Beethoven's Immortal Beloved, Part 2

firm like the firmament. This is a widely accepted translation of a piece of the second part of Beethoven's famous Immortal Beloved Letter. This portion, in particular, weaves together passionate language and specific references in a way that provides context clues, and, almost two centuries later, still Bill Spark's debates between musicologists, historians, and ardent Beethoven aficionados. In the spirit of classic sonata form, Let's do a quick recap of what we covered in

part one. The Immortal Beloved Letter was found in Beethoven's Vienna estate after he died in eighteen twenty seven, and published in eighteen forty by his secretary, who likely misdated the letter and misidentified its romantic mark. Further research showed that Beethoven almost certainly wrote the letter in eighteen twelve, when he was in the Austrian resort town of Taplets. Before arriving there, he was in Prague and probably saw

his immortal beloved for one possibly steamy night. He also must have had an inkling she was headed to Carlsbad, another Spa town. This all led several scholars, especially in the US, to believe that the immortal beloved was Antony Brentano. Her whereabouts lined up, But this claim raised questions about Beethoven's morals and patterns of both falling for unattainable women

and ingratiating himself with prominent families. Those behavioral patterns all factor into the case for the other most widely believed immortal beloved candidate, Countess Josephine von Brunswick. Just about all biographers seem to agree that Beethoven's love for Josephine surpassed all others, But does that mean beyond a doubt she

was the muse of his soulful but perplexing letter. Yet again, the potential links between Beethoven's personal life and his work are too compelling to ignore, for example, what we're listening to now. A composition for solo piano titled Andante Favori was originally a movement for a full sonata before Beethoven pulled it out to be a standalone piece on its own.

It was purportedly intended to be a declaration of love to Josephine, and one that some musicologists claim directly connects to other works in Beethoven's repertoire, as well as to that all important letter that stirred up the eternally beguiling story of his immortal beloved. I'm Danas Schwartz and this is noble blood. In seventeen ninety nine, the Brunswick sisters went on an exciting trip to Vienna, where Teres and

Josephine both took music lessons from Bethos. The twenty eight year old composer already had an illustrious reputation by then, and, according to Therese's memoirs, became so fond of her and her sister that he came every day to teach them for the rest of their stay. Later, he jointly dedicated the work six variations on his iicdank Dine for four

hands to both of them. A highly motivating factor in Beethoven's wanting to teach the two Brunswick sisters for free, no less was that he supposedly became infatuated with the twenty year old Josephine right away. It's largely accepted that Beethoven wrote and unofficially dedicated multiple works to Josephine. He likely would have officially dedicated many pieces in published form to her if not for the sizeable obstacles standing in the way of their possible romance. A monument mental issue

was social class. The Brunsvicks, who by European nobility standards were far from the most prominent or powerful, were still reportedly firmly against Josephine marrying a commoner, even if that commoner was the Beethoven, an already renowned composer and sought

after teacher. So tragically for Beethoven, although Josephine was reportedly his type to a tea incredibly beautiful, engaging, musically talented, her mother set her up with someone in Vienna whom she saw as more suitably high class, a man named Joseph Count Dame. Despite Josephine being much younger than the Count, and perhaps being initially ordered into the marriage. By many accounts,

the relationship turned into a relatively happy one. According to some sources, Betooven was disheartened, but his relationship with Josephine did not end. He remained close with the Brunswicks and kept giving Josephine music lessons for years. Beethoven even established a close friendship with Count Dame, which makes some of Beethoven's true intentions and romantic feelings a little tricky to infer during this period. Then, in eighteen o four, Beethoven

began making his affections very clear. While Josephine was pregnant with her fourth child, Count Dame died. In an apparent attempt to comfort the grief stricken Josephine, Beethoven wrote her the song and die hoffnuon or to Hope, set to text by C. A. Tch. In doing so, he allegedly caused a small kerfuffle when a visiting prince saw the

un published version with Josephine's name on it. Beethoven then basically had to do damage control as word that he was planning to officially dedicate a piece to a recently widowed countess might have caused a public scandal. Still, in private, Beethoven's love steadily crescendoed. Once the possibility of Josephine remarrying was on the table, a series of fourteen love letters he wrote to her were found in the Brunswick family's

possession and published in nineteen fifty seven. According to many modern historians and musicologists, these passionate messages were likely sent from eighteen oh four up until eighteen o nine or eighteen ten, and Beethoven's phrasing in them is notable. In relation to his Immortal Beloved letter. He addresses Josephine as my angel in both, and in his love letter series he makes many references to remaining faithful to her, calling her his beloved, his only Jay, and his beloved Jay.

