They say, what Kant was to philosophy, it was Goethe to letters and Beethoven in music. Sometimes expectations are exceeding reality and not every acquaintance is for the eternity.
Who was Goethe?
Johann Wolfgang von Goethe (28 August 1749 – 22 March 1832) was, mainly, a German poet and novelist. He was also a genius, who worked on several other fields, like science, a statesman, philosopher, critic and theater director. He is regarded as the greatest German language writer.
Goethe’s father studied law in Leipzig and later was appointed Imperial Councillor in Frankfurt. The family lived there in a big house, today the Goethe House. Young Goethe was educated by his father and private tutors for a bright future. He studied languages (French, Italian, English, Latin, Greek, and Biblical Hebrew), dancing, riding and all else that was essential for his social class. Initially, he was in love with visual arts, he liked to draw, but soon he discovered literature. Theater was also among the subjects of his interest.
Just as his father, he studied law in Leipzig. His attention and focus, though, quickly shifted to love and poetry. This is where his first collection of poems were published, Anette (1770). Studies in law did not progress and he finally returned to Frankfurt without a diploma.
After a long period of illness he decided to try his hands at law again, this time in Strasbourg. It is here, where he was introduced to the works of Shakespeare, something he later called his “personal awakening in literature”. Here, he finally graduated and upon returning to Frankfurt, he established a small legal firm. The coming period, despite the parallel legal activities, was his most productive in his writing.
|Related: Beethoven and Shakespeare
Upon the invitation of the young duke of Weimar (Charles Augustus), he left Frankfurt. For the rest of his life Weimar was his home. The duke was fond of the talents and personality of Goethe. To make him stay, he bought him a cottage and offered him a position in his advisory board. His ascend was unstoppable, up until the position of the (de facto) prime minister of the duchy. In 1782 the duke made him a noble and he became von Goethe.
Partly curiosity, partly being tormented between political duties and art, in 1786 Goethe escaped to Italy. He wished to live as close to antiquity as possible. He spent two years there, traveling and marveling the whole county.
When he returned to Weimar, understanding Goethe’s desire to focus only on arts, the duke allowed him to resign from his administrative duties. Goethe in return decided to bring the Roman atmosphere to Weimar by inviting and hiring some of the artist he met in Italy.
Goethe, at this point still a single, took Christiane Vulpius as a mistress. From this relationship a son was born in 1789, August. Goethe refused to take the church ceremony of marriage, thus the relationship was not formally acknowledged.
Goethe was hostile to the French Revolution and not only because of his loyalty to Charles Augustus. He thought German intellectuals were hypocrites, living on the money of the aristocracy while wising their abolition. He disliked centralism and militarism, he felt the network of smaller German states were ideal and colorful.
After witnessing many tragic deaths, of Frau von Stein (a former lover) in 1827, Duke Charles Augustus in 1828, and his won son August in 1830, Goethe died of a heart attack in 1832.
His legacy is so significant in Germany, that his whole era is called the Goethezeit, the age of Goethe.
The road to the meeting
It is very likely that Beethoven, as a child, heard the name of Goethe for the first time either from Neefe (his childhood music teacher) or at the Breuning family. At that time Goethe was already a well known young poet.
As an adult, and probably even as a child, Beethoven adored poetry and poets. One must not forget that before Beethoven the musician and music as art, were not considered to be on the same level as painting or literature. How deep the respect was rooted in Beethoven is clearly shown by the fact that he called himself not a composer, but a Tondichter, a tone poet. Even later, as a well established superstar musician, he placed Goethe higher than himself.
The meeting of Beethoven and Goethe was orchestrated by a young woman called Bettina Brentano. In 1810, she was only about 25, when showed up in Beethoven’s room. She was a charming (if not bewitching) muse to famous and often older man. She befriended the likes of Karl Marx, Robert and Clara Schumann, Franz Liszt or the Grimm brothers. She was also talented, she learned music and played guitar, she sang beautifully and published her own songs.
Bettina first read Goethe by the recommendation of his brother, Clemens. She fell in love with the writings and came to the conclusion that Goethe is no less than the German Shakespeare. Later, as an adult, she also fell in love in a different way. After they had met personally, Bettina became a hunter, as she openly wrote to her friend, “I have got to have a child by Goethe at all costs – why, it will be a demigod!” Goethe was partly in and went along the game, but was careful at the same time, realizing that “If I didn’t resist, Bettina would turn me entirely into her slave… She always wants something from the man who is with her, she wants to admire him and use him and tease him, or be admired, used, teased by him…”
With this background, it is not difficult to see how and why, after meeting with Beethoven in Vienna, she fell in love with the composer’s work and with the man, too. She reported in a letter to Goethe how extraordinary artist she found in Beethoven and that he asked her to “… speak to Goethe about me… tell him to hear my symphonies and he will say that I am right in saying that music is the one incorporeal entrance into the higher world of knowledge…”.
From this moment, Bettina made her goal to bring these demigods together. Beethoven was more than open to meet Goethe, whom he considered the greatest German. Goethe suggested a meeting during the next summer at Karlsbad.
