myself saw such dances executed in forest villages only a few hours distant from the metropolis--Laab, Kaltenleutgeben and Gaden. The subject of Beethoven’s imitations, even in play, are therefore musical, not incongruous; and in ~his~ “Portrait musical de la Nature” are so suggestive as to aid and intensify the “expression of feelings,” which was his professed aim. [Sidenote: COUNT OPPERSDORFF AND THE FOURTH SYMPHONY] Beethoven wrote to Count Oppersdorff on November 1: You will view me in a false light, but necessity compelled me to sell the symphony which was written for you and also another to someone else--but be assured that you shall soon receive the one intended for you soon.... I live right under Prince Lichnowsky, in case you ever make me a visit in Vienna, at Countess Erdödy’s. My circumstances are improving--~without the help of persons who wish to treat their friends with a threshing~. I have also been called to be Chapelmaster to the King of Westphalia, and it is easily possible that I shall accept the call. Such an apology for not having dedicated the promised Symphony to Oppersdorff, and the promise soon to supply its place with another, are ample testimony that the relations between the composer and that nobleman were of a character well worth the trouble of investigation by any one who has the opportunity to make it. Whatever information can be obtained upon this matter will be new.[62] The allusion in the above letter to Lichnowsky’s lodging renders it certain that the Prince had made no recent change. Now Carl Czerny writes to Ferdinand Luib (May 28, 1852): “About 1804, he (Beethoven) already lived on the Mölkerbastei in the vicinity of Prince Lichnowsky, who lived in the house (now demolished) over the Schottenthor. In the years 1806-7-8-9, he certainly lived on the Mölkerbastei with Pasqualati, and, as I believe, for a time hard by. It is thus ascertained, that, on returning from Heiligenstadt at the close of the summer, 1808, Beethoven left the rooms which he had now occupied for four years, for others in the house (now demolished) over the Schottenthor.” In his words: “persons who wish to treat their friends with a threshing,” he doubtless refers to Lichnowsky. Now, it is hardly conceivable that he should have taken up his abode in the very house in part occupied by the Prince, unless at the time they had been, ostensibly at least, on amicable terms. It has been seen that the old quarrel of 1806 was so far made up, as to admit of the loan by the composer to Lichnowsky of the “Coriolan” overture in manuscript. There must have been, therefore, some new and very recent outbreak between them. But here again, doubtless through the good offices of the motherly Princess Christine, all difficulties between them were soon adjusted.