At the performances in November, the effect of the overture had been ruined by a passage in the Allegro, which was too difficult for the wood-wind instruments. “Instead of simply removing this obstacle (31 measures),” says Schindler, “Beethoven thought it advisable to rewrite the whole, inasmuch as he was already engaged upon a revision of other parts of the work. He retains the motivi of the Introduction as well as the Allegro, has the motivo of the latter played by violoncellos and violins simultaneously for the sake of greater sonority, and on the existing foundation rears a new structure, including several new thoughts.”[35] [Sidenote: THE OVERTURES TO “FIDELIO”] And thus for Beethoven the winter passed. To compete with successful new works which Schikaneder offered the Vienna audiences of 1806, was no light matter; and it is easy to imagine, that Beