clandestine Marriage” and “Jealous Wife,” Garrick’s “Miss in her Teens,” Cumberland’s “West Indian,” Hoadly’s “Suspicious Husband,” Voltaire’s “Zaire” and “Jeannette,” Beaumarchais’s “Eugénie,” two or three of the works of Molière, and Goldoni, etc.;—in short, the list presents much variety and excellence.
Max Friedrich was evidently pleased with the company, for the “Nachrichten” has the following in the catalogue of performances: “On the 8th (of April) His Electoral Grace was pleased to give a splendid breakfast to the entire company in the theatre. … The company will occupy itself until the return of His Electoral Grace from Münster, which will be in the middle of November, with learning the newest and best pieces, among which are ‘Hamlet,’ ‘King Lear’ and ‘Macbeth,’ which are to be given also with much splendor of costume according to the designs of famous artists.”
It may be remarked here that the “Bonn Comedy House” (for painting the interior of which Clemens August paid 468 thalers in 1751, a date which seems to fix the time at which that end of the palace was completed), occupied that portion of the present University Archæological Museum room next the Coblenz Gate, with large doors opening from the stage into the passageway so that this space could be used as an extension of the stage in pieces requiring it for the production of grand scenic effects. Above the theatre was the “Redouten-Saal” of Max Franz’s time. The Elector had, of course, an entrance from the passages of the palace into his box. The door for the public, in an angle of the wall now built up, opened out upon the grove of horse-chestnuts. The auditorium was necessarily low, but spacious enough for several hundred spectators. Though much criticized by travellers as being unworthy so elegant a court, not to say shabby, it seems to have been a nice and snug little theatre.
Meanwhile affairs with Seyler were drawing to a crisis. He had returned with his company from Mannheim and reopened at Frankfort, August 3, 1779. On the evening of the 17th, to escape imprisonment as a bankrupt, whether through his own fault or that of another—the Theatre Lexicon affirms the latter case—he took his wife and fled to Mayence. The company was allowed by the magistrates to play a few weeks with a view of earning at least the means of leaving the city; but on October 4, its members began to separate; Benda and his wife went to Berlin, but C. G. Neefe, the music director, and Opitz, descended the Rhine to Bonn and joined the company there—Neefe assuming temporarily the direction of the music in the theatre—of which more in another place.
No record has been found of the repertory of the Bonn theatre for the season 1779–1780, except that the opening piece on December 3, on the evening after the Elector’s return from Münster, was a prologue, “Wir haben Ihn wieder!” text by Baron vom Hagen, with airs, recitatives and choruses composed by Neefe; that the “Déserteur” was in the list, and finally Hiller’s “Jagd.” In June, 1781, the season being over, the company migrated to Pyrmont, from Pyrmont to Cassel, and thence, in October, back to Bonn.
Another Busy Season at Bonn
The season of 1781-’82 was a busy one; of musical dramas alone 17 are reported as newly rehearsed from September, 1781, to the same time in 1782, viz:
| “Die Liebe unter den Handwerkern (“L’Amore Artigiano”) | Music | by | Gassmann |
| “Robert und Calliste” | „ | „ | Guglielmi |
| “Der Alchymist” | „ | „ | Schuster. |
| “Das tartarische Gesetz” | „ | „ | d’Antoine (of Bonn) |
| “Der eifersüchtige Liebhaber” (“L’Amant jaloux”) | „ | „ | Grétry |
| “Der Hausfreund” | |||
| (“L’Ami de la Maison”) | „ | „ | Grétry |
| “Die Freundschaft auf der Probe (“L’Amitié à l’Épreuve”) | „ | „ | Grétry |
| “Heinrich und Lyda” | „ | „ | Neefe |
| “Die Apotheke” | „ | „ | Neefe |
| “Eigensinn und Launen der Liebe” | „ | „ | Deler (Teller, Deller?) |
| “Romeo und Julie” | „ | „ | Benda |
| “Sophonisba” (Deklamation mit Musik) | „ | „ | Neefe |
| “Lucille” | „ | „ | Grétry |
| “Milton und Elmire” | „ | „ | Mihl (or Mühle) |
| “Die Samnitische Vermählungsfeier (“Le Marriage des Samnites”) | „ | „ | Grétry |
| “Ernst und Lucinde” | „ | „ | Grétry |
| “Günther von Schwarzburg” | „ | „ | Holzbauer |
It does not follow, however, that all these operas, operettas and plays with music were produced during the season in Bonn. The company followed the Elector to Münster in June, 1782, and removed thence to Frankfort-on-the-Main for its regular series of performances at Michaelmas. It came back to Bonn in the Autumn.
