Burlington weekly free press. [volume] (Burlington, Vt.) 1866-1928, 1869-01-15
NUMBER TWENTY-NINE.

tween the two artists. 1t was at a musical
party gwen by Count Fries, that the two ri
walls met for the first time. Beethoven play-
ed hls trio in b fiat (of. ll.), which had
not been previously heard, butts now amongst
the most popular of his works. Steibelt Lis
tened cOndescendingly, and paid the author
some compliments with the air of man con-
vincedof his own superiority He then play
ed quintet of his own composition, and
afterwards extemporized, producing much eff
feet with bis hsmolo chords, which were then
quite novelty. A few days after, the per-
formers met again at the house ofCOunt Fries.
Steibelt, after having, with much applause.
played another quintet. commenceda brilliant
fantasia, for which he took as a subject the
Italian air which forms the theme of Beetho-
ven's variations in the aforementioned trio
This was a pointed challenge, which so pro
voked Beethoven's friends that they importu-
ned hm to take Up the gauntlet. He was so
irritated by this deliberate act of defiance.
that he held back no lorger, but moved to-
wards the pianoiorte, and seizing the violon-
cello part of Steibelts quintet, which was
lying on the music-stand. turned it (desig-
nedly or by accident) upside down. With
one finger he struck few notes from the part
before him, from which he formed subject,
and yielding to the inspiration ofthe moment,
poured forth such a torrent of bright and
beautiful thoughts, that Steibelt. confounded
and overwhelmed, left the room before he
had finished From that time he avoided
BeethOyen's presence, and never accepted an
invitation, except on the express condition
that his rival was not to be Of the party.
Beethoven, for the most part, exhibited
kindness of disposition but he was at times
excessively irritable and nothing annoyed
him more than any failure in the perform
ance Of his compositions. At one of his con-
certs, at which he produced for the first time
a fantasia for the planOiOrte. with orchestral
aecompaniments, and n chorus, the player Of
the clarionet misc0unted eight bans -: and as
it was a solo passage, the blunder was the
more apparent. Beethoven started up in
rage, and abused the band 50 yocilerously ar
to be heard by the whole of the audience
- Once more, he at length exclaimed, in
voice of thunder, and the musicians overawed
by bis stern looks and commanding tone, sub
mlssively obeyed. The whole was now re-
peated, and with the most perfect success
but no sooner was the concert over than the
performers, indignant AT the treatment they
had received, mutinied N naSse, and declair-
ed that they would never again play under
his direction. Theiranger, however. was but
Of short duration; for no sooner had Beetho-
zen finished new composition than curiosity
got the better Of resentment and they were
perfectly willing to perform it under his
leadership. On another occasion n similar
scene took place, but this time the orchestr,
were beyond measure ennged. and persisted
in refusing to play under the guidance Of
Beethoven; 50 thar desirous Of hearing the
rehearsal Of hi7 piece, and Vet compelled not
to be present, he was obliged to remain in
the ante-room. 10 was a long time before
this quarrel could be made mp.