The Elector Max Franz now followed the example of his predecessor, and established a national theatre. Beethoven was not this time _cembalist_ to the company; he played the viol in the orchestra, whither he was often accompanied by his friend Stephan Breuning, who handled the bow creditably enough. For four years Beethoven occupied this post, and the solid advantage it was to him is shown in his subsequent orchestration. In the autumn of the year 1791 an incident occurred which broke the monotony of the court life, and gives us an interesting side-glimpse of our young musician. The Teutonic Order, referred to before, held a grand conclave at Mergentheim, at which the Elector as Grand-Master was obliged to be present. He had passed some months there two years before, and had probably found time hang somewhat heavy on his hands; at any rate, he resolved that his private musical and theatrical staff should attend him on this occasion. The announcement of this determination was received with great approbation by all concerned, and Lux, the first comedian of the day, was unanimously chosen king of the expedition. His Majesty then proceeded to appoint the various officers of the household, among whom Beethoven and Bernhard Romberg (afterwards the greatest violoncellist of his time) figure as Scullions. Two ships were chartered for the occasion, and King Lux and his court floated lazily down the Rhine and the Main, between the sunny vine-clad hills where the peasants were hard at work getting in the best harvest of the year. It was a merry time, and, as Beethoven afterwards said, "a fruitful source of the most beautiful images." We can imagine the boat gliding peacefully along under the calm moonlit sky--Beethoven sitting by himself, enjoying the unusual _dolce far niente_; his companions a little apart are chanting a favourite boat-song; the harmonious sounds rise and fall, alternating with the gentle ripple on the water--and the young maestro, pondering on his future life, tries to read his destiny in the "golden writing" of the stars. Is not some such scene the background to the Adagio in the "Sonata quasi Fantasia," dedicated to the Countess Giulietta? At Aschaffenburg, Simrock, a leading member of the company (afterwards the celebrated music-publisher), deemed it necessary that a deputation (which included Beethoven) should pay a visit of respect to the Abbé Sterkel, one of the greatest living pianists.