[65] The excerpt from Schenk’s autobiography which follows was communicated to Thayer by Otto Jahn and included in the appendix to Vol. II of the original edition of this biography. The present editor has followed Dr. Deiters in his presentation of the case in Vol. I of the revised edition. [66] Haydn, according to Wurzbach, returned to Vienna on July 24, 1792. [67] Schenk is in error as to both dates. He means, of course, 1793 and 1794. [68] The investigations of Nottebohm, in “Beethoven’s Studien” and “Beethoveniana,” have been relied on in the compilation of the story of the study under Albrechtsberger, which takes the place of the original narrative by Thayer. [69] Once Beethoven writes an unprepared seventh-chord with a suspension on the margin of an exercise and adds the query: “Is it allowed?” Chapter XII Music in Vienna in 1793--Theatre, Church and Concert-Room--A Music-Loving Nobility--The Esterhazys, Kinsky, Lichnowsky, von Kees and van Swieten--Composers: Haydn, Kozeluch, Förster and Eberl. OPERA AND CONCERTS IN VIENNA The musical drama naturally took the first place in the musical life of Vienna at this period. The enthusiasm of Joseph II for a national German opera, to which the world owed Mozart’s exquisite “Entführung,” proved to be but short-lived, and the Italian _opera buffa_ resumed its old place in his affections. The new company engaged was, however, equal to the performance of “Don Giovanni” and “Figaro” and Salieri’s magnificent “Axur.” Leopold II reached Vienna on the evening of March 13, 1790, to assume the crown of his deceased brother, but no change was, for the present, made in the court theatre. Indeed, as late as July 5 he had not entered a theatre, and his first appearance at the opera was at the performance of “Axur,” September 21, in the company of his visitor King Ferdinand of Naples; but once firmly settled on the imperial throne, Joseph’s numerous reforms successfully annulled, the Turkish war brought to a close and his diverse coronations happily ended, the Emperor gave his thoughts to the theatre. Salieri, though now but forty-one years of age, and rich with the observation and experience of more than twenty years in the direction of the opera, was, according to Mosel, graciously allowed, but according to other and better authorities, compelled, to withdraw from the operatic orchestra and confine himself to his duties as director of the sacred music in the court chapel and to the composition of one operatic work annually, if required. The “Wiener Zeitung” of January 28, 1792, records the appointment of Joseph Weigl, Salieri’s pupil and assistant, now twenty-five years old, “as Chapelmaster and Composer to the Royal Imperial National Court Theatre with a salary of 1,000 florins.” The title Composer was rather an empty one. Though already favorably known to the public, he was forbidden to compose new operas for the court stage.