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I. Introduction: Ferdinand Ries' Version of the Duels between Daniel Steibelt and Beethoven in 1800
"Op. 35: on this composition hangs a story," began Herbert Westerby in his 1 93 1 discussion of the Eroica Variations. ' The tale itself is an oft-told one in the canon of Beethoven anecdotes, but Westerby gave it an apparendy new twist. Here is his version:
Steibelt - a favourite composer of the period, but now almost forgotten except for some studies of his - met Beethoven in Vienna, and a friendly competition ensuing, Steibelt improvised on a theme already treated by Beethoven. The latter, incited by friends, reached out for Steibelt s quartet which had been performed, picked out the bass part of the opening theme, and then improvised so artistic and wonderful a composition that poor Steibelt, quite vanquished, vanished from sight and never sought Beethoven's presence again. The improvised composition forms the basis of these Variations, Op. 35.
The new twist is Westerby's seemingly factual assertion that Beethoven's improvisations on Steibelts bass - that is, the cello part - were the origins of Opus 35.
Before critiquing Westerby in detail, it is necessary to turn to the original version of this colorful anecdote, which dates from 1 837 and appeared in print the following year. It is found in Ferdinand Ries' portion (Pan II) of the earliest and sometimes reliable documentary biography of Beethoven, Biographische Notizen über Ludwig van Beethoven von Dr. EG. Wegeier und Ferdinand Ries:
When the immensely famous Steibelt came from Paris to Vienna, several of Beethoven's friends were worried lest he should cast a shadow on Beethoven's reputation. Steibelt did not visit him; they met for the first time one evening in the house of Count Fries, where Beethoven gave his new trio in ? flat major for piano, clarinet, and cello (Opus 1 1) in its initial performance. This work offers the pianist no opportunity to display his virtuosity. Steibelt listened with a certain condescension, paid Beethoven a few compliments, and felt confident of his own superiority. - He played a quintet of his own composition, improvised, and produced a great effect with his tremuUndos, which were something quite new then. Beethoven could not be persuaded to play again. A...