New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-04-08
by Tho ears by Belzeebub. the chief of the

by tho ears by Belzeebub. the chief OF the
devils.
The Leipsic "hell-hound" thus con-
signed 70 the devil was Peters. Beethoven
It may be added. showed as little regard
for his publishers in his dealings with
them as In his remarks about them. The
things for which the "hell-hound' was 10
wait had been paid for long before. Peters
never got them, though he did get his
money back eventually.
When the year 1895 opened Beethoven
was looking forward with no little eager
ness TO the first performance OF the & fat
ouartet-his Letbqudrtet Gown particular
or favorite quartet as he once calls II IN q
conversation book. Schuppanzigh and his
fellows had taken II in hand They found
the concluding fugue extremely trouble
some. but the cavatina entranced them
at once. Schuppanzigh entered a protest
against a single change being made in t.
The performance took place on March q.
1896 The second and fourth movements
rad TO be repeated, but the fugue proved
cruz. as, no doubt. the players expected
IL would
Some OF Beethoven's friends argued that
it had not been understood and that the
objections TO it would vanish with repeat
ed hearings others, plainly a majority,
asked that a new movement be written to
take its place. This was done when
Beethoven got into the country. The
fugue was arranged FOR pianoforte by
Hahn at Beethovens request, but
Beethoven, dissatisfied with IT, made an
other. and Artara had 10 pay both men
to get his property.
There is another anecdote which asso-
ciates the quartet with the last OF the
five ouartets which brought Beethoven
labors TO an end. After the production In
March other performances were planned
but none seems to have taken place
Schuppanzigb was indsposed to venture
upon repetition, but B6hm and Mayse-
der. who also headed cuartets, were eager
20 play il. Mayseder, with his compah-
ions. gave quartet parties at the mouse
Of Dembscher, an agent Of the Aus
trian War Department, and wanted
70 play the quartet there. Demo-
scher. however. had neglected to SUD
scribe for Schuppanzighs concert ana
had said that he would have It played AT
ovvr house since It was easy for MIN 70
cat rnanuscripts from Beethoven for that
nurrose. He applied TO Beethoven Tor
the new quartet, but the composer retuseu
10 let him have II. short time AFTER
ward Holz $50 he related TO Beethoven
told Dembscher, in the presence OF otner
persons. that Beethoven would not leI
him have any more music because ne had
not attended Schuppanzgh concert t..
Dembscber stammered in confusion ana
begged Holz to find some means 70 re-
store him to Beethoven's good graces'
Holz said the first step should be to send
schuppanzigh 80 forms, the price OF inc
subscription. Dembscher laughingly asked
Must 1t be- (nuss es seinD Nheh
Holz related the incident to Beethoven
he. too, laughed. and instantly wrote
down a canon on the words: 1T must be
yea vcs. II must be. out with the purse.
II must be- ~ -. ,h,
out of this joke, in the late fall of the
year, grew the finale Of the last OF tne
five puartets-that in + major op' lS9-
TO which Beethoven gave the superscrlp-
ton The difficult resolution The cur
rent story that the notices Must IT be-"
and eft must be- had their origin in a
SCENE frequently repeated when Bee
thoven's housekeeper came FOR her weekly
allowance was spread by SCHNEIDER VINO
went so far as to falsely a page OF one OF
the conversation books to bolster up his
statement after he had put II INTO PRINT
The true story is that Just related.