He immediately set about writing a new overture for it, and that imperishable work of genius, the Third Leonore overture appeared.  Here we have an epitome of the succeeding music of the opera, foreshadowing in dramatic language, the grief and despair, and the final deliverance and joy of the principal actors of the drama.  Wagner says of this work, “It is no longer an overture, but the mightiest of dramas in itself.”  Here Beethoven could use his accustomed freedom once more.  He was back again in the familiar realm of instrumental music, and the storm and stress of recent experiences no doubt supplied 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 private theatres,—­the ordinary parts being taken by amateurs.