Schindler) Feb. 20th, 1823, in the coffee-house "Die Goldne Birne," in the
Landstrasse, where Beethoven usually went every evening, though he
generally slipped in by the backdoor.]

125.

TO THE ARCHDUKE RUDOLPH.

1814.

I hope you forgive me for not having come to you. Your displeasure would be
totally undeserved, and I will amply compensate for lost time in a few
days. My Opera of "Fidelio"[1] is again to be performed, which gives me a
great deal to do; moreover, though I look well, I am not so in reality. The
arrangements for my second concert[2] are partly completed. I must write
something new for Mdlle. Milder.[3] Meanwhile it is a consolation to me to
hear that Y.R.H. is so much better. I hope I am not too sanguine in
thinking that I shall soon be able to contribute towards this. I have taken
the liberty to apprise my Lord Falstaff[4] that he is ere long to have the
honor of appearing before Y.R.H.

[K.]

[Footnote 1: Letters 125 and 126 refer to the revival of the Opera of
_Fidelio_, which had not been given since 1806, and was not again produced
on the stage till the 23d May, 1814, in the Kaernthnerthor Theatre.
Beethoven's benefit took place on the 8th July, two newly composed pieces
being inserted.]

[Footnote 2: Beethoven gave a concert on the 2d January, 1814, when
_Wellington's Victory_ was performed, and on the 26th March another for the
benefit of the Theatrical Fund, at which the _Overture to Egmont_ and
_Wellingtons's Victory_ were given, directed by Beethoven himself.]

[Footnote 3: Anna Milder, Royal Court opera singer, a pupil of Vogl's, who
first sang the part of Leonore in _Fidelio_.]

[Footnote 4: By "my Lord Falstaff" he means the corpulent violinist
Schuppanzigh.]

126.

TO THE ARCHDUKE RUDOLPH.

Vienna, July 14, 1814.

Whenever I inquire about you I hear nothing but good news. As for my own
insignificant self, I have been hitherto hopelessly detained in Vienna, and
unable to approach Y.R.H.; I am also thus deprived of the enjoyment of
beautiful Nature, so dear to me. The directors of the theatre are so
_conscientious_, that, contrary to their faithful promise, they have again
given my Opera of "Fidelio," without thinking of giving me any share in the
receipts. They would have exhibited the same commendable good faith a
second time, had I not been on the watch like a French custom-house officer
of other days. At last, after a great many troublesome discussions, it was
sett