Articles – The Young Beethoven Through the Eyes of His Contemporaries: A Compendium of Reports up to 1800. By Luigi Bellofatto
he Young Beethoven Through the Eyes of His Contemporaries
A Collection of Reports from 1783 to 1800. By Luigi Bellofatto
In this article I have attempted, for the first time, to gather everything that was ever written in newspapers, journals, dictionaries, and almanacs of the eighteenth century concerning the musician Ludwig van Beethoven. The collection includes both substantial articles and the briefest of passing mentions.
The task has been arduous, and I have endeavoured to produce as complete a survey as possible up to the year 1800. Inevitably, some writings may have escaped my attention, either because they are no longer traceable or have not survived; for this I beg the indulgence of readers and friends of the site.
It is well known that scholars such as Ludwig Nohl, Friedrich Kerst, Albert Leitzmann, and later H. C. Robbins Landon published volumes containing articles or excerpts from newspapers that mention Beethoven. Yet none of them has undertaken a thorough investigation of the composer’s earliest years, nor attempted to reconstruct the totality of the reports that appeared in the mass media of the time.
As is well known, it was Christian Gottlob Neefe who first recognised the exceptional gifts of his young pupil. As a testimony to the esteem he felt for him, he wrote the following in the Magazin der Musik, published in Hamburg by Carl Friedrich Cramer, on 2 March 1783 (pp. 394–395):
“Ludwig van Beethoven is a boy of eleven years with very promising talent. He plays the piano with great skill and vigour, reads at sight extremely well, and, in short, plays most of Bach’s Well‑Tempered Clavier, which Herr Neefe has placed in his hands. Whoever knows this collection of preludes and fugues in all keys (which might almost be called the non plus ultra) will understand what this means. Herr Neefe has also introduced him […] to thoroughbass. He now gives him lessons in composition and, to encourage him, has had nine of his piano variations on a march theme engraved in Mannheim. This young genius deserves support that would allow him to travel. He would undoubtedly become a second Wolfgang Amadeus Mozart if he continues to progress at this pace.” (figs. 1–3)
The variations mentioned are the WoO 63, based on a march by Ernst Christoph Dressler, published in 1782 by Götz.
This is the very first article ever published about the composer from Bonn. It is a well‑known text and stands as a testament to the young Beethoven’s worth at the court of Bonn, as perceived by his teacher. We should not forget that Neefe provided Beethoven not only with musical instruction, but also with guidance for life.
In the same issue of Cramer’s Magazin from 1783, on page 1371, there appears an announcement of the publication of the “Three Piano Sonatas” WoO 47, written by an eleven‑year‑old (in reality, he was thirteen) Beethoven (figs. 4–5).
Besides Cramer’s journal, another newspaper from 1783 mentions Neefe and Beethoven: the Litteratur‑ und Theaterzeitung, No. 34, dated 23 August 1783. Here the “dilettanti” of Bonn are discussed—among them Countess von Belderbusch, Countess von Hatzfeld, Chamberlain von Schall, and, notably, the young Beethoven, “who is making giant strides under his teacher Neefe” (figs. 6–7).
A few years later, in 1787, the Magazin der Musik (pp. 1385–1386) published an article on musical life in Bonn. Among the reports are performances of Haydn’s The Seven Last Words of Our Redeemer on the Cross, the presence of Steinsche pianos from Augsburg in Bonn, and comments on the young musicians active in the city—among them Amalie von Mastiaux, her brothers, and Ludwig van Beethoven, “whose talent developed very early” (fig. 8).
As is well known, Beethoven visited Regensburg (Ratisbon) twice in 1787: first in January, and again in April of the same year.
Magazin der Musik, Published in Hamburg by Carl Friedrich Cramer, 1783. Figures 1–5
The report appears in a small notice published on 9 January (No. 2) in the Regensburgisches Diarium oder wöchentliche Frag- und Anzeige‑Nachrichten, which mentions the arrival of “Bertenhoven, organist of Bonn” (fig. 9).
A few months later, in the same Regensburgisches Diarium (No. 18, dated 1 May), there is a brief note concerning Beethoven’s departure from Regensburg following his second visit to the city (fig. 10).
