Wagner never tired of exploiting the variation form in his operas, particularly in the Tetralogy.  He frequently refers to Beethoven’s masterly use of it.  “Haydn first, Beethoven last, have conferred artistic value on this form,” he says in the article on conducting; later on in the same work, he says, “the wondrous second movement of Beethoven’s great C minor Sonata” (opus 111), “and the last movement of the Eroica Symphony should be grasped as an infinitely magnified Variation section.”  Bach also excelled in it, the Variation form being constantly met with throughout his works.

The summer of 1823 was spent at Hetzendorf, a village of which Beethoven was always fond.  He had secured large and comfortable quarters in the house of a Baron Pronay, which, from Schindler’s account was a fine old mansion in the centre of a large park.  It suited Beethoven admirably.  There was a fine view of the surrounding country from his windows, the situation was healthful, and he delighted in walking about when not at work.  But he gave up this comfortable home before the summer was ended, simply on account of the extravagant politeness of his landlord, who, conscious of the value of so distinguished a tenant, always greeted him with “profound obeisances” when they met.  This opera bouffe deportment though undertaken with the best of motives on the Baron’s part, became so embarrassing that Beethoven finally fled to Baden with all his belongings, including the grand piano, although his rent had been paid in advance for the entire summer.  Schindler assisted in this migration, joining him at five o’clock one morning.

The year 1823 in which Beethoven practically completed his life-work (with the exception of the last quartets) is the dawn of a new musical genius, versatile, accomplished, many-sided, who as performer was qualified to rank with the older master.  On New-year’s day of this year, Franz Liszt, who had been studying under Czerny for two years past, made his first appearance in Vienna in concert, in which he took the public by storm.  Beethoven seems not to have been present, and strangely, when we reflect on his intimacy with Czerny, seems to have been unaware of the existence of this talented youth.  During the autumn of this year, the elder Liszt called on Beethoven, bringing with him the young Franz.  Beethoven held himself aloof at first, receiving his visitors coldly.  He unbent however, on hearing the youth perform, and stooped and kissed him.  During this autumn he also received a visit from Weber and young Julius Benedict, his pupil.  Weber was preparing his recently completed opera Euryanthe, for a first production in Vienna.  He had produced Fidelio in the foregoing spring season at Dresden, where he was officially stationed, and had made a success of it with Frau Schroeder-Devrient.  Considerable correspondence must have passed between the two composers on this matter, and Weber could hardly have omitted calling when coming to Vienna, although the memory of his former