They were renewed the present winter, and new performances of Beethoven’s first two Symphonies, and the Concerto in C minor (Op. 37)--pianoforte part by Ries[29]--prepare the way for the production of “an entirely new symphony”--“a long composition extremely difficult of performance, in reality, a tremendously expanded, daring and wild fantasia”; wanting “nothing in the way of startling and beautiful passages, in which the energetic and talented composer must be recognized; but often it loses itself in lawlessness”; the writer “belongs to Herr van Beethoven’s sincerest admirers, but in this composition he must confess that he finds too much that is glaring and bizarre, which makes a survey too difficult; and the principle of unity is almost wholly lost sight of.” It was the “Sinfonia Eroica”--its first semi-public production. Its first really public performance was in the Theater-an-der-Wien, on Sunday evening, April 7th, where it began the second part of a concert given for his own benefit by Clement. The programme announces it thus: “A new grand symphony in D-sharp by Herrn Ludwig van Beethoven, dedicated to his Serene Highness Prince Lobkowitz. The composer has kindly consented to conduct the work.” [Sidenote: PUBLIC PERFORMANCE OF THE “EROICA”] Czerny remembered, and told Jahn, that on this occasion “somebody in the gallery cried out: ‘I’ll give another kreutzer if the thing will but stop!’” This is the key-note to the strain in which the Symphony was criticized in communications to the press, that are now among the curiosities of musical literature. The correspondent of the “Freymüthige” divided the audience into three parties.