The season 1782-’83 was as active as the preceding. Some of the newly rehearsed spoken dramas were “Sir John Falstaff,” from the English, translations of Sheridan’s “School for Scandal,” Shakespeare’s “Lear,” and “Richard III,” Mrs. Cowley’s “Who’s the Dupe?” and, of original German plays, Schiller’s “Fiesco” and “Die Räuber,” Lessing’s “Miss Sara Sampson,” Schroeder’s “Testament,” etc., etc. The number of newly rehearsed musical dramas—in which class are included such ballad operas as General Burgoyne’s “Maid of the Oaks”—reached twenty, viz:
| “Das Rosenfest” | Music | by | Wolf (of Weimar) |
| “Azalia” | „ | „ | Johann Küchler (Bassoonist in the Bonn chapel) |
| “Die Sklavin” (La Schiava) | „ | „ | Piccini |
| “Zémire et Azor” | „ | „ | Grétry |
| “Das Mädchen im Eichthale” (“Maid of the Oaks”) | „ | „ | d’Antoine (Captain in the army of the Elector of Cologne) |
| “Der Kaufmann von Smyrna” | „ | „ | J. A. Juste (Court Musician in The Hague) |
| “Die seidenen Schuhe” | „ | „ | Alexander Frizer (or Fridzeri) |
| “Die Reue vor der That” | „ | „ | Desaides |
| “Der Aerndtetanz” | „ | „ | J. A. Hiller |
| “Die Olympischen Spiele” (Olympiade) | „ | „ | Sacchini |
| “Die Lügnerin aus Liebe” | „ | „ | Salieri |
| “Die Italienerin zu London” | „ | „ | Cimarosa |
| “Das gute Mädchen” (La buona figliuola) | „ | „ | Piccini |
| “Der Antiquitäten-Sammler” | „ | „ | André |
| “Die Entführung aus dem Serail” | „ | „ | Mozart |
| “Die Eifersucht auf der Probe” (Il Geloso in Cimento) | „ | „ | Anfossi |
| “Rangstreit und Eifersucht auf dem Lande” (Le Gelosie villane) | „ | „ | Sarti |
| “Unverhofft kommt oft” (Les Évènements imprévus) | „ | „ | Grétry |
| “Felix, oder der Findling” (Félix ou l’Enfant trouvé) | „ | „ | Monsigny |
| “Die Pilgrimme von Mekka” | „ | „ | Gluck |
But a still farther provision has been made for the Elector’s amusement during the season of 1783-’84, by the engagement of a ballet corps of eighteen persons. The titles of five newly rehearsed ballets are given in the report from which the above particulars are taken, and which may be found in the theatrical calendar for 1784.
With an enlarged company and a more extensive repertory, preparations were made for opening the theatre upon the Elector’s return, at the end of October, from Münster to Bonn. But the relations of the company to the court have been changed. Let the “Theater-Kalender” describe the new position in which the stage at Bonn was placed:
Bonn. His Electoral Grace, by a special condescension, had graciously determined to make the theatrical performances gratuitous and to that end has closed a contract with His Highness’s Theatrical Director Grossmann according to which besides the theatre free of rent, the illumination and the orchestra he is to receive an annual subvention for the maintenance of the company. On His Highness’s command there will be two or three performances weekly. By particular grace the director is permitted to spend several summer months in other places.
An Influence on the Boy Beethoven
The advantages of this plan for securing a good repertory, a good company and a zealous striving for improvement are obvious; and its practical working during this, its only, season, so far as can now be gathered from scanty records, was a great success. It will hereafter be seen that the boy Ludwig van Beethoven was often employed at the pianoforte at the rehearsals—possibly also at the performances of the company of which Neefe was the musical director. That a company consisting almost exclusively of performers who had passed the ordeal of frequent appearance on the stage and had been selected with full knowledge of the capacity of each, and which, moreover, had gained so much success at the Bonn court as to be put upon a permanent footing, must have been one of more than the ordinary, average excellence, at least in light opera, needs no argument. Nor need comments be made upon the influence which daily intercourse with it, and sharing in its labors, especially in the direction of opera, must have exerted upon the mind of a boy of twelve or thirteen years possessed of real musical genius.
The theatrical season, and with it the company, came to an untimely end. Belderbusch died in January, 1784. Madame Grossmann died in childbed on March 28, and on April 15 the Elector followed them to another world. After the death of the Elector Maximilian Friedrich the Court Theatre was closed for the official mourning and the company dismissed with four weeks’ salary.
It is consonant to the plan of this introductory chapter that some space be devoted to sketches of some of the principal men whose names have already occurred and to some notes upon the musical amateurs of Bonn who are known, or may be supposed, to have been friends of the boy Beethoven. These notices make no claim to the credit of being the result of original research; they are, except that of Neefe, little more than extracts from a letter, dated March 2, 1783, written by Neefe and printed in Cramer’s “Magazin der Musik” (Vol. I, pp. 337 et seq.). At that time the “Capelldirector,” as Neefe calls him, was Cajetano Mattioli, born at Venice, August 7, 1750, whose appointments were concertmaster and musical director in Bonn, made on May 26, 1774 and April 24, 1777.
