After my return from Gotha (end of May, 1813), I met him occasionally at the Theater-an-der-Wien, hard behind the orchestra, where Count Palffy had given him a free seat. After the opera he generally accompanied me home and spent the remainder of the evening with me. There he was pleasant toward Dorette and the children. He very seldom spoke about music. When he did so his judgments were very severe and so decided that it seemed as if there could be no contradiction. He did not take the least interest in the works of others; for this reason I did not have the courage to show him mine. His favorite topic of conversation at the time was severe criticism of the two theatrical managements of Prince Lobkowitz and Count Palffy. He was sometimes over-loud in his abuse of the latter when we were still inside the theatre, so that not only the public but also the Count in his office might have heard him. This embarrassed me greatly and I continually tried to turn the conversation into something else. The rude, repelling conduct of Beethoven at this time was due partly to his deafness, which he not yet learned to endure with resignation, partly to the unsettled condition of his financial affairs. He was not a good housekeeper and had the ill-luck to be robbed by those about him. So he often lacked necessities. In the early part of our acquaintance I once asked him, after he had been absent from the eating-house: “You were not ill, were you?”--“My boots were, and as I have only one pair I had house-arrest,” was the answer. Beethoven had other cares, troubles and anxieties in the coming year--to which these reminiscences in strictness belong and serve as a sort of introduction--not known to Spohr. Theirs was not the confidential intercourse which lays bare the heart of friend to friend. As Varnhagen last year, so Theodor Körner this and the next informs us that Beethoven’s desire again to try his fortune on the operatic stage was in no wise abated. On June 6th the youthful poet writes: “If Weinlig does not intend soon to compose my Alfred, let him send it back to me; I would then, having bettered my knowledge of the theatre and especially of opera texts, strike out several things, inasmuch as it is much too long, and give it to the Kärnthner Theatre, as I am everlastingly plagued for opera texts by Beethoven, Weigl, Gyrowetz, etc.” On February 10, 1813, he writes: “Beethoven has asked me for ‘The Return of Ulysses.’ If Gluck were alive, that would be a subject for his Muse.” The ascertained compositions of 1812 were: I. “Sinfonie. L. v. Beethoven, 1812, 13ten Mai.” A major, Op. 92. II. “Trio in einem Satze.” B-flat. “Wien am 2ten Juni 1812. Für seine kleine Freundin Max. Brentano zu ihrer Aufmunterung im Clavierspielen.” III. “Sinfonia--Linz im Monath October 1812.” F major, Op. 93.