[115] In a foot-note to Schindler’s account of the performance of the battle-piece, Moscheles, the English translator, says: “I must claim for my friend Meyerbeer the place here assigned to Hummel, who had to act in the cannonade; and this I may the more firmly assert as the cymbals having been intrusted to me, Meyerbeer and I had to play from one and the same part.” At the repetitions of the work on January 2 and 24 ensuing, Hummel directed what may well be called the “battery.” As there were two large drums, one on one side of the stage and one on the other, Hummel no doubt played one and Meyerbeer the other. Being pianists, nothing but instruments of percussion could have been assigned them. Chapter XIV The Year 1814--Popular Performances Repeated--Revision of “Fidelio”--The Opera Succeeds--Anton Schindler Enters Beethoven’s Life--The Quarrel with Mälzel--Moscheles--The Vienna Congress--J. W. Tomaschek--Count Rasoumowsky’s Palace Burned--Compositions of the Year. On the last day of 1813, the “Wiener Zeitung” contained this public notice: MUSICAL ACADEMY The desire of a large number of music-lovers whom I esteem as worthy of honor, to hear again my grand instrumental composition on “Wellington’s Victory at Vittoria,” makes it my pleasant duty herewith to inform the valued public that on Sunday, the 2d of January, I shall have the honor to perform the aforementioned composition with added vocal pieces and choruses and aided by the most admirable musicians of Vienna in the R. I. large Ridotto Room for my benefit. Tickets of admission are to be had daily in the Kohlmarkt in the house of Baron v. Haggenmüller, to the right of the court on the ground floor, in the comptoir of Baron v. Pasqualati; parterre 2 fl. gallery 3 fl. Vienna standard. Ludwig van Beethoven. Mälzel saw, therefore, that the objects for which he had sacrificed the “Battle,” for which he had lost so many precious weeks and had spent so much labor and pains, were accomplished in so far as Beethoven’s new works were now the subjects of general interest and curiosity, and their repeated performance to large and profitable audiences was secured. To his courage and sagacity this was wholly due. It is thoroughly unjust to deny or ignore the value of his services. What his feelings were now, to find himself deprived of all share in the benefit resulting from them, and therefore left without compensation, may readily be conceived. His Mechanical Trumpeter was necessarily discarded with himself, and Beethoven had to find something to take its place on the programme. Hence this note (in December) to Moritz Lichnowsky: