The leading dramatic composers of Vienna, not yet named, must receive a passing notice. Besides Cimarosa, who left Vienna a few months later, Beethoven found Peter Dutillieu, a Frenchman by birth but an Italian musician by education and profession, engaged as composer for the Court Theatre. His “Il Trionfo d’Amore” had been produced there November 14, 1791, and his “Nanerina e Padolfino” had lately come upon the stage. Ignaz Umlauf, composer of “Die schöne Schusterin” and other not unpopular works, had the title of Chapelmaster and Composer to the German Court Opera, and was Salieri’s substitute as chapelmaster in the sacred music of the Court Chapel. Franz Xavier Süssmayr, so well known from his connection with Mozart, was just now writing for Schikaneder’s stage; Schenk for Marinelli’s and for the private stages of the nobility; and Paul Wranitzky, first violinist and so-called Musikdirektor in the Court Theatre, author of the then popular “Oberon” composed for the Wieden stage, was employing his very respectable talents for both Marinelli and Schikaneder. The church music of Vienna seems to have been at a very low point in 1792 and 1793. Two composers, however, whose names are still of importance in musical history, were then in that city devoting themselves almost exclusively to this branch of the art; Albrechtsberger, Court Organist, but in a few months (through the death of Leopold Hoffmann, March 17, 1793) to become musical director at St. Stephen’s; and Joseph Eybler (some five years older than Beethoven), who had just become _Regens chori_ in the Carmelite church, whence he was called to a similar and better position in the Schottische Kirche two years later. Public concerts, as the term is now understood, may be said not to have existed, and regular subscription concerts were few. Mozart gave a few series of them, but after his death there appears to have been no one of sufficient note in the musical world to make such a speculation remunerative. Single subscription concerts given by virtuosos, and annual ones by some of the leading resident musicians, of course, took place then as before and since. The only real and regular concerts were the four annual performances in the Burgtheater, two at Christmas and two at Easter, for the benefit of the musicians’ widows and orphans. These concerts, established mainly by Gassmann and Salieri, were never exclusive in their programmes--oratorio, symphony, cantata, concerto, whatever would add to their attraction, found place. The stage was covered with the best musicians and vocalists of the capital and the superb orchestra was equally ready to accompany the playing of a Mozart or of an ephemeral _Wunderkind_. Risbeck was told ten years before that the number taking part in orchestra and chorus had even then on some occasions reached 400--a statement, however, which looks much like exaggeration.