If this composition, which formed the concert which had been announced, failed to receive the applause which it deserved, the reason is to be sought partly in the subjective character of the work, partly in the objective nature of the listeners. Beethoven, full of proud confidence in himself, never writes for the multitude; he demands understanding and feeling, and because of the intentional difficulties, he can receive these only at the hands of the knowing, a majority of whom is not to be found on such occasions, etc.
That was precisely the truth. The work was out of place. The warblings of Fräulein Sessi and Herr Siboni, and Mayseder's variations on the march in "Aline," were suited to the occasion and the audience. Instead of Beethoven's majestic work, Chapelmaster Himmel, who had recently been in Vienna, should have been engaged to remain and exhibit his brilliant finger gymnastics.
The new symphony, to which there are allusions in this correspondence, was the Seventh, which he took up and completed this spring (May 13), with the hope of producing it in a concert about the time of Pentecost--but the project fell through.[92]
Explanatory of the Zmeskall correspondence, it is to be noted, that with the approach of the inclement season, Beethoven ceased to cross the wind-swept Glacis to dine with Breuning; that the "greatest thanks" of one of the notes is merely for keeping his pens in order; and that Zmeskall had been making experiments to determine whether the oscillations of a simple weight and string (without lever) might not answer as a practicable and convenient metrometer.
The works of Beethoven publicly performed in Vienna during this half year, so far as has been learned, were the Pianoforte Concerto as above stated; on March 22nd, march with chorus from "The Ruins of Athens," in Clement's concert; on April 16th, the "Coriolan" Overture in Streicher's Pianoforte Warerooms, conducted by Schuppanzigh--the first piece in the concert, which opened the way for the great performance of Handel's "Timotheus" in November, which in turn led to the foundation of the Society of the Friends of Music; on April 24th, the "Egmont" Overture in the Concert for the Theatrical Poor Fund; and on May 5th, the overture to "Prometheus," and the C minor Symphony in Schuppanzigh's first Augarten Morning Concert of the season. His (Schuppanzigh's) quartet productions were on Thursdays, at noon; "As it is nearly 12 o'clock and I am going to Schuppanzigh's," says Beethoven in a note to Zmeskall, on Thursday, February 20--unfortunately only as an auditor. No record of the programmes during the season has been discovered.