[B] The German rendering Mitleid has a higher significance than its English equivalent. Literally it means sharing the sorrow of the afflicted one. It may be said in passing that this sentiment is the central idea in Parsifal.

Schindler, who was almost constantly with Beethoven at this time, tells of the difficulty the master experienced in finding a suitable way of introducing the choral part. He finally hit upon the naïve device of adding words of his own in the form of a recitative, which first appears in the sketch-book as, "Let us sing the immortal Schiller's Song, 'Freude schöner Götterfunken.'" This was afterward changed to the much better form as now appears, "O Freunde, nicht diese Töne! sondern lasst uns angenehmere anstimmen, und freudenvollere." (O friends, not these tones. Let us sing a strain more cheerful, more joyous.)

The whole character and design of the Ode to Joy will be better apprehended when it is stated that it is in reality an Ode to Freedom. With its revolutionary spirit Beethoven was entirely in accord. Already in his twenty-third year he contemplated setting it to music. Later, in the note-book of 1812, the first line of the poem appears, in connection with a scheme for an overture. It is worthy of remark that the Symphony was well under way before he decided on incorporating the Ode in it.

The Ninth Symphony was first performed in this country in 1846 in Castle Garden, by the New York Philharmonic Society, which had been organized four years previously. George Loder conducted it. When we consider the herculean efforts Wagner was obliged to make to get permission to perform it in Dresden in this selfsame year, it speaks well for "North America." Subsequent performances of it in New York by this Society are as follows:

PERFORMANCECONDUCTOR
SecondApril 28, 1860Theo. Eisfeld.
ThirdApril 29, 1865Theo. Eisfeld.
FourthFebruary 1, 1868C. Bergmann.
FifthApril 28, 1877Dr. L. Damrosch.
SixthFebruary 12, 1881Theo. Thomas.
SeventhApril 10, 1886Theo. Thomas.
EighthApril 12, 1890Theo. Thomas.
NinthApril 23, 1892Anton Seidl.
TenthApril 11, 1896Anton Seidl.
EleventhApril 2, 1898Vander Stucken.
TwelfthApril 7, 1900E. Paur.
ThirteenthApril 4, 1902E. Paur.

It was not performed in New York during the years 1903 and 1904.

Beethoven's correspondence with Count Brühl of the Berlin Theatre in the matter of an opera for that city, led him, owing to the apathy of the Vienna public at this time toward his works, to offer the new Symphony and the Mass for a first hearing in Berlin. At this time, and for some years previously, Rossini's music had captured the Vienna public so completely that no other was desired. That this light evanescent work should be preferred to his own, was resented by the master. He decided to offer the new works to Count Brühl, the Italian craze not having yet penetrated Berlin. As soon as this became known however, a reaction followed, and a memorial was addressed to Beethoven by his friends, begging him to reconsider the matter, and produce the new works in Vienna, as well as write a new opera for them. The appeal was signed by thirty of the most prominent men of affairs in the city. The list of names is a noble one, each being prominently connected in some way with music. Among composers and performers may be mentioned Czerny and the Abbe Stadler. Artario & Co., Diabelli and Leidersdorf, were music publishers. Count Palfy and Sonnleithner were operatic managers, while counselor Kiesewetter and J.F. Costelli were authors of libretti and songs. The others were prominent in court circles, and their devotion to music was such as to give weight to the communication. The memorial itself is discursive to a point which taxes one's patience, but the expressions of appreciation and friendship are genuine, and must have gratified Beethoven extremely. Naturally but one outcome was probable as a result of this memorial. Shortly after receiving it, he announced to his friends that the initial performance of these works would be held in Vienna. Strangely, a difficulty at once arose, in the matter of selecting a suitable place for the performance. Had Beethoven left the management of the affair in the hands of his friends, and given his attention to securing sufficient rehearsals for the new Symphony, which finally had to be produced after being rehearsed twice only, it would have been better all around. With the vacillating disposition which characterized him in all business matters, he was not only of no aid, but so complicated matters by his indecision on every point, that the arrangements finally came to a standstill, his friends who were assisting him being at their wits' end. These were Schindler, Count Lichnowsky, and the violinist Schuppanzich. At this juncture, these old and tried friends, thinking that strategy might succeed where diplomacy had failed, hit upon the following plan to bring matters to a focus. Schindler was at this time living at Beethoven's house, and the plan decided on was to have Count Lichnowsky and Schuppanzich call there as if by accident. The conversation would naturally turn to the approaching concert and leading questions were to be asked Beethoven. His answers in these years were usually in writing. The gist of these was to be written out by one of the party, who would then carelessly, or as if in jest, ask Beethoven to sign the paper, thus committing him to a definite course. These praise-worthy intentions were carried out with so much tact and skill that Beethoven not only saw through their innocent ruse, but discovered in the whole proceeding a deep-laid plot on the part of these arch-conspirators, whereof he was to be the victim of villainy and treachery. This dawned on him shortly after the friends had taken their departure, upon which he wrote the following notes, leaving them on the piano as was his custom, for Schindler to deliver.

To The Count Moritz von Lichnowsky,—

I despise these artifices, visit me no more. Academy (the concert) will not take place.

Beethoven.