On page 71 begin the sketches for the first, on page 83, for the last movement of the Eighth Symphony. These two Symphonies, then, were the grand orchestral works in preparation for the proposed concert. Scattered along this part of the sketchbook are divers subjects for pianoforte works; as if Beethoven had in mind a companion piece to the E-flat Concerto for the farther display of his powers. In our notes we find, “Overture-Concerto,” p. 73; p. 83 “Concerto in G”--“Concerto in G or E minor”--“Adagio in E-flat”--“Finale Tutti”; and near the bottom of the same page--“Polonaise for Pianoforte alone.” But the master had no new vocal work for the occasion. Do not the following memoranda--accompanied in the sketchbook by numerous studies--show how the deficiency was to be supplied? Immediately following the “Polonaise” we read: Freude schöner Götter Funken Tochter. Work out the overture. Again on leaf 43: Freude schöner Götter Funken Tochter aus Elysium. Detached fragments, like princes are beggars, etc., not the whole. On the same page again: Detached fragments from Schiller’s Freude brought together in a whole. One of the sketches (according to our copy) begins thus: [Illustration: Freude, schöner Götter funken, Tochter ] At or near this point the book was for the present laid aside; for the intended concert was abandoned, and Beethoven’s studies were abruptly turned in other directions. The explanation of this is easy. In the lists of “newly performed plays” in the two Vienna Court Theatres from August 1, 1803 to July 31, 1805, and from August 1, 1806 to December 31, 1807, Schiller’s name does not once occur; not so in the lists after Hartl’s undertaking the direction, January 1, 1808. Here we find: 1808: February 13, “Macbeth,” after Shakespeare; July 23, “Kabale und Liebe”; December 17, “Phædra,” after Racine; 1809: August 23, “Don Carlos”--all by Schiller. Thus had Schiller suddenly become a leading topic in the conversation of theatrical circles. One sees now how Collin and Beethoven hit upon the “Macbeth” as a subject for opera; and how the composer’s youthful idea [see Vol. I, p. 132] of making the “Ode to Joy” the subject of a composition was recalled to mind. [Sidenote: MUSIC TO “EGMONT” PROJECTED] It does not appear from any records at hand, that either of the above-named dramas was produced with music composed for it; but Hartl now determined, with his next Schiller drama, to put one by Goethe in rehearsal and to provide both with original music. “When it was decided,” writes Czerny,