had passed nearly two years before it was completed.[1] [See Solennis.] Instead of it, the music performed was a Mass in B♭, by Hummel; 'Te Deum' in C, by Preindl; 'Ecce Sacerdos magnus,' by a 'Herr P. v. R.'; and Haydn's Offertorium in D minor. The orchestra was increased for the occasion to 84 players. What an opportunity was here lost by Beethoven!
Besides the annuity, Rudolph's purse was probably often opened to his master; but the strongest proofs of his respect and affection are to be found in his careful preservation of Beethoven's most insignificant letters; in the zeal with which he collected for his library everything published by him; in his purchase of the calligraphic copy of his works[2] made by Haslinger; and in his patience with him, under circumstances that must often have sadly tried his forbearance. For Beethoven, notwithstanding all his obligations to his patron, chafed under the interference with his perfect liberty, which duty to the Archduke-Cardinal occasionally imposed. There are passages in his letters to Ries and others (suppressed in publication), as well as in the conversation-books, which show how galling even this light yoke was to Beethoven; and one feels in perusing those addressed to the Archduke how frivolous are some of the excuses for not attending him at the proper hour, and how hollow and insincere are the occasional compliments, as Rudolph must have felt. That Beethoven was pleased to find the Forty Variations dedicated to him by 'his pupil, R. E. H.' (Rudolph Erz-Herzog), was probably the fact; but it is doubtful whether his satisfaction warranted the superlatives in which his letter of thanks is couched. Other letters again breathe throughout nothing but a true and warm affection for his pupil. Köchel sensibly remarks that the trouble lay in Beethoven's 'aversion to the enforced performance of regular duties, especially to giving lessons, and teaching the theory of music, in which it is well known his strength did not lie, and for which he had to prepare himself.' When the untamed nature of Beethoven, and his deafness, are considered, together with his lack of worldly wisdom and his absolute need of a Mæcenas, one feels deeply how fortunate he was to have attracted and retained the sympathy and affection of a man of such sweet and tender qualities as Archduke Rudolph.
We can hardly expect an Archduke-Cardinal be a voluminous composer, but the Forty Variations already mentioned, and a sonata for PF. and clarinet, composed for Count Ferdinand Troyer, both published by Haslinger, are good specimens of his musical talents and acquirements. He was for many years the 'protector' of the great 'Society of the Friends of Music' at Vienna, and bequeathed to it his very valuable musical library. He was also extremely fond of engraving, and several copper plates designed and engraved by him have been preserved to testify to very considerable taste and skill in that art.
A son of his, for thirty years past a well-known contributor to the German musical periodical press, still living (1881), possesses an oil portrait of his father. It shows a rather intellectual face, of the Hapsburg type, but its peculiarities so softened as to be more than ordinarily pleasing, and even handsome.[3]
The Archduke's published works are the two alluded to above:—Theme by L. van Beethoven, with 40 variations—for PF. solo (Haslinger); Sonata for PF. and clarinet, op. 2, in A (Haslinger). [App. p.777 "to list of works add Variations by him on a theme of Rossini's, corrected by Beethoven, exist in MS. (Thayer)."]
Those dedicated to him by Beethoven are as follows—a noble assemblage—
Concerto for PF. and Orchestra, No. 4, in G (op. 56).
Do., do., No. 5, in E♭ (op. 73).
Sonata for PF. solo, 'Les Adieux, L' Absence, et le Retour,' in E♭ (op. 81a).
PF. arrangement of Fidelio (op. 72b).
Sonata for PF. and Cello, in G (op. 96).
Trio for PF., V., and Cello, in B♭ (op. 97).
Grand Sonata for the Hammerklavier, in B♭ (op. 106).
Canon, 'Alles Gute.'
Missa Solennis, in D (op. 123).
Grand Fugue for Quartet (op. 33), and 4-hand arrangement of same.
Song, 'Gedenke mein.'
RUDORFF, Ernst, was born in Berlin Jan. 18, 1840; his family was of Hanoverian extraction. At the age of five he received his first musical instruction from the daughter of Professor Lichtenstein and god-daughter of C. M. von Weber, an excellent pianist and of a thoroughly poetical nature. From his twelfth to his seventeenth year he was a pupil of Bargiel in PF. playing and composition. A song and a PF. piece composed at this period he afterwards thought worthy of publication (Op. 2, No. 1; Op. 10, No. 4). For a short time in 1858 he had the advantage of PF. lessons from Mme. Schumann, and from his twelfth to his fourteenth year learned the violin under Louis Ries. At Easter, 1857, he entered the first class of the Friedrichs Gymnasium, whence at Easter, 1859, he passed to the Berlin university. During the whole of this time his thoughts were bent on the musical profession. When Joachim visited Berlin in 1852 Rudorff had played before him, and had made such a favourable impression that Joachim advised his being allowed to follow the musical profession. His father was at first opposed to this, but at length consented that he should go at Michaelmas, 1859, and attend the Conservatorium and the University at Leipzig. After two terms of theology and history he devoted himself exclusively to music, and on leaving the Conservatorium at Easter, 1861, continued his musical studies for a year under Hauptmann and Reinecke. The summer of 1862 he passed at Bonn, and returned to Berlin without any fixed employment beyond that of cultivating his musical ability. Stockhausen was then conductor of a choral society at Hamburg. Rudorff went to him early in 1864, conducted those of the Society's concerts in which Stockhausen himself sang, and finally made concert tours with him. In 1865 he became professor at
