That Schindler heard Beethoven speak of the occurrence in Eisenstadt, fourteen years thereafter, with “great bitterness” is not to be doubted; but this does not prove the existence of so lasting and deep a hatred towards Hummel as is asserted. That he was dissatisfied with Hummel’s later course as pianist and composer is most probable, and hardly needs Schindler’s testimony; but it is not so with other statements of his; and facts have come to light since his book appeared (1840) which he could not well have known, but which leave little doubt that he was greatly mistaken in his view of the relations between the two men. That something very like an “intimate friendship” ~had~ characterized their intercourse, the reader already knows; and that, three or four years later, they were again friendly, if not intimate, will in due time appear. As to the girl whom both loved, but who favored Hummel, if Schindler refers to the sister of Röckel--afterwards the wife of Hummel--it is known from Röckel himself that there is nothing in the story. If, on the other hand, he had in mind a ludicrous anecdote--not quite fit to be printed--the “wife of a citizen,” who plays the third rôle in the comedy, was not of such a character as to cause any lasting ill blood between the rivals for her passing favor. In short, while we accept the Eisenstadt anecdote, as being originally derived from Beethoven himself, we must view all that Schindler adds in connection with it with a certain amount of distrust and doubt--if not reject it altogether--as a new illustration of his proneness to accept without examination old impressions for established facts. This year is remarkable not only in Beethoven’s life, but in the history of music, as that in which was completed the C minor Symphony. This wondrous work was no sudden inspiration. Themes for the Allegro, Andante and Scherzo are found in sketchbooks belonging, at the very latest, to the years 1800 and 1801. There are studies also preserved, which show that Beethoven wrought upon it while engaged on “Fidelio” and the Pianoforte Concerto in G--that is, in 1804-6, when, as before noted, he laid it aside for the composition of the fourth, in B-flat major. That is all that is known of the rise and progress of this famous symphony, except that it was completed this year in the composer’s favorite haunts about Heiligenstadt.[52]