Ludwig van Beethoven, Brief an Pauline Anna Milder-Hauptmann, Wien, vor dem 27. Februar 1814, Autograph

Anna Milder was one of the most famous singers of her time. Beethoven wrote the part of Leonore for her in his opera "Fidelio" (in all versions). He apologizes to her for Mälzel's question whether she will be able to take on the solo part in Beethoven's academy on 27.22.1814, although he admits he has thought about her participation. She was even the "first object" with which he wanted to enrich his concert.

He also apologizes to her for only being able to offer her an "old" aria - "had I had a new aria at my disposal I would have laid myself at your feet so that you would have listened to my plea". Beethoven announces that as soon as his material situation has improved (the consequences of the war had meant that he had lost a large part of his annuity) "my first act shall be to write an opera for our one and only Milder, and to invest all my strength to make myself worthy of her".

Beethoven's tone sounds unusually careful, polite, even almost submissive. The appearance of the letter is also remarkable: hardly any letter in Beethoven's hand has been executed as cleanly and carefully as this one. Beethoven is writing as an equal to an equal, as an artist to another artist. So what is hidden between the carefully-turned set phrases? Anna Milder was a star and Beethoven wanted to get in her good books. Mälzel had rashly got her to agree to participate in a concert although Beethoven did not have any suitable work ready and had to call it off. He tried to formulate this as respectfully as possible, toning it down even more by offering her free tickets for the same concert. Even though he cancelled, Anna Milder-Hauptmann did not seem to take Beethoven's cancellation badly.

Perhaps the letter appeased her. Or perhaps the concert organizers had been able to pacify the singer. However, it is a fact that Milder-Hauptmann nevertheless sang a solo in the academy - she took on the soprano part in Beethoven's Terzet "Tremate empi tremate" op. 116. Although it had been written in 1802, it had not been performed in public up till then.