ed some of the material
which went into it. It is frequently used as a concert work.

The opera was produced the following spring in the revised form and with
the new overture. The wisdom of the revision was at once apparent, but a
quarrel between Beethoven and the intendant of the theatre led to its
final withdrawal after two representations. It did not see the light
again until 1814.

It was about this time that Beethoven first met Cherubini, whose operas
were favorites with the Vienna public. The Italian master made a stay of
several months' duration in Vienna, and attended a performance of
Fidelio.

CHAPTER VI

THE ETERNAL FEMININE

If that beauty of Shiraz would take my heart in hand, I would give
for her dark mole Samarkand and Bokhara.
--HAFIZ.

In Beethoven's time, Vienna was the gayest capital in Europe, the Paris
of the world. The population was 300,000, every nationality in Europe
being represented. It was cosmopolitan in the widest sense. The Germans
of course predominated; then there were Hungarians, Italians, Sclavs,
Sczechs, Magyars, Poles and Turks. The Italian element was particularly
strong, and these southern and eastern races with their tendency toward
art in any form, and the particular bias of the Italians toward music
had an important influence on the Germans, modifying their seriousness.

The theatres were splendidly equipped and there were at least four large
orchestras. Concerts for the general public were not common, the
orchestras being required for operatic performances in private houses,
which were splendidly given, as well as for state balls and other
functions. The chief business of the well-to-do (and Vienna was a rich
city), was to gratify a love for music. The cultivated class lived a
life of elegant leisure, music being its alpha and omega. As already
stated, it was an established custom with the wealthy to maintain a
small orchestra, consisting of four or five pieces for the performance
of chamber-music in their homes. Prince Karl Lichnowsky gave concerts
every Friday evening, frequently taking a part in the orchestra. Regular
weekly concerts were given by Baron von Swieten, Prince Lobkowitz, Count
Rasoumowsky and many others. It is stated that at this period there were
ten private theatres in Vienna, each with its complement of actors. It
was a common occurrence to give operettas at these priva