A work so transcendental in character as is this, calls for close and sympathetic study even to get an approximate understanding of its marvels.  It is a characteristic of works of this nature, that although not easily comprehended, they are likewise not readily exhausted.  Much study, many renderings only serve to bring out new values.  Only by bringing to them of our best will they be revealed.

It must have been with a feeling of relief that he finally delivered a copy of the Mass complete into the Archduke’s hands in March of 1822, just two years after the Installation.

Beethoven wrote the sovereigns of Russia, France, Prussia and Saxony, proposing a subscription of fifty ducats, about $115 each, for the Mass.  The first acceptance came from Prussia.  One of the minor officials in Vienna was commissioned by Prince von Hatzfeld, the Prussian Ambassador, to ask Beethoven if he would not prefer a royal order instead of the fifty ducats.  Beethoven’s reply was characteristic.  Without a moment’s hesitation he said with emphasis, “fifty ducats!” showing the slight value he placed on distinctions of this kind.  A reply that must have gratified him very much was that received from the King of France.  In his letter to him, Beethoven refers to the Mass as “L’oeuvre le plus accompli.”  Louis XVIII, not only forwarded his acceptance (and the fifty ducats), but had also a gold medal struck off, containing his portrait on one side, and on the other, the following inscription:  “Donne par le Roi a monsieur Beethoven.”  The King of Saxony delayed his remittance for a long while, and Beethoven was greatly irritated thereby.

But little other work was undertaken during the four years he was occupied on the Mass unless we except the three grand piano sonatas, opus 109, 110 and 111, which were composed during the intervals.  A mere by-product so to speak, undertaken with the object of resting his faculties jaded by the strain of the greater work, his mind notwithstanding was keyed up to a high pitch, while engaged on them.  The lofty imaginings which occupied his thoughts while on the Mass are reflected in them, rendering them unapproachable as piano sonatas.  The master himself, set a great value on them.

Now that the Mass was completed he began to give his attention to other works.  To celebrate the opening of the rehabilitated Josephstadt theatre which occurred in the autumn of 1822, Beethoven wrote a new overture, Weihe des Hauses.  He also worked over for this occasion his Ruins of Athens, written in 1812, for which the text was altered to suit the new conditions and several new numbers added.  Another representation of the almost forgotten Fidelio, which was selected by Fraeulein Schroeder-Devrient for her benefit, and which was a pronounced success through the genius of this remarkable woman, led to a commission for a new opera from a Vienna manager.  This was followed shortly after by a similar order from Berlin on his