Pianist and his Patrons
Beethoven's initial years in Vienna, he was simultaneously patronized by
a number of individual nobles. Several of these, including Prince Lobkowicz
(1772-1816), Count Andreas Razumovsky (1752-1836), and Count Moritz Fries
(1777-1826), began to play a more significant role in his comissions and
performances during the following decade.
most influential of the earlier patrons were Baron Gottfried von Switen
(1733 or 1734-1803) , Count Johan Georg von Browne-Camus (1767-1827) , and,
above all, Prince Karl Lichnowsky (1756-1814) and his wife, Princess Christiane
Ludwig van Beethoven _____________Prince
Karl Lichnowsky____________Princess Christine______Count
Lichnowsky (2nd Prince) was Beethoven's foremost patron, and remained so
for more than a dozen years. His home was the center of a circle of musicians,
composers, and conneisseurs, and it was at his musical parties that many
of Beethoven's works were first performed. At the Lichnowsky home Beethoven
met those youthful musicians who were to become famous as the outstanding
players of the day, including the members of the Schuppanzigh Quartet (later
renamed Razumovsky Quartet). There, he formed life long friendship with
the Prince's brother, Count Moritz, and with Baron Nikolaus von Zmeskall,
who remained Beethoven's most constant Viennese friend.
was invited to live with the Lichnowsky's, and he remained with them as
"a member of the family" for several years. According to Carl
Czerny, Lichnowsky treated Beethoven "as a friend and brother, and
induced the entire nobility to support him."
Franz J. Lobkowicz________Baron
Gottfried von Switen___________Carl
was quite a coup on Beethoven's part, for the Lichnowsky family had been
a leading force in Viennese musical life for several generations. Lichnowsky
was both a pupil and a patron of Mozart. In 1789 he had organized for Mozart
a tour of Bohemia and Germany almost identical to that which he arranged
for Beethoven in 1796. Lichnowsky's wife, Princess Christine, was one of
the better pianists of the Viennese nobility.
return for his patronage, Lichnowsky received the dedications of Beethoven's
first major Vienna works, The Trios, op. 1, and later those of the Sonate
No. 8 ,"Pathétique", op. 13, the Sonata, op. 26, the Second
Symphony, op. 36, and the Variations on " Quant `e piu bello, WoO 69.
His wife was hounored with the dedication of the iations
on a Theme from Judas Maccabeus, WoO 45, and that of Beethoven's ballet
score, The Creatures of Prometheus, op. 43. In addition, Beethoven dedicated
his Rondo in G, op. 51 no 2, to the prince's sister, Countess Henriette,
and the Variations and Fugue, op. 35, as well as the sonata 27, op. 90,
to Count Moritz Lichnowsky. The Clarinet Trio, op. 11 he dedicated to countess
Thun, Karl's mother -in-law.
I was reading about the history of my family I found that biographers and
historians are subject to contradictory informations and mistakes. The friendship
of Beethoven and his gratitude to it are noticable in the compositions he
his friends and in letters he wrote for them.
text above is from Maynard Solomon's biography, " Beethoven"