epoch
for Europe, soon to be freed from Napoleonic oppression. The occasion was
one of great benefit to the composer at a time when he was sorely in need
of assistance. The distinguished foreign visitors thronged the salon of
the Archduke Rudolph to pay him homage. Handsome gifts were lavished upon
him so that he was enabled to make a permanent investment of 20,000 marks
in shares of the bank of Austria. Brilliant entertainments were given by
the Russian ambassador, Prince Rasoumowsky,[12] in his palace, at one of
which Beethoven was presented to the sovereigns. The Empress of Russia
also gave him a reception and made him magnificent presents. Schindler
says:

"Not without feeling did the great master afterwards recall those days
in the Imperial Palace and that of the Russian Prince; and once with a
certain pride remarked that he had allowed the crowned heads to pay
court to him, and that he had carried himself thereby proudly."

The stern old republican, however, who could rebuke Goethe for taking off
his hat in the presence of royalty, spoke such sentiments jocosely. He
expresses his real feelings in a letter written to the attorney, Herr J.
Kauka, of Prague:--

"I write nothing about our monarchs and monarchies, for the newspapers
give you every information on these subjects. The intellectual realm is
the most precious in my eyes, and far above all temporal and spiritual
monarchies."

The cantata itself, while not one of the most meritorious of the
composer's works, for reasons which are sufficiently apparent, still is
very effective in its choruses. The detailed parts do not need special
description; they are six in number, as follows: No. 1, chorus ("Europa
steht"); No. 2, recitative and chorus ("O, seht sie nah und naeher
treten"); No. 3, grand scena, soprano, with violin obligato and chorus
("O Himmel, welch' Entzuecken"); No. 4, soprano solo and chorus ("Das Auge
schaut"); No. 5, recitative and quartet for two sopranos, tenor, and bass
("Der den Bund im Sturme festgehalten"); No. 6, chorus and fugue ("Es
treten hervor die Scharen der Frauen"), closing with a stirring "Heil und
Gluck" to Vindobona, the ancient name of the city. In 1836, nine years
after the composer's death, the cantata appeared with a new poetical
setting by Friedrich Rochlitz, under the title of "Preis der Tonkunst"
("Praise of Music"), in which form it was better adapted for general
performance.

Among other compositions