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.

TO M. SCHINDLER,—­
Do not come near me again until I send for you.  No Academy. 
BEETHOVEN.

TO M. SCHUPPANZICH,—­
Do not visit me again.  No concert. 
BEETHOVEN.