ad made a success of it with Frau
Schroeder-Devrient. Considerable correspondence must have passed between
the two composers on this matter, and Weber could hardly have omitted
calling when coming to Vienna, although the memory of his former
strictures on Beethoven's music must have embarrassed him. Weber had
stated on hearing the Seventh Symphony for the first time that Beethoven
was now fit for the madhouse, and his criticisms in general had been
adverse. This, however, was something which Beethoven had never objected
to; moreover, time had amply vindicated him as to the symphonies, so he
could afford to be generous to his youthful critic. Beethoven was genial
and kindly, and the younger man was deeply impressed by the master's
reception of him. Euryanthe proved a failure and Weber called again to
ask Beethoven's advice as to remodelling the work.

The libretto Melusina, which was submitted to him by Grillparzer found
such favor in his eyes as to lead to its acceptance, but when he came
face to face with the project, his former experience with opera was
sufficient to deter him, and he abandoned the idea, giving as an excuse
the inferiority of the German singers. That this was only an excuse, is
plain, since only a short time afterward Mlle. Sontag was intrusted with
the exceedingly difficult soprano parts of the Mass in D and the Ninth
Symphony. He was hard at work on this Symphony at the time, which will
serve to explain and accentuate his reluctance to again attempt operatic
composition, a style of work diametrically opposed to that which had
engaged his attention for many years previously. It would too, have
necessitated shelving the Symphony indefinitely, and, although he needed
the money which the opera would have yielded, his interest in the
Symphony was paramount; he could not bring himself to abandon it. With
failing powers superinduced by his excessive labors on the Mass, it was
being borne in on him that he was nearing the end of his life-work.
Under such circumstances the Symphony was sure to have the preference.
The long cherished plans for another oratorio, and for a Requiem Mass
also insistently came up for consideration, crowding out all serious
intention of an opera.

The project of a Requiem Mass was of particular interest to him; it
comes to the fore frequently. He mentioned it shortly after the
completion of the Mass in C. Then, when his brother Karl died it is
again considered. It is also mentione