Thus had Schiller suddenly become a leading topic in the conversation of theatrical circles. One sees now how Collin and Beethoven hit upon the "Macbeth" as a subject for opera; and how the composer's youthful idea [see Vol. I, p. 132] of making the "Ode to Joy" the subject of a composition was recalled to mind.
It does not appear from any records at hand, that either of the above-named dramas was produced with music composed for it; but Hartl now determined, with his next Schiller drama, to put one by Goethe in rehearsal and to provide both with original music. "When it was decided," writes Czerny,
to perform Schiller's "Tell" and Goethe's "Egmont" in the city theatres the question arose who should compose the music. Beethoven and Gyrowetz were chosen. Beethoven wanted very much to have "Tell." But a lot of intrigues were at once set on foot to have "Egmont," supposed to be less adaptable for music, assigned to him. It turned out, however, that he could make masterly music for this drama also and he applied the full power of his genius to it.[72]
Perhaps Beethoven's experience with the "Ode to Joy" and the "Egmont" just at this time was the origin of a fine remark to Czerny. "Once, when the talk was about Schiller, he said to me: 'Schiller's poems are very difficult to set to music. The composer must be able to lift himself far above ~the poet~; who can do that in the case of Schiller? In this respect Goethe is much easier.'"
The order for the immortal "Egmont" music, by presenting the completion of new compositions, necessarily caused the concert to be abandoned, and Beethoven was at last able to seek the much needed rest and recreation, both physical and mental, away from the city, its cares and duties. It needs scarcely to be said that the condition of affairs prevented Beethoven from going into the country until late in the summer of 1809.
To what "happy corner in the country," if indeed to any, he now retired, is not positively known. "He was often in Hungary," says Czerny, and there is no good reason to doubt that he went thither now to pass several weeks with the Brunswicks. It was already his practice to grant manuscript copies of his new works for the collection of Archduke Rudolph, whose catalogue, therefore, is of the highest authority in determining their dates. From this source it is known that the Pianoforte Fantasia, Op. 77, previously sketched, and the great F-sharp Pianoforte Sonata, Op. 78, were completed in October. The dedication of these two works to Count Franz and his sister Therese leads to the inference, that they are memorials of happy hours spent in their domestic circle.[73]