t seem to have occurred to Beethoven, even after it was withdrawn; it
required the utmost diplomacy on the part of his friends, Prince
Lichnowsky in particular, to bring this about.

Beethoven had taken extraordinary pains with it up to the time of its
representation. To make alterations now would be to acknowledge himself
in error. The opera, however, was the most ambitious work he had yet
attempted; to make it a success it was necessary that it be revised and
altered considerably. With this object in view, Beethoven was invited by
Prince Lichnowsky to meet some friends at his house to discuss the
opera. The singers, Roeke and Meyer, who appeared in the cast, were of
the party; also Stephen von Breuning and Sonnleithner. The score was
studied at the piano and freely criticised. When one of the singers
plainly stated that several pieces should be omitted entire and other
portions shortened, Beethoven's rage knew no bounds. The conflict lasted
well into the night, Beethoven at bay, with all his friends pitted
against him. He defended every attack on this child of his brain, the
latest product of his genius, and at first refused any compromise, but
better counsels finally prevailed, aided probably by the Princess
Lichnowsky, who so often assumed the part of peacemaker. Beethoven
consented to some important excisions, and an entire revision of the
opera. Stephen von Breuning, who was somewhat of a poet, and had
considerable literary ability, was commissioned to make the desired
changes in the libretto, cutting it down to two acts from three. The
conference lasted until one in the morning, when, the point being
gained, the Prince ordered supper to be brought in. Being Germans and
musicians, they finished the night in the utmost good humor, Beethoven
being the best natured of all, once his consent to the revision had been
gained.

He immediately set about writing a new overture for it, and that
imperishable work of genius, the Third Leonore overture appeared. Here
we have an epitome of the succeeding music of the opera, foreshadowing
in dramatic language, the grief and despair, and the final deliverance
and joy of the principal actors of the drama. Wagner says of this work,
"It is no longer an overture, but the mightiest of dramas in itself."
Here Beethoven could use his accustomed freedom once more. He was back
again in the familiar realm of instrumental music, and the storm and
stress of recent experiences no doubt suppli