Of course, a crucial factor in all of this, and one that has spawned immense debate, is the level to which Josephine reciprocated Beethoven's feelings. Relatively little of her own writing seems to have survived, so it's tricky to gauge her emotional mindset at various points. Still, a few of Josephine's letters were ultimately unearthed. Here is a translated portion of one of her written replies to Beethoven's love letters. My soul was already enthusiastic for you, even before I

knew you personally. This was increased through your affection. A deep feeling in my soul incapable of Russian made me love you. However, later in the same letter, she went on to say, this preference that you granted me the pleasure of your acquaintance, would have been the finest jewel of my life if you could have loved me less sensually. Similarly, in another letter, she stated, you have long had my heart,

dear Beethoven. If this assurance can give you joy, then receive it, but later clarified, I love you inexpressibly as one gentle soul to another. Are you not capable of this covenant? I am not receptive to other forms of love for the present. Some biographers have argued that while Josephine cherished Beethoven's friendship and musical genius, she very kindly

yet firmly tried to shut down his amorous overtures. Others have claimed that Josephine's true romantic inclinations are hard to ascertain, since she so often had to weigh them against her financial troubles, maternal responsibilities, and family's wishes. Researchers then dialed up even more of this analytical dissonance when they eventually compiled the letters, notes, and diary fragments of Josephine's sister Theres and published them in nineteen thirty eight, long after

her death. Some of these documents show that after the Immortal Beloved Letter was published and Julietta Jucciardi was proposed as the intended recipient, Theres doubted the mysterious letter was to Julieta. She assumed it must have been to her sister Josephine, although it's possible Theres's understanding of the letter's date may have still been off. In any case, Here is a translation of one of Theresa's entries Beethoven. It is like a dream that he was the friend, the

confident of our house, a beautiful mind. Why did not my sister Josephine, as widow dame take him as her husband, Josephine's soulmate. They were born for each other. The timing of the release of documents relating to the Immortal Beloved Letter, along with the absence of some of Josephine's personal writings

does beg some questions about the Brunswick family. Did some information take a while in getting out simply because descendants and researchers needed time to comb through a large or disorganized state, or were members of the Brunswick family at times motivated to keep some materials out of public view.

If so, was there a general fear of dirty laundry being aired, or was there a more specific scandal to be carefully covered up, because according to some scholars, there's a chance Josephine could have been in Prague on July third, eighteen twelve, and, as the more sealicious version of the theory goes, a one night tryst with Beethoven produced a Love Letter and a Love Child as a prelude to

our celebrated composer's pivotal spa filled summer. Here's a bit more backstory, accompanied by Beethoven's piano trio in D major, Opis seventy number one, nicknamed the Ghost Trio. He composed it in eighteen o eight and dedicated it to Countess Marie Erduri, who, fun fact, was an another person briefly floated as the immortal Beloved while Beethoven was off courting

other countesses. After seemingly being rebuffed for years by Josephine, Josephine met Estonian baron Christoph van Stockelberg in eighteen o eight. She got pregnant, and though her family was reportedly not thrilled about the match, she married Stockelberg in eighteen ten in a wedding with no guests. Sadly for Josephine, according to virtually all accounts, her second marriage was miserable. Stockelberg

turned out to have extensive money troubles. Additionally, at that time in the Austrian Empire, aristocratic mothers were beholden to their husbands when it came to retaining custody and guardianship of their children, and Stockelberg allegedly often manipulated Josephine by threatening to take her children away from her, and often

followed through. Given those familial problems, Josephine's apparent whereabouts in eighteen twelve and her seemingly ended relationship with Beethoven at the time, many scholars ruled her out as the addressee of the Immortal Beloved Letter for the record, though several did contend that Josephine was the intended recipient at different

points in the twentieth century. To them, the fraught but enduring romantic connection was undeniable, even if some of the logistics were difficult to explain and over time for their. Examinations of Beethoven's other love letters and Terrez's diary, as well as additional Brunswick family documents that have surfaced in the last twenty years, appear to have bolstered the case for Josephine, or at least weakn and some arguments against

her as the immortal beloved. For instance, in two thousand and seven, a Canadian musicologist found and published more documents from the Brunswick estate. Excerpts from Josephine's diary and notes left behind by her second husband, including a table of moral rules he left her to follow, make their relationship seem very rocky during the summer of eighteen twelve. They also show that Stockelberg likely left Josephine on her own

that June and July. Furthermore, in a diary entry in June of eighteen twelve, Josephine expressed an intention to visit Prague. This makes it highly possible that she was in the city on July third, when Beethoven potentially had a fateful romantic rendez prior to writing his Immortal Beloved letter. Deeper analysis also revealed that Josephine possibly had plans to go

to Carlsbad. Currently, there's no proof she went, but her intention to go could have been enough for Beethoven to consider sending his letter to Kay, and her then not going to Carlsbad after all, might have been a reason he never sent it. Here things become more speculative in several historians' claims. Some argue that Beethoven and Josephine met in Prague, and due to her unhappy and unfulfilling marriage, and perhaps even as the culmination of years of secretive longing,

the two shared a night of passionate intimacy. Backers of this theory often point out the suspicious timing of the birth of Josephine's daughter, Minona, nine months after her apparent separation from Stockelberg, as well as remarks people made about how Minona looked very different from her siblings. A child born out of wedlock would also help to explain some of the Brunswick's later interfamily conflicts and Beethoven's cryptic messages.

