The idea of writing another oratorio seems now to have taken possession of his mind.  A preference for this mode appears in his journals and letters and was probably the subject of conversation on his part.  At all events, the newly established Society of Friends of Music of Vienna (which Beethoven, with his usual aptitude for punning, used to refer to as the society of Musikfeinde, enemies of music) made him a proposition to write an oratorio for them, which he accepted.  No stipulations were made as to subject or treatment, and the society agreed to pay the handsome sum of three hundred gold ducats, merely for the use of the work for one year.  So far as known, this work was never begun.  The Archduke soon after obtained his appointment as Cardinal-Archbishop, and the work on the mass for the Installation occupied Beethoven to the exclusion of other works.

The loss by death of three of Beethoven’s old friends must have been greatly felt by him in these years.  Prince Lichnowsky, who died in 1814, was the first, and was followed two years later by Prince Lobkowitz.  Hardest of all, however, for the master was the loss of his friend, Wenzel Krumpholz, who died in 1817.  His relations with the latter were more intimate than with the noblemen, and had continued without a break almost from the time of his advent in Vienna.  Czerny, in his autobiography, gives an interesting picture of the devotion of Krumpholz, who attached himself to Beethoven much the same as did Boswell to Dr. Johnson.  He was somewhat older than Beethoven, and his position as first violinist at the Court Theatre enabled him to be of much practical service to Beethoven, as he was widely known among the professional musicians, as well as the rich amateurs.  He sounded Beethoven’s praises far and wide:  he encouraged him to begin composition, making propaganda for him among the wealthy dilettante, and spent a good portion of each day in his company.  Beethoven, who at a later period said of himself that he was too strong for friendship, did not take kindly to this intimacy at first, but Krumpholz’s persistency was not to be gainsaid.  He gave him lessons on the violin, and identified himself in many ways with Beethoven’s advancement.  Beethoven finally became so accustomed to him, that the presence of the other did not disturb him, and he would improvise before him as if he were alone.  Krumpholz though devoid of genius himself, intuitively recognized its presence in Beethoven, and led the younger man to discuss his musical plans and ideas with him.  The compositions as they took form in the young man’s mind, were played to Krumpholz, who advised and encouraged him.  The extravagant admiration of the latter sometimes acted on Beethoven’s sense of humor to such an extent that he would make fun of him, and call him his fool, but this did not deter Krumpholz, who seemed to think he had a divinely appointed task set him, in aiding the development of this young genius, and was willing to put up with some vagaries from him.