Litteratur‑ und Theaterzeitung, No. 34, 23 August 1783. Figures 6–7
Magazin der Musik, Published in Hamburg by Carl Friedrich Cramer, 1787. Figure 8
Regensburgisches Diarium oder wöchentliche Frag‑ und Anzeige‑Nachrichten, 9 January 1787 (Figure 9) – May 1787 (Figure 10)
Kurfürstlich gnädigst privilegirte Münchner Zeitung, 1 April and 10 April 1787 (Figures 11–12)
Museum für Künstler und für Kunstliebhaber, oder Fortsetzung der Miscellaneen artistischen Inhalts (by Johann Georg Meusel) (Figure 13)
In another newspaper, the Kurfürstlich gnädigst privilegirte Münchner Zeitung, Beethoven’s arrival is recorded on 1 April with the notice: “Herr Peethofen, Musikus von Bonn bei Kölln” (fig. 11). A further entry dated 25 April reports: “Herr Peethoven, Kurköllnischer Kammervirtuos von Bonn,” noting him as a guest at the inn Zum Schwarzen Adler (fig. 12). These references are of considerable importance, as they confirm the journeys undertaken by Beethoven on his way to Vienna. From the information provided, one may deduce that the young musician left Bonn around 20 March, reached Vienna on 7 April, remained there until approximately 20 April, and was in Munich on 25 April.
The report of his stop in the city of Augsburg during his return from Vienna appears in the Augsburgisches Intelligenzblatt of 30 April 1787, which states that on 26 April “Herr Beethaden, Musikus von Wien” arrived in the city.
Further confirmation of this visit is found in a letter written by Beethoven from Bonn on 15 September to Joseph Wilhelm Freiherr von Schaden of Augsburg, in which the composer thanks him for his hospitality and for the money received, and informs him of his return journey from Augsburg to Bonn. Beethoven most likely met the von Schadens during his outward journey to Vienna in March 1787 and visited them again on his way back.
Joseph von Schaden was a civic councillor and court councillor to Prince Öttingen‑Wallerstein, while his wife Nanette was an accomplished pianist.
In 1788, the writer and composer Carl Ludwig Junker included Beethoven in his article Junge Tonkünstler unserer Zeit (“Young Musicians of Our Time”), published in the Museum für Künstler und für Kunstliebhaber, oder Fortsetzung der Miscellaneen artistischen Inhalts (by Johann Georg Meusel). On page 30 appears the name of Ludwig van Beethoven, described as a “composer, 11 years old” (fig. 13, right).
n 1789, the Musikalischer Almanach für Deutschland by Johann Nikolaus Forkel lists the composers active in Germany, and among them appears Beethoven, described as “twelve years old (!) and with his three sonatas, his compositions in the Blumenlese” (figs. 14–15). The sonatas referred to are the WoO 47.
A few years earlier, in 1784, the same almanac had published on page 195 an article announcing the release of the Blumenlese für Klavierliebhaber, praising the various composers who contributed to the collection, though unfortunately Beethoven was not mentioned (figs. 16–17).
In 1790, Ernst Ludwig Gerber published in Leipzig the Historisch‑biographisches Lexicon der Tonkünstler, one of the most important dictionaries of its time. In Volume I (the second volume appeared in 1792), on pages 156–157, Beethoven is listed as “the son of the court tenor of Bonn, born in 1772 and a pupil of Neefe,” together with the works he had published by that date: “nine variations on a march, three piano sonatas, and several lieder” (figs. 18–20).
A second, expanded edition of the dictionary was issued in four volumes between 1812 and 1814.
The Theaterkalender published in Gotha for the year 1791 includes, on pages 197–200, a lengthy article from Bonn concerning the Kurfürstlich‑Köllnisches Nationaltheater, which opened for the first time on 3 January 1789. It lists all those involved in the new Bonn theatre, including the director Joseph Reicha, the harpsichordist Neefe, and among the violists a young “van Beethoven” (figs. 21–23).
Musikalischer Almanach für Deutschland ByJohaMusikalischer Almanach für Deutschland, by Johann Nikolaus Forkel, 1789. Figures 14–17nn Nikolaus Forkel, 1789. Figures 14 to 17
Historisch-biographisches Lexicon der Tonkünstler, 1790. Figures 18 to 20.
Theaterkalender published in Gotha, 1791. Figures 21 to 23.
Musikalische Korrespondenz der Teutschen Filharmonischen Gesellschaft: für das Jahr 1791, published by Carl Ludwig Junker. Figures 24 to 26.