All that said, critics of this idea tend to dismiss it as pure sensationalism and similar to there being skepticism about the other main candidate we covered, Antony Brentano, There are vastly differing opinions on Josephine as the Immortal Beloved. Some scholars assert that Josephine clearly dashed Beethoven's romantic hopes and cut him off several years before eighteen twelve, while others maintain that Beta Beethoven kept up his relationship or

some form of communication with Josephine and her siblings. Some say Josephine couldn't have been the Immortal Beloved because of the conversation referenced in Fanny Gientasio's eighteen sixteen diary entry, in which Beethoven said he'd gotten to know a woman five years before and that it was the greatest happiness

of his life. Other question that diaries possible bias, since Fanny herself was supposedly enamored with Beethoven and her father was sessing out whether the composer might want to marry her. Of the many researchers who do accept the entry's account, some still interpret the five years comment Fanny made in different ways. Maybe it was a rough estimate by Fanny. Was it when Beethoven met a certain woman for the first time, or could it have been when he got

to know someone more intimately? This brings us back to the subjectivity of such personal documents and leads us to the case for one last immortal beloved candidate, Bettina von Arnim formerly Brentano. Bettina has not gained quite the same level of scholarly support as Antony or Josephine, but she's recently garnered increased interest. She was the half sister of Franz Brentano, who married Antony, and many of the same parameters that contributed to the argument for Antony seemingly also

applied to her. Bettina also met Beethoven in eighteen ten, thus fulfilling the rough window of Fanny's diary entry. By eighteen twelve, she was married, hence the hypothetical need for secrecy. Betina also intended to go to Carlsbad in the summer of eighteen twelve, then supposedly changed her plans and went to Teplete where Beethoven wrote his letter, which would readily

explain why he didn't need to send it. Bettina was also an exceedingly accomplished singer, pianist, and composer, which possibly made her especially attractive to Beethoven. Again, his romantic feelings allegedly hinged on many traits. It is interesting, though, that some of his strongest infatuations did seem to involve many

women who were themselves terrific musicians. One further link is that among Beethoven's surviving letters, there appeared to be only two in which he used the the informal German do form of you when writing to a woman. One was his Immortal Beloved letter, the other was a letter he sent to Betina a year earlier. Still, like any other

immortal beloved candidacy, Bettina has detractors and possible holes. Some musicologists and German speaking biographers claim the way Beethoven used the second person due form in his letter to Bettina seems more friendly than romantic, and that his love letters to Josephine utilized phrases that also implied an informal and

coy tone. Bettina's case also took hits Over the years since, she allegedly had a habit of embellishing stories, including ones involving Beethoven interacting with another famous friend, writer Johann Wolfgang. Bettina also published letters that she initially claimed to have been written by Beethoven that many historians subsequently discounted as forgeries,

which diminished her overall credibility in certain scholarly circles. The reality is probably no piece of evidence will appear that irrevocably proves the identity of Beethoven's immortal beloved, and maybe that's part of the enduring fascination. The letter is a romantic riddle that keeps everyone from professional musicologists to casual fans of classical music guessing and debating, and in many ways, the sheer divisiveness of various theories and staunch loyalty of

certain camps speaks to the letter's incredible lasting impact. In addition to what it conveys to a possible recipient and what it says about Beethoven, the letter also reveals a great deal about us those who dig into its mystery. Perhaps it's easy to emotionally invest in certain speculations and candidates because it's easy to project personal feelings and experiences onto Beethoven, his fraught personal life and the individual who

earned his undying love, whoever they were. For those who have suffered through heartfelt longing and heartbreak, the way in which Beethoven closes his Immortal Beloved Letter is often as relatable as it is raw. Be calm. Only through quiet contemplation of our existence can we reach our goal to live together. Be patient, love me today, yesterday, what longing with tears for you? You, you my love, my all. Farewell, Oh,

continue to love me. Never misjudge the most faithful heart of your beloved l Forever yours, forever mine, forever us. The original pages of the Immortal Beloved Letter now reside in the Berlin State Library, and its contents continue to fuel research articles and ample scholarly squabbling. The letter even inspired the nineteen ninety four movie Immortal Beloved that erroneously depicted Beethoven's sister in La johannav On Beethoven as the

addressy speaking of more improbable candidates. We are now listening to Beethoven's piano Sonata Number twenty eight in a Major Opus one hundred and one, which he composed in eighteen fifteen and eighteen sixteen, and dedicated to Countess Dorothea Rtmann, another pianist. Around the time, he was reportedly looking back on his time spent with his immortal beloved Fascinatingly, in addition to leaving behind its own complex legacy, the Immortal

