Operatic projects—Fourth Symphony, etc. produced—The Op. 59 Quartets unfavourably received—First performance of Fifth and Sixth Symphonies—Choral Fantasia—Beethoven offered post of Kappellmeister at Cassel—Subsidy induces him to to remain in Vienna—the “Adieu” Sonata—Bombardment of Vienna

Had Beethoven’s one operatic venture been a success, the subsequent history of music-drama might have been profoundly affected. True, he never showed much aptitude in setting words to music—rather the reverse; but the strong sense of drama that is at the back of almost all his finest music would have more than made amends. Nor is it conceivable that his early experiences of operatic rehearsal at Bonn could have been fruitless. That he was drawn to the operatic form is clear from his subsequent petition to the Directors of the Royal Imperial Court Theatre for an appointment as composer, undertaking to compose “every year at least one grand opera” and to “deliver gratis a small operetta, divertissement, choruses or occasional pieces according to the wishes or needs of the Worshipful Direction.” The salary he suggested was 2,400 florins per annum (about £250) and the use of the theatre for a yearly benefit concert. The petition was not granted, despite the fact of the directorate 82including Prince Lobkowitz and others welldisposed towards the composer. Various reasons have been suggested, but we need look no farther than Beethoven’s deafness, his procrastinating habits, and his cantankerousness in dealing with the performers and theatre staff. However, his friends eased the blow of the disappointment, Prince Esterhazy commissioning him to write a Mass, and preparations being at once put in hand for two benefit concerts that brought him a handsome sum. Three new works were produced at these concerts—the fourth Symphony, the G major Pianoforte Concerto, and the “Coriolan” overture.