In 1811 Beethoven wrote to Bettina, still no meeting at the time, “If you write to Goethe about me, try to use words that will convey to him my most profound respect and admiration for him. I am just about to write to him myself about Egmont which I have set to music, quite literally out of love for his poetry, which makes me very happy; but who can thank enough a great poet, the most precious jewel that a nation can possess?”
This letter confirms that probably Beethoven was more eager to meet with Goethe than the other way around. Although, it is true that the poet did not avoid the meeting, it was only by chance that it did not happen yet.
The first direct communication between the two was initiated by the composer. He wrote to Goethe the followings
“Your Excellency! The pressing opportunity afforded me by a friend of mine and a great admirer of yours (as I am also), who is leaving Vienna very soon, allows me only a moment in which to thank you for the long time I have known you (for that I have done since my childhood) – That is so little for so much – Bettina Brentano has assured me that you would receive me kindly, or, I should say, as a friend. But how could I think of such a welcome, seeing that I can approach you only with the greatest reverence and with an inexpressibly profound feeling of admiration for your glorious creations! – You will shortly receive from Leipzig through Breitkopf and Härtel my music for Egmont, that glorious Egmont on which I have again reflected through you, and which I have felt and reproduced in music as intensely as I felt when I read it – I should very much like to have your opinion on my music for Egmont. Even your censure will be useful to me and my art and will be welcomed as gladly as the greatest praise.
Your Excellency’s profound admirer
Ludwig van Beethoven”
The letter was hand-delivered in Weimar by Franz Oliva, Beethoven’s new (unpaid) secretary. Two months later, in June, Goethe’s reply arrived
“With great pleasure, my most highly esteemed sir, I have received your kind letter, sent through Herr von Oliva. I am deeply thankful for the sentiments expressed therein, and can assure you that I sincerely return them, for I have never heard one of your works . . . without wishing that I could once admire you yourself sitting at the piano, and delight in your extraordinary talent. The good Bettina Brentano surely deserves the interest that you have shown in her. She speaks of you with rapture and the liveliest affection, and counts the hours that she spent with you among the happiest of her life.”
The meeting of Beethoven and Goethe
The meeting finally happened in the summer of 1812, in Teplitz. This celebrated spa town was the holiday destination of Beethoven for two years in a row, and this time the place where the two giants eventually met.
|Related: Beethoven residences: Teplitz
Bettina was not present at the meetings, she was to arrive to Teplitz later. What is even more important, by the time, she was banished from Goethe’s presence due to an argument about a painting between Bettina and the poet’s wife. The argument got violent and physical. The whole situation was entertaining only for Bettina’s husband, Achim, who wrote to a friend “Just imagine this, Goethe and Beethoven both here, and yet my wife is not enjoying herself! The first doesn’t want to know her, and the second isn’t able to hear her. …”
For the situations like this the word expectation management was created. Hopes were high before the meeting, especially on Beethoven’s side, but the two did not find much in common. They had met finally and spent a few days together, walking daily, talking about art and politics. Beethoven played for the poet, even asked for a libretto.
Beethoven in those days was not in great form. He had to be anxious about the Immortal Beloved affair or if he already knew the end, tormented by it. He probably still tried his best to impress the (twenty years) older legend. Goethe, though, was not easily impressed by anyone, even his legendary friendship with Schiller had a rocky start.
Years later Bettina told the story of how Goethe’s quiet response to Beethoven’s play struck him. Beethoven told Goethe, “Once years ago I played well in Berlin and expected great applause, but the only response from this oh-so-cultured audience was to wave handkerchiefs wet with tears. That was all wasted on a rude enthusiast like me. Artists want applause, the longer and louder, the better. As in Berlin, with you I felt as if I had merely a romantic, not an artistic audience before me. But I accept it gladly from you, Goethe.” In fact, he was hurt and not glad at all, “You must know yourself how good it feels to be applauded by intelligent hands; if you do not recognize me and esteem me as a peer, who shall do so? By which pack of beggars shall I permit myself to be understood?” – he fumed later.
Another wedge between the two was the famous Teplitz incident with the approaching royals, Goethe’s bowing, and how differently Beethoven responded to their presence. The story even got into the ears of the duke of Weimar, who later teased Goethe with the story. This event had to have great impression on Beethoven, as he later wrote to Hartel, “Goethe delights far too much in the court atmosphere, far more than is becoming to a poet. How can one really say very much about the ridiculous behavior of virtuosi in this respect, when poets, who should be regarded as the leading teachers of the nation, forget everything else when confronted with that glitter…”
After their meetings Goethe wrote to his wife, “More concentrated, more energetic and more intimate I have never yet seen an artist.”, but he also aired his disappointment to his musician friend Zelter “I made Beethoven’s acquaintance in Teplitz. His talent amazed me. However, unfortunately, he is an utterly untamed personality, who is not altogether in the wrong if he finds the world detestable, but he thereby does not make it more enjoyable either for himself or others. He is very much to be excused, on the other hand, and very much to be pitied, as his hearing is leaving him, which, perhaps, injures the musical part of his nature less than his social. He, by nature laconic, becomes doubly so because of this lack.”
As they parted, both insured the other of collaboration and friendship, but there was no follow up to the promises. No next meeting, no letters, no libretto.