Beloved letter might have inspired other similar love letters. Composer Richard Wagner, known to be very familiar and very enamored with Beethoven's life and work, became infatuated with a married woman and wrote her an impassioned final letter that, according to some biographers, has a striking resemblance to Beethoven's famous enigmatic message. Wagner apparently wrote his letter on the same

date that Beethoven began drafting his July sixth. It contained similar phrases, and it even seems to clearly reference specific passages Beethoven's secretary wrote about Beethoven's love life. Then get this. Wagner's tragic love letter seemingly inspired Austrian composer Albin Berg, a big Wagner fan, to write a similar sounding letter

to the unattainable love of his life. It's worth noting that it can be difficult to delineate between composers personal feelings, their public personas, and some of the creative trappings and tropes of the burgeoning romantic movement in Western Europe. Specifically, the notion of pining away for an unattainable love became a fashionable theme and an undercurrent of many artists' work

across multiple mediums. Relatedly, there has been substantial debate over historians and critics' shifting views on the relationship between a composer's music and their biography. Scholarly opinions very massively on how readily we should accept musical works as outpourings of

a composer's inner self. That said, this is a podcast, it would seem a missed opportunity to feature some of classical music's most timeless pieces without highlighting at least a few more possible romantic connections using Beethoven's own auditory love language.

Searching for secret musically encoded messages can certainly go too far, but there is also a humorous irony in the most narrow quests to parse every last phrase of Beethoven's letter, when he often called out his own limitations with language, claiming quote music is more at my command than words, So let's close by letting Beethoven's compositions do most of the talking. Many musicologists have pointed out links between specific

Beethoven pieces and the Immortal Beloved Letter. The music theory can get granular and in some cases even obsessive, but three related works that frequently come up as having demonstrably similar themes are Andante favori, written for Josephine in eighteen oh three and eighteen oh four, which we heard in part one song number six of the To the Distant Beloved song cycle Opus ninety eight, composed eighteen sixteen and

said to poetry by Alois Jechle. According to some musicologists, this was Beethoven calling out to the same beloved whom he told in his Immortal Beloved Letter quote, I have resolved to stray about in the distance, and it contains a very similar specific musical phrase to Andante favorie. And finally, the third movement Andante molto contibile ed espressivo of piano

sonata at number thirty Opus one hundred and nine. If you remember, this was the sonata we previously heard that was dedicated to Antony's daughter Maximilian, but was Beethoven also using a theme originally and maybe still meant for Josephine. Let's hear each excerpt one more time and then you

can judge. Were these merely cases of a master leaning on a favorite motif, an emotional composer leaning into the artistic ideals of his era, a cheeky interloper hoping his beloved would hear his musical messaging, a heartbroken romantic lamenting a love that could never be? And or are these just some pieces of immortally moving music. That's part two of the perpetually gripping story of Beethoven's Immortal Beloved. But stick around after a brief sponsor break to learn a

little bit more about Beethoven's other famous unsent letter. When the Immortal Beloved letter was found at Beethoven's estate, so was one other crucial unsent document. The Heiligenstadt Testament, was a message Beethoven drafted to his brothers in eighteen o two about his struggles with his hearing loss, depression, and related grappling over whether to commit suicide or to continue to live on for the sake of producing more music. It is tough to fully fathom the pain and isolation.

Beethoven endured during vast periods of his life, and his plight brings up many complicated questions regarding how his suffering inhibited or fueled his genius. One thing is for sure, though, considering his transcendent creative output for the last twenty five years of his life, the music loving world can be endlessly thankful that Beethoven continually chose his beloved art of composing.

This episode was written by Paul Jeffy. One final note for this episode, our producers for the show found most of the Beethoven music we got to listen to for this special musical two parter from museopen dot org, a free website and nonprofit that provides access to classical music recordings and sheet music and other educational material. If you're interested in hearing more Beethoven, absolutely go check the site out. Noble Blood is a production of iHeart Radio and Grim

and Mild from Aaron Mankey. Noble Blood is hosted by me Dana Schwartz, with additional writing and research by Hannah Johnston, Hannahswick, Courtney Sender, Amy Hit and Julia Melaney. The show is edited and produced by Jesse Funk with supervising producer rima il KLi and executive producers Aaron Manke, Trevor Young, and Matt Frederick. For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or wherever you listen to your favorite shows.