Musikalische Korrespondenz der Teutschen Filharmonischen Gesellschaft: für das Jahr 1791, published by Carl Ludwig Junker. Descriptive pages on the orchestra of the Electoral Prince, listing Beethoven as second organist for the year 1791. Figures 27–28
Another important article was published by Carl Ludwig Junker in the Musikalische Korrespondenz der Teutschen Filharmonischen Gesellschaft: für das Jahr 1791. On page 379 we read:
“I have also heard one of the greatest pianists, the dear good Beethofen, whose works appeared in the Spira anthology of 1783, composed already at the age of eleven. He did not, however, perform in a public concert, perhaps because the instrument did not meet his expectations; it was a Spath piano, and in Bonn he is accustomed to playing only on a Stein. Instead, I heard him improvise variations, which I infinitely prefer, and I was even invited to propose a theme on which he might improvise. I believe one may safely measure the greatness of this amiable man, with his gentle voice, by the almost inexhaustible richness of his ideas, the utterly personal expressiveness of his playing, and the mastery with which he performs. I cannot say what he still lacks of the greatness of an artist. I have heard Vogler at the fortepiano (…) and have always admired his extraordinary skill, but Beethoven, beyond his virtuosity, is more communicative, more meaningful, more expressive (…). He alone is modest, without any pretension. Yet he confessed that, during the journeys his Electoral Prince allowed him to undertake, he rarely found among the most renowned pianists what he felt entitled to expect. His manner of playing is so different from the traditional way of treating the piano that it seems he has opened a path entirely his own to reach the goal of perfection he has now attained.”
(figs. 24–26)
This almanac also includes descriptive pages on the orchestra of the Electoral Prince, listing Beethoven as second organist for the year 1791 (a separate article will be devoted to the various orchestral members recorded in the court almanacs). (figs. 27–28)
In 1793, another important newspaper, the Berlinische musikalische Zeitung (edited by Johann Gottlieb Carl Spazier), published a long article by Neefe entitled “Musical News from Münster and Bonn (from a letter from Bonn),” divided into two instalments on 19 and 26 October. In the latter, Neefe speaks of Beethoven, “second court organist, who has gone to Vienna at the expense of our Elector to study with Haydn and improve his abilities,” and he reports what Beethoven wrote to him: “I thank you for the advice you have so often lavished upon me during my progress in the divine art. If ever I should become a famous man, it will also be thanks to you.” (fig. 29)
The Journal des Luxus und der Moden was a German fashion magazine published from 1787 to 1812 by the Weimar editor Friedrich Justin Bertuch in collaboration with the artist Georg Melchior Kraus. It was an extremely popular monthly periodical in Germany and included numerous announcements, among them notices of new musical publications. Several works by Beethoven were advertised in this journal, and we may recall one of the earliest: in the February 1794 issue, it announced as Beethoven’s Opus I the publication of the Variations for Piano and Violin WoO 40, issued in Vienna (fig. 29bis).
Shortly after Beethoven’s arrival in Vienna, the Wiener Zeitung of 1 April 1795 reported: “On 29 and 30 March, in the imperial and royal court theatre near the Burg, during the customary grand concert of the local Society of Musicians in aid of widows and orphans, an oratorio composed by Kapellmeister Kartellieri entitled Joas, König von Juda was performed… As an intermezzo, the famous Herr Ludwig van Beethoven earned, on the first evening, the applause of the entire audience with a brand‑new piano concerto composed by himself.” (fig. 30)
This refers to the Piano Concerto Op. 19.
The subscription for the Three Trios Op. 1 was announced in the issues of 9, 13, and 16 May 1795. The same newspaper later reported, on 14 November:
“The masked ball for the pension fund of the Society of Artists […] will be held this year on Sunday, 22 November, in the imperial and royal Redoutensaal. For this ball, too, the music for the minuets and German dances consists of entirely new compositions […] for the small hall they have been composed by the masterly hand of Herr Ludwig van Beethoven, in the spirit of solidarity among the arts.”
The article refers to the Twelve Minuets (WoO 7) and the Twelve German Dances (WoO 8), published by Artaria.
Again in the Wiener Zeitung, on 16 December, the following announcement appeared: “By Herr Ludwig van Beethoven: 12 new Minuets and 12 German Dances, in the piano reduction, which were performed on 22 November of this year at the masked ball held in aid of the Society of Artists in the imperial and royal Redoutensaal and which, as everyone knows, were received with great success. This piano version has been prepared by the composer himself.” (fig. 31)
On the same day, a brief but important notice announced that on 18 December there would be a concert organised by Haydn in the small Redoutensaal, in which “Beethoven will perform as soloist in one of his piano concertos”; this refers to the Piano Concerto No. 1 Op. 15 (fig. 32).
Berlinische musikalische Zeitung (ByJohann Gottlieb Carl Spazier) 1793. Journal des Luxus und der Moden February 1794. Wiener Zeitung of 1 April, 16 December and 18 December 1795. Figures 29 to 32.
Jahrbuch der Tonkunst Wien und Prag, article by Johann Ferdinand Ritter von Schönfeld 1796. Wiener Zeitung of 9 March 1796, 8 February 1797 and 26 March 1800 Figures 33 to 36.
