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These coincidences are, nevertheless, so numerous, that we may say in general, what Lenz knew of the history of the man Beethoven and his works is known to Marx, what was unknown to the former is equally unknown to the latter. Marx, however, occasionally quotes passages from Schindler, Wegeler, and Ries at length, to which Lenz only gives references.
He also used to write the word "better" in French on some pages, or else the figures 100, 500, 1,000, etc., probably, as Schindler thinks, to indicate the relative value of certain ideas. This is illustrated by an amusing trait described by his biographers. "Beethoven was extremely fond of washing. Consequently, as may be imagined, he not infrequently had trouble with his landlord.
Ries, John Cramer, and Sir George Smart." Cannot Marx read German? Ib. p. 329. We give one more instance of Marx's method of citing authorities, a very curious one. It is an extract from a letter written to the Schotts in Mayence, signed A. Schindler, containing an account of Beethoven's last hours, and published in the "Caecilia," in full. Here is the passage; Anselm Huettenbrenner!
Schindler states that it was several days before he or any of the master's friends knew of his arrival in Vienna, and leaves the inference that he was unattended during this interval except by his nephew. When they learned of his return, Schindler and Stephen von Breuning were unremitting in their attentions. As Beethoven had taken a violent prejudice against Dr. Wawruch, another physician, Dr.
When Schindler wrote, Johann van Beethoven, the brother, and Carl van Beethoven, the nephew, were still alive, and feelings of delicacy led him to do little more than hint at those domestic and family relations and sorrows which for several years rendered the great composer much of the time unfit for labor, and which at last brought him to the grave.
His temper was not improved by these disappointments, and he even charged Schindler with having conspired with the manager to cheat him. This led to a rupture between the two of several months' duration. Beethoven at length called on Schindler and apologized for the offence, begging him to forget it, upon which the old relations were restored.
This dawned on him shortly after the friends had taken their departure, upon which he wrote the following notes, leaving them on the piano as was his custom, for Schindler to deliver. From the above it will readily be seen, as Schindler plaintively asserts, that the office of friend to Beethoven was no sinecure.
The immediate cause of death, as demonstrated by the post-mortem held the day after his decease, was cirrhosis of the liver, the dropsy, of which Schindler makes such frequent mention, being an outcome of, and connected with, the liver trouble. The organ showed every indication of chronic disease. It was greatly shrunken, its very texture being changed into a hard substance.
Here, at length, we do find something beyond what Ries and Schindler have recorded, no longer the close coincidence in matters of fact with Lenz; indeed, the account of the changes made in transforming the three-act "Leonore" into the two-act "Fidelio" we consider the best piece of historic writing in the volumes, the one which gives us the greatest number of new facts, and most clearly and chronologically arranged.
<b>EGNER, MARIE.</b> Pupil of Schindler in Vienna. She has exhibited her pictures at the exhibitions of the Vienna Water-Color Club. In 1890 an exquisite series of landscapes and flowers, in 1894 "A Mill in Upper Austria," in gouache, and in 1895 other work in the same medium, confirming previous impressions of her fine artistic ability. <b>EISENSTEIN, ROSA VON.</b> Born in Vienna, 1844.
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