Glancing now at musical activity in other countries, we find attention necessarily concentrated in the first instance upon the heroic figure of Beethoven, who in this year (1813) had already given to the world his Eroica, C minor, Pastoral, and Seventh Symphonies, besides his Violin Concerto, Razoumoffsky Quartets, Waldstein and Appassionata Sonatas, his one opera "Fidelio," together with the third "Leonora" overture, and many other works of towering genius. As yet, however, the real significance of Beethoven was undreamed-of in the philosophy of mankind in general, if dimly suspected by a few enlightened persons, mostly resident in Vienna. Mozart had died before the dawn of the century, and Haydn soon after it, having demonstrated the incomparable excellence of that Viennese school (founded on the teachings of Fux's "Gradus ad Parnassum"), which had early attracted Beethoven--a Rhinelander by birth--within its charmed circle, and held him there for life. In the first year of the London Philharmonic Society's activity the music of those three--Haydn, Mozart, Beethoven--formed the staple of the concert programmes. In the second year the first performance in England of the Eroica was given. Other works of the highest importance by the same master soon followed, and in 1817 an unsuccessful attempt was made to induce Beethoven to come to England himself and conduct compositions of his own for the Society. In this manner connection was established between this country and the great central stream of musical life and energy at that time.