' duration. Beethoven at length called on Schindler and
apologized for the offence, begging him to forget it, upon which the old
relations were restored.

Notwithstanding that Beethoven had personally solicited the attendance
of the members of the Imperial family, and had promises from some of
them, not one came, the Emperor's box being the only empty space in the
theatre. The slight was no doubt intentional, and affords the last
instance of which there is record, of the lifelong contest waged between
Beethoven and the court. He was usually the aggressor, making it
impossible for the Imperial family to favor him, or even to show him
much attention. They could not have been insensible to the historical
importance of having in their midst such a man; they must have had the
prescience to know that Beethoven's achievements, if furthered by them,
would place them in the lime-light for the admiration of future ages;
but they were thwarted by the man himself, who went out of his way more
than once, most unjustifiably, to offend them.

There is a letter from Count Dietrichstein, court chamberlain, on the
subject of a mass which Beethoven was invited to write for the Emperor,
which is unintentionally humorous. In it, all sorts of suggestions are
made as to the style of the music, the length of the mass (it being
enjoined on him that the Emperor did not like long church services) and
other like stipulations. Beethoven's remarks in answer to this letter
are not recorded, but the mass was not written. Here was a case where
kingly prerogative did not avail.

Simultaneously with the appearance in the sketch-books of motives for
the Ninth Symphony, another is projected, as was the case when composing
his previous ones, which generally appeared in pairs, as already noted.
A wealth of ideas flowed in on him while engaged on any great work, much
of which, when not available for the one, could be utilized on the
other. While working on the Mass in D, he had in mind composing another
mass, as is evidenced by the following memorandum in the sketches of the
Agnus Dei: "Das Kyrie in der neuen Messe bloss mit blasenden
Instrumenten und Orgel." (The Kyrie in the new Mass only with wind
instruments and organ.) The new Symphony was to be religious in
character, and was projected on a broader scale even than the Ninth. A
memorandum on the subject of the Tenth Symphony appears in the
sketch-books of the latter part of the year 1818. It is as foll