In 1796, Johann Ferdinand Ritter von Schönfeld published in his Jahrbuch der Tonkunst Wien und Prag a beautiful review of the Bonn composer’s art of piano playing:
“Beethoven is a musical genius who has chosen to reside in Vienna for the past two years. He is admired by all for his remarkable speed and the extraordinary difficulties he overcomes with great ease. For some time now he seems to have penetrated more deeply than ever into the innermost sanctuary of the art, which is characterised by precision, sensitivity, and taste, and through this he has considerably elevated his reputation. A clear proof of his true love for the art is the fact that he has entrusted himself to our immortal Haydn to be initiated into the sacred mysteries of composition. Now this great master has placed him, during his absence, under our excellent Albrechtsberger. What may we not expect when such a lofty genius places himself under the guidance of such outstanding masters! We already possess numerous sonatas composed by him, among which his latest ones excel in a particular way.” (figs. 33–34)
The “latest sonatas” referred to are the Three Sonatas Op. 2, announced in the Wiener Zeitung of 9 March 1796 (fig. 35).
On 19 November 1796, the Leipziger Zeitung reported: “On Monday, 21 November, Madame Duschek of Prague will give a grand vocal concert at the Theater am Randstädter Thore; the programme will include […], a cantata by Mad. Duschek and Dem. Neefe, as well as an Italian scena composed for Mad. Duschek by Beethoven, and several pieces by Mozart.”
This refers to the Scena ed Aria “Ah, perfido” Op. 65.
Again in the Wiener Zeitung, on 8 February 1797, Artaria announced the publication of the two Cello Sonatas Op. 5; on 7 October the same publisher issued the Piano Sonatas Op. 7 and Op. 8. On 5 July 1798, the subscription for the Three Piano Sonatas Op. 10 (published by Eder) was announced.
The following year, on 2 March 1799, the Wiener Zeitung announced the publication of the Ten Variations WoO 73; on 18 December the Six Variations WoO 76; and on 21 December the Seven Variations WoO 75.
Beethoven’s First Symphony Op. 21 was performed for the first time, under the composer’s direction, on 2 April 1800 at the Hofburgtheater in Vienna, during an Academy held for Beethoven’s benefit. He personally sold the tickets at his residence after placing a formal announcement in the Wiener Zeitung on 26 March 1800, which read:
“The Imperial and Royal Directorate has granted Herr van Beethoven the benefit of an Academy in the Imperial and Royal Court Theatre. He hereby informs the esteemed public that the Academy is fixed for 2 April. Boxes and reserved seats may be obtained on 1 and 2 April from Herr van Beethoven at No. 241, Tiefen Garten, third floor.” (fig. 36)
In addition to the works already mentioned, the Wiener Zeitung announced the publication of many of Beethoven’s early compositions, including: Op. 9 (21 and 25 July 1798), Op. 66 (22 September 1798), Op. 11 (3 October 1798), Op. 12 (12 January 1799), Op. 13 (18 December 1799), Op. 14 (21 December 1799); WoO 40 (31 July 1793), WoO 121 (19 November 1796), WoO 122 (29 April 1797), WoO 45 (4 October 1797), WoO 65 (13 August 1791), WoO 68 (27 February 1796), WoO 69 (30 December 1795), WoO 70 (23 March 1796), WoO 71 (29 April 1797), WoO 72 (7 November 1798), WoO 73 (2 March 1799), WoO 75 (21 December 1799), WoO 76 (18 December 1799), WoO 77 (16 December 1800).
Finally, we arrive at the most important music journal of the period, the Allgemeine musikalische Zeitung, which began publication on 3 October 1798 (fig. 37) under the Leipzig publishing house Breitkopf & Härtel.
The Allgemeine musikalische Zeitung (“General Musical Journal”) reviewed musical performances from numerous countries, focusing primarily on the German‑speaking world, but also covering France, Italy, Russia, and Great Britain.
The articles and reviews concerning Beethoven’s works are numerous; here we attempt to summarise them (a dedicated article would be required to reproduce the long and fascinating reviews in full!):
- 9 January 1799: review of the three piano sonatas composed by Joseph Wölfl (Op. 6) and dedicated to Beethoven. Although Wölfl had dedicated to him the sonatas composed in 1798, the two composers were rivals. Beethoven famously “outplayed” Wölfl in a kind of piano competition held at the house of Count Wetzlar a few months later—an episode that marked the decline of Wölfl’s local popularity.
- 6 March 1799: review of the Variations Op. 66 and WoO 72: “It is well known that Herr van Beethoven is an excellent pianist, and if anyone should not know it, one may deduce it from these variations.” (figs. 38–39)
- 15 May 1799: “The most famous male and female pianists in Vienna,” an article describing the celebrated comparison between Beethoven and Joseph Wölfl: “Beethoven’s manner of playing is extremely brilliant but less delicate. He shows his great superiority in improvisation. […] Since the death of Mozart, who for me remains the non plus ultra, I have found this kind of pleasure only in Beethoven.” (fig. 40)
- 22 May 1799: review of the Trio for Piano, Clarinet, and Cello Op. 11: “This trio, which here and there is not exactly easy, is nevertheless undoubtedly more straightforward than other pieces by the same author.” (fig. 41)
- 5 June 1799: review of the Three Sonatas for Piano and Violin Op. 12: “If Herr Beethoven would restrain himself more and follow the path of nature, with his talent and his labour he would certainly give us beautiful things for an instrument over which he seems to have extraordinary command.” (figs. 42–43)
- 19 June 1799: review of the Ten Piano Variations WoO 73: “Beethoven may be able to fantasise, but he does not understand how to vary well.” (fig. 44)
- 25 September 1799: article with news from the Rhine regions, mentioning the musical life of Bonn and listing Neefe and the “thirteen‑year‑old [!] Beethoven.” (fig. 45)
- 9 October 1799: review of the Three Piano Sonatas Op. 10: “It cannot be denied that Herr v. B[eethoven] is a man of genius; he has originality and goes his own way. Moreover, his unusual manner of writing and his extraordinary mastery of the instrument place him among the best pianists and composers of our time.” (figs. 46–47)
Allgemeine Musikalische Zeitung reviews of Beethoven’s works from the year 1799. Figures 37 to 47.
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19 February 1800: review of the Piano Sonata Op. 13: “Herr Beethoven undoubtedly belongs to the circle of artists of excellence, and we hope that he will continue to present us with works born of his genius and diligence.” (fig. 48)
- 12 March 1800: review of the Eight Piano Variations WoO 76: “Light and pleasant, though offering nothing more than agreeable contrasts. A composer such as Beethoven has spoiled us with great expectations.” (fig. 49)
- 11 June 1800: publication of the well‑known anecdote involving Beethoven and the spider: as a child practising the violin in his home in Bonn, a spider would appear and listen to him until, one day, his mother killed the creature, leaving Beethoven “in mourning” for a long time. It should be noted that the original anecdote appeared around 1800 in connection with a French musician named Berthaume, whose name was later altered to Beethoven. (fig. 50)
- 2 July 1800: report on the stay of the celebrated horn player Giacomo Punto. Beethoven composed for him the Horn Sonata Op. 17. The article states that the success was extraordinary and that the audience was so enthusiastic that the sonata was immediately repeated (fig. 51). Another article, published in the Ofner und Pesther Taschenbuch, provides further information about the two musicians, referring to events a few months earlier: “Today, 7 May [1800], an academy by Herr Beethover and Herr Punto […]. Who is this Beethoven? This name is unknown in the history of German music. Punto, however, is very well known […]. Three weeks before his concert in Ofen‑Pesth, Punto appeared in a concert in Vienna, and precisely in the company of a certain Beethoven.”
- 15 and 22 October 1800: review of the Symphony No. 1 Op. 21 and the Septet Op. 20: “Herr Beethoven has at last obtained the Theatre [the Hofburgtheater], and it was probably the most important Academy held for a long time. He performed a new Concerto [most likely the Piano Concerto No. 1 Op. 15] of his own composition, which contains many beautiful things—especially the first two movements. Then a Septet of his was performed, written with much good taste and feeling. He improvised masterfully [on Haydn’s Emperor’s Hymn], and finally a Symphony of his composition was performed, revealing great artistry, novelty, and richness of ideas.” (figs. 52–53)
And thus we arrive at the year 1800. You will agree that much had already been written about the young Beethoven, yet it is nothing compared to what would be written thereafter—up to the present day—amounting to 250 years of musical history shaped by the Master of Bonn.
In this article, through my work of collecting and at times merely listing these documents, I have sought to illuminate the personality of Beethoven as a young composer and pianist through the eyes of his contemporaries, some of whom had the good fortune to hear him in person.
For us, there remains only the possibility of “contenting ourselves” with the performances of the well‑known works and, as our site strives to do, of marvelling at the discovery of the lesser‑known ones.
Luigi Bellofatto – revised by Fiorella Romenzi
Allgemeine Musikalische Zeitung reviews of Beethoven’s works from the year 1800. Figures 48 to 53.