Beethoven made a wager with him that he could succeed in "putting him out." So, in a service in holy week, by an adroit modulation in his accompaniment of this coxcomb, the latter was landed in a key where all he could do was to break down. The singer at once complained to the Elector, who heard the case and reprimanded them both. But we can hardly blame Beethoven; for a boy of fifteen, Beethoven's age at that time, could hardly withstand the temptation to try his skill under such provocation.
22.—AN UNTALENTED ROYAL PUPIL.
Louis XII was endowed with more love for music than talent or voice for singing. On his attempting to sing, it was only courtesy or policy that caused the unfortunates who happened to be present to remain. In his attempts to read music he succeeded no better. At last, in despair of singing the ordinary music of the day, he ordered the conductor of his chapel music, the Maitre de Chapelle, Josquin by name, to write a piece of music that he could succeed in singing. So in a few days the king was presented with a piece for four voices, two of which were in canon form; the other two accompanied, simply furnishing the harmony.
Of these latter voices, the upper had but one pitch to sing throughout the whole piece, and the lower but two, the tonic and dominant, sung alternately. After careful drill the king was able to take his, the upper part, and later acquired sufficient skill to sing the lower part with tolerable accuracy.
This may illustrate to the non-musical public one, at least, of the difficulties that beset the path of a singing teacher; for some people that the Lord never intended to sing, will persist in singing, and are not content to sing music fitted to their capacity.
