Beethoven was discontented. He knew what lay within him, and yet could not help seeing how the crowd preferred to shout itself hoarse over the brilliant exponents of technique, then beginning to swarm over Vienna. He was brought into a contest not only with Gelinek, but with Wölffl, who was renowned for his abnormally long fingers. Such contests are a mark of the times. As yet the division of labour between composers and interpreters had not been introduced. Playing and invention had a more intimate association. The following is the programme of the “Academy,” which Mozart performed in 1770 at Mantua: “First, a symphony of his own composition; secondly, a pianoforte concerto, which he will play at sight; thirdly, a sonata just placed before him, which he will provide with variations and afterwards repeat in another key. Then he will compose an aria to words given to him, sing it himself, and accompany it on the clavier. Next, a sonata for the cembalo on a motive supplied him by the first violin[111]; a strict fugue on a theme to be selected, which he will improvise on the piano; a trio, in which he will take the violin part _all’improviso_; and, finally, the last symphony of his own composition.” No sharper contrast can be conceived than this performance offers to the modern concert. Almost all is here arranged for sight-playing and improvisation, or for the instantaneous exertion of inventive or executant skill. There is in this still a good deal of the earlier notion of music, in which the conception and visible development of a theme was preferred to the performance of a completed work. Later, the demand for such instantaneous performances gradually disappears. In Mozart the cadenza at the conclusion of the concerto-movements remained as the last refuge of the improviser in the written-out piece. Beethoven insisted that his E flat major concerto should be performed without an improvised cadenza.