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He lived very respectably in the first story of the Golden Bear, where the elder Breitkopf, on account of the great advantage which Gottsched's writings, translations, and other aids had brought to the trade, had promised him a lodging for life. We were announced. The servant led us into a large chamber, saying his master would come immediately.
In 1801 Breitkopf and Haertel published the work with the addition of the vocal parts at Leipzig. This edition had a preface by the author in which he said: About fifteen years ago, a curé at Cadiz engaged me to write some passages of instrumental music on the Seven Words of Christ on the Cross.
Later the opportunity of adding them was offered, so the oratorio which Breitkopf and Haertel publish to-day is a complete work and, so far as the vocal part is concerned, entirely new. The kind reception which it has received among amateurs makes me hope that the entire public will welcome it with the same kindness. Haydn feared to weary his hearers. Our modern bards have no such vain scruple.
Let us narrow our investigations and critical comparisons to Klindworth, Von Bulow, Kullak and Riemann. Carl Reinecke's edition of the studies in Breitkopf & Hartel's collection offers nothing new, neither do Mertke, Scholtz and Mikuli. The latter one should keep at hand because of the possible freedom from impurities in his text, but of phrasing or fingering he contributes little.
Ashton Ellis, soon after its publication in 1892, and it was consequently withdrawn from circulation in Germany by its publishers, Messrs. Breitkopf und Haertel. In England and America it still seems to be widely read, and is, more than any other single work, responsible for the false notions that are abroad about Wagner.
I declare to you, gentlemen, that I have often expected to be told, when I have been asked a question about the circulation of the blood, that Professor Breitkopf is of opinion that it circulates, but that the whole thing is an open question.
Inspired by his love for Mathilde Wesendonck, Wagner wrote the opera and succeeded in selling the score to Breitkopf & Hartel for the equivalent of $800. Then began the hunt for a theatre in which to give the first representation.
Another arrangement, for four hands, was afterwards accepted by Breitkopf, in exchange, it would seem, for a copy of the full score of the same work. Possibly he had borrowed the copy he worked from or thumbed it until it fell to pieces. Dorn said he never came across such a Beethoven enthusiast, and he felt sure something would come of it. We know something did come of it.
On Schubert's grave he found nothing, but in the city he found Schubert's brother, a poor man with eight children and no possessions but a number of his brother's manuscripts, including "a few operas, four great masses, four or five symphonies, and many other things." He immediately wrote to Breitkopf & Härtel to make arrangements for their publication.
See the subsequent letter of May 2, 1810. November, 1802. This notice is given to prevent anything of the kind in future. I also beg to announce that shortly a new original quintet of my composition, in C major, Op. 29, will appear at Breitkopf & Härtel's in Leipzig. Summer of 1803. You no doubt are aware that I am here. Go to Stein, and ask if he can send me an instrument, on hire.
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