The Italians still tickled the ears of the Viennese, who apparently cared not for German music, vocal or instrumental. Beethoven looked toward Berlin as the city where his solemn Mass and Ninth Symphony (in spite of his arrangement with the Philharmonic society of London) should be produced, and he negotiated with Count Brühl. This drove finally the noble friends of Beethoven in Vienna to send him an address praying him to allow the first production of these new works to be in the city in which he lived. Beethoven was moved deeply; he found the address "noble and great." There were the unfortunate misunderstandings that accompany so often such an occasion. Beethoven was suspicious, the manager of the Kärnthnerthor theatre where the concert was given was greedy, and the music perplexed the singers and the players. Sontag and Ungher, who sang the female solo parts, begged him to change certain passages, but he would not listen to them. The 7th of May, 1824, the theatre was crowded, with the exception of the Imperial box; no one of the Imperial family was present, no one sent a ducat to the composer. The program was as follows: Overture in C (Op. 124); the Kyrie, Credo, Agnus and Dona Nobis of the mass in D arranged in the form of three hymns and sung in German, on account of the interference of the Censure, as the word "mass" could not appear on a theatre program; the Ninth Symphony. The public enthusiasm was extraordinary. As Beethoven could not hear the plaudits Caroline Ungher took him by the shoulders and turned him about that he might see the waving of hats and the beating together of hands. He bowed, and then the storm of applause was redoubled. After the expenses of the concert there were about 400 florins for Beethoven--about $200. The concert was repeated and the manager guaranteed 500 florins. The hall was half-empty. The composer was angry; he at first refused to accept the guarantee; and he accused his friends whom he had invited to eat with him of conspiring to cheat him.
From a lithographic reproduction of a painting made by Stieler, in April, 1820.]
In the Schwarz-Spanier house. From an engraving by G. Leybold of a drawing made three days after his death.]