Schindler’s division of Beethoven’s life into three distinctly marked periods appears forced--rather fanciful than real; but whoever makes himself even moderately conversant with the subject, soon perceives that a change in the man did take place too great and sudden to be attributed to the ordinary effect of advancing years; but when? The abrupt pause in his triumphant career as composer just mentioned, would seem to determine the time; and, if so, the natural inference is, that both were effects of the same cause. There was a point in the life of Handel when his indefatigable pen dropped from his hand and many weary months passed before he could resume it. The failure of his operas, his disastrous theatrical speculation, consequent bankruptcy, and the culmination of his distresses in a partial paralysis of his physical powers, were the causes. The cessation of Beethoven’s labors, though less absolute than in Handel’s case, is even more remarkable, as it continued longer and was not produced by any such natural and obvious causes. The fact is certain, and will probably find a sufficient explanation when we come to the details of the master’s private history during this period; if not, it is another question the solution of which must await the accident of time or the keener penetration and wider knowledge of some other investigator. [Sidenote: FIRST PERFORMANCE OF THE “EGMONT” MUSIC] Beethoven’s studies were now, for the third time, diverted from important works in hand to an order from the directors of the theatres--the “Egmont” music. The persevering diligence of the last months, of which he speaks in his letters, was evidently for the purpose of clearing his desk of a mass of manuscript compositions sold to Breitkopf and Härtel, before attacking Goethe’s tragedy--as decks are cleared for action before a naval battle. If so, he could hardly have seriously engaged upon the “Egmont” before the new year; but nothing is known, which fixes the exact date of either the beginning or completion of the work. Its overture bears the composer’s own date “1810”; its first performance was on the evening of Thursday, May 24. The ~Clärchen~ was played by Antonie Adamberger--a young actress alike distinguished for her beauty, her genius and her virtues--whose marriage in 1817 to the distinguished archæologist von Arneth was a distinct loss to the Vienna stage. The two songs which ~Clärchen~ has to sing, necessarily brought Fräulein Adamberger for the moment into personal relations with Beethoven, of which she wrote to the present author the following simple and pleasing account under date January 5, 1867: