led that the Opera of "Fidelio" should be given on Monday the 18th of
July, for my benefit. These _receipts_ at this season of the year may more
properly be called _deceits_; but if a work is in any degree successful it
often becomes a little feast for the author. To this feast the master
invites his illustrious pupil, and hopes--yes! I hope that Y.R.H. will
graciously consent to come, and thus add lustre to everything by your
presence. It would be a great boon if Y.R.H. would endeavor to persuade the
other members of the Imperial family to be present at the representation of
my Opera, and I on my part will not fail to take the proper steps on the
subject which duty commands. Vogl's illness[1] enabled me to satisfy my
desire to give the part of Pizarro to Forti,[2] his voice being better
suited to it; but owing to this there are daily rehearsals, which cannot
fail to have a favorable effect on the performance, but which render it
impossible for me to wait upon Y.R.H. before my benefit. Pray give this
letter your favorable consideration, and think graciously of me.

[K.]

[Footnote 1: Joh. Mich. Vogl, born August 10th, 1768, was Court opera
singer (tenor) in Vienna from 1794 to 1822; he died November 19th, 1840.]

[Footnote 2: Forti, born June 8th, 1790, a member of the Royal Court
Theatre (a barytone), pensioned off in 1834.]

127.

DEPOSITION.

1814.

I voluntarily presented Maelzel _gratis_ with a "Battle Symphony" for his
panharmonica. After having kept it for some time, he brought me back the
score, which he had already begun to engrave, saying that he wished it to
be harmonized for a full orchestra. The idea of a battle had already
occurred to me, which, however, could not be performed on his panharmonica.
We agreed to select this and some more of my works [see No. 116] to be
given at the concert for the benefit of disabled soldiers. At that very
time I became involved in the most frightful pecuniary difficulties.
Forsaken by every one in Vienna, and in daily expectation of remittances,
&c., Maelzel offered me fifty gold ducats, which I accepted, saying that I
would either repay them, or allow him to take the work to London, (provided
I did not go there myself with him,) referring him to an English publisher
for payment.

I got back from him the score written for the panharmonica. The concerts
then took place, and during that time Herr Maelzel's designs and character
were first fully revealed. Without my