rtifices, visit me no more. Academy (the concert)
will not take place.
BEETHOVEN.

TO M. SCHINDLER,--
Do not come near me again until I send for you. No Academy.
BEETHOVEN.

TO M. SCHUPPANZICH,--
Do not visit me again. No concert.
BEETHOVEN.

From the above it will readily be seen, as Schindler plaintively
asserts, that the office of friend to Beethoven was no sinecure. But he
appreciated the advantage of living in the reflected glory of the great
master, and such tact as he possessed was brought to bear, to continue
the relations of friend, counsellor and general factotum, which were
maintained to the end. Beethoven at times spoke slightingly in his
letters of his humble follower, but there is no doubt that Schindler was
of great service to him, and that this was appreciated by the master is
equally true. Schindler did not deliver the letters just quoted, and the
affair did not sever the relations of the parties concerned.

Beethoven's contention all along was for an advance in price of
admission to the concert, owing to the heavy expense for theatre hire,
copying, etc. As the works to be performed had not yet been published,
it was necessary to copy out the separate parts for the members of the
orchestra and chorus,--an immense task. The manager objected to any
advance in prices, and insisted also that the concert be held on a
subscription night--a good arrangement for the patrons of the theatre
who would thus have free admission, but a bad one for the master. He
finally had to submit, however. "After these six weeks' squabbling," he
writes to Schindler toward the end of April, "I feel absolutely boiled,
stewed and roasted," a state of mind brought about by his conflict with
copyists, managers and performers.

The concert which took place on May 7, 1824, was the occasion for great
enthusiasm. The programme consisted of the Overture Weihe des Hauses, as
well as the Kyrie, Credo and Agnus Dei of the Mass in D, and the Ninth
Symphony. The solo parts were taken by Madame Sontag and Fraeulein Unger,
who protested more than once at the unsingable nature of some of the
parts in the Choral Finale when practising them at Beethoven's house.

The applause from the very beginning was phenomenal. The people became
vo