Two days later he wrote letters of apology for his sudden departure to Elise von der Recke and Tiedge, promising the former a setting of one of her poems. From the letters to Breitkopf and Härtel and Tiedge, it would appear that Beethoven composed the music to “The Ruins of Athens” and “King Stephen” within a month and sent it to its destination on Monday, September 16, and then departed from Teplitz without saying farewell to his friends. From Varnhagen’s “Denkwürdigkeiten” we learn that “Beethoven, who returned to Vienna from Teplitz with his friend and mine, Oliva, did not remain long in Prague”; and from the correspondence with Rahel (II, p. 154), that Oliva went on to Vienna on September 23, without Beethoven, who made a rather wide detour to visit Lichnowsky. Of this visit we learn in one of Jahn’s notices, namely: “In the year 1811, B. was at Prince Lichnowsky’s on his estate Grätz near Troppau. The Mass in C was performed at Troppau, for which everything possible was drummed up; the master of athletics was put at the tympani; in the Sanctus, Beethoven himself had to show him how to play the solo. The rehearsals lasted three days. After the performance Beethoven improvised on the organ for half an hour to the astonishment of every one; Fuchs was the soprano soloist.” Beethoven returned to Vienna refreshed and invigorated both in body and mind; and something of his old frolicsome humor again enlivens his notes to Zmeskall: He expects him to dine with him at the Swan (which was at that time exceptional, as Beethoven had his own cook); he begs for more quills, and promises shortly a whole parcel of them, so that Zmeskall “will not have to pull out his own”; he may receive “the great decoration of the Order of the ’Cello”; and so on. Beethoven’s notes to Zmeskall are a barometer that indicates very correctly the rising and sinking of his spirits; they were now high--at composition point--and, as the Archduke did not return from Pressburg until the 7th November, he had at least one month for continuing without hindrance the studies, whatever they were, that followed the completion of the music for Pesth. In our judgment they are those, which occupy the last leaves of the sketchbook (Petter’s) partly filled in the Spring of 1809.[88] [Sidenote: A SEASON IN FINANCIAL DOLDRUMS]