Turn we again to the Theater-an-der-Wien, for a new contract has been made with Beethoven, by which his operatic aspirations and hopes are again awakened, with a better prospect of their gratification. At the end of August Sonnleithner retired from the direction and Baron Braun took the extraordinary step of reinstating his former rival and enemy, Schikaneder--a remarkable proof of the Baron’s high opinion of his tact and skill in the difficult business of management. When one calls to mind the extraordinary praises which have been bestowed upon Baron Braun for his supposed patronage of Beethoven, it is worth noting, as a coincidence if nothing more, that now when Schikaneder finds himself in a strait for novelty and new attractions for his stage, the project of appealing to Beethoven’s genius is revived. Before proceeding, a word upon Sonnleithner and Treitschke may be permitted. [Sidenote: SONNLEITHNER AND TREITSCHKE] The eldest son, born 1765, of Christoph Sonnleithner, Doctor of Laws and Dean of the Juridical Faculty at Vienna, Joseph Ferdinand by name, was educated to his father’s profession, and early rose to the positions of Circuit Commissioner and Royal Imperial Court Scrivener (~Kreis-Kommissär und K. K. Hof-Concipist~). All the Sonnleithners, from Dr. Christoph down to the excellent and beloved representative of the family, Leopold, his grandson who died in 1878, have stood in the front ranks of musical dilettanti, as composers, singers, instrumental performers and writers on topics pertaining to the art. Joseph Ferdinand was no exception. He gave his attention particularly to musical and theatrical literature, edited the Court Theatre Calendars, 1794-5, so highly lauded by Gerber, and prepared himself by appropriate studies to carry out Forkel’s plan of a “History of Music in Examples,” which was to reach the great extent of 50 volumes, folio. To this end he spent nearly three years, 1798-1802, in an extensive tour through northern Europe making collections of rare, old music. Upon his return to Vienna, resigning this project again into the hands of Forkel, he became one of the earliest partners, if not one of the founders, of the publishing house known as the “Kunst- und Industrie-Comptoir” (Bureau d’Arts et d’Industrie), of which Schreyvogel was the recognized head. The latter had been appointed Secretary of the Court Theatre in 1802, but resigned, and, on February 14, 1804, Sonnleithner “was appointed, and on this account was most honorably retired from his former post as Court Scrivener.” On what grounds he has been called an “actor” (~Schauspieler~) is unknown.