FRIEDRICH AUGUST KANNE (1778-1833) Lithograph Kanne, who first studied theology and medicine, later became a prolific composer and music critic. He was a protégé of Prince Lobkowitz and had friendly relations to Beethoven which sometimes were jeopardized by passionate controversy. ( Society of Friends of Music, Vienna)
FERDINAND RIES (1784-1838) Oil portrait He was a son of Beethoven friend Franz Ries, of Bonn, and was Beethoven pupil from 1801 to 1805. After concert tours as pianist, he settled in London in 1813 and lived there till 1824. During that period Beethoven asked him frequently to represent his interests in Britain. Returning to Germany Ries became a conductor and continued his career as a diligent composer. In 1838 he published, together with Wegeler, the important "Biographical Notes on L. van Beethoven." ( Beethovenhaus, Bonn)
CARL CZERNY ( 1791-1857) Engraving by Blasius Höfel after Joseph Lanzedelly At the age of ten Czerny became Beethoven's pupil and stayed with him for three years. Later B eethoven appointed him the teacher of his nephew Karl. Czerny was the first to play the E flat major Piano Concerto, opus 73--in Vienna in 1812. The work was dedicated to Archduke Rudolf. ( National Library, Vienna)
JOHANN NEPOMUK HUMMEL (1778-1837) Lithograph by Constans after Vigneron In 1793 Hummel, after he had studied for two years with Mozart, and having concertized throughout Europe for five years, returned to Vienna where he worked with Albrechtsberger and Salieri. Beethoven who befriended him esteemed his brilliant playing highly. (Collection Cortot, Lausanne)
CARL FERDINAND AMENDA (1771-1836) Oil painting by J. S. B. Grüne This young theologian had come to Vienna from Kurland in 1798. He became one of Beethoven's best friends after the composer had heard him play the first violin part in one of his quartets. Their friendship was perfect even though Amenda left Vienna the following year. (Beethovenhaus, Bonn)
AUTOGRAPHED DEDICATION OF BEETHOVEN FOR HIS FRIEND C. F. AMENDA ON THE FIRST VIOLIN PART OF THE STRING QUARTET, OPUS 18, No. 1, F MAJOR (Not Quartet No. 2 as erroneously indicated on the manuscript) The dedicatory text says: "Dear Amenda, take this Quartet as a small token of our friendship and whenever you play it for yourself remember the days we had together and at the same time how much devoted to you I was and will always be--your true and warm friend Ludwig van Beethoven. Vienna, 1799 on June the 25th." (Beethovenhaus, Bonn)
LETTER MANUSCRIPT OF BEETHOVEN TO C. F. AMENDA ( Vienna, July 2?) In this letter, probably from 1801, Beethoven mentions his beginning deafness for the first time and adds: "I ask you to consider the matter with my ear an important secret and to speak to no-one whatsoever about it . . ." (Bodmer, Zürich)
BEETHOVEN'S RIVALS ABBÉ GEORG JOSEPH VOGLER (1749-1814) Engraving by J. M. Schramm In 1803 when his reputation as a composer, pianist and organist was firmly established, Vogler had come to Vienna and had shown great alertness in improvisations at the piano. Junkers, a critic of that time, stated in an equitable appraisal: "Beethoven, however, in addition to the virtuosity is more telling, more profound, more expressive--in one word he is more for the heart . . ." (Beethovenhaus, Bonn)
DANIEL STEIBELT (1765-1823) Engraving by A. Quenedy This famous piano virtuoso who had come to Vienna in 1800 had harvested rich laurels. In a sort of a musical tournament, however, in which he wanted to compete with Beethovenit took place in the drawing rooms of the Count Fries--he lost out so obviously that he withdrew from the soirée before it ended. (National Library, Vienna)
ABBÉ JOSEPH GELINEK (1758-1825) Engraving by C. F. Riedel after G. H. Lips His manner of varying a theme was as famous as was his brilliant playing. After a competition with Beethoven he said: "A real Satan is in this young man. I have never heard anyone play like that, and on a theme furnished by me I have heard him improvise as not even Mozart could." (Beethovenhaus, Bonn)
JOSEPH WOELFL (1772-1812) Engraving by Scheffner This former pupil of Leopold Mozart enjoyed great poptilarity in Vienna both as a composer and pianist. Competing with Beethoven in a musical soirée in the home of the Baron von Wetzlar, he retained his prestige as a brilliant virtuoso whereas Beethoven emerged as the victor due to his improvisations and the profundity of his playing. (National Library, Vienna)
THE CONCERT OF APRIL 2, 1800 ANNOUNCEMENT OF THE CONCERT BEETHOVEN GAVE IN VIENNA, AT THE NATIONAL COURT THEATER ON APRIL 2,1800 AT HIS OWN EXPENSE The affair provided the Viennese public with an opportunity to acquaint itself not only with the great composer but with the conductor and virtuoso. He played his Second Piano Concerto in B flat major, opus 19, and also improvised, an activity which had always moved his audiences. Then the Schuppanzigh ensemble performed the Septet, opus 20, dedicated to the Empress Maria Theresia. Finally Beethoven conducted his First Symphony in C, opus 21, which he had just completed. The success was unique. (Beethovenhaus, Bonn)
SEPTET FOR VIOLIN, VIOLA, CLARINET, HORN, BASSOON, CELLO AND CONTRABASS IN E FLAT MAJOR, OPUS 20 Dedicatory page to Her Majesty, the Empress Maria Theresia. The work was premiered April 2, 1800 and was published in 1802 by Hoffmeister, Vienna. (van Hoboken, Ascona)