In Berlin he (Beethoven) associated much with Himmel, of whom he said that he had a pretty talent, but no more; his pianoforte playing, he said, was elegant and pleasing, but he was not to be compared with Prince Louis Ferdinand. In his opinion he paid the latter a high compliment when once he said to him that his playing was not that of a king or prince but more like that of a thoroughly good pianoforte player. He fell out with Himmel in the following manner: One day when they were together Himmel begged Beethoven to improvise; which Beethoven did. Afterwards Beethoven insisted that Himmel do the same. The latter was weak enough to agree; but after he had played for quite a time Beethoven remarked: “Well, when are you going fairly to begin?” Himmel had flattered himself that he had already performed wonders; he jumped up and the men behaved ill towards each other. Beethoven said to me: “I thought that Himmel had been only preluding a bit.” Afterwards they were reconciled, indeed, but Himmel could never forgive or forget[78]. They also exchanged letters until Himmel played Beethoven a shabby trick. The latter always wanted to know the news from Berlin. This bored Himmel, who at last wrote that the greatest news from Berlin was that a lamp for the blind had been invented. Beethoven ran about with the news and all the world wanted to know how this was possible. Thereupon he wrote to Himmel that he had blundered in not giving more explicit information. The answer which he received, but which does not permit of communication, not only put an end to the correspondence but brought ridicule upon Beethoven, who was so inconsiderate as to show it then and there. With Carl Friedrich Christian Fasch and Carl Friedrich Zelter he also made a friendly acquaintance, and twice at least attended meetings of the Singakademie, which then numbered about 90 voices. The first time, June 21st, says the “Geschichte der Singakademie”: A chorale, the first three numbers of the mass and the first six of the 119th Psalm were sung for him. Hereupon he seated himself at the pianoforte and played an improvisation on the theme of the final fugue: “Meine Zunge rühmt im Wettgesang dein Lob.” The last numbers of “Davidiana” (a collection of versets by Fasch) formed the conclusion. No biographer has mentioned this visit or even his sojourn in Berlin. Nor does Fasch pay special attention to it; but the performance must have pleased, for it was repeated at the meeting on the 28th. The performance of the Society must also have pleased Beethoven, and with good reason; for Fasch’s mass was in sixteen parts and the psalm and “Davidiana,” in part, in eight; and no such music was then to be heard elsewhere north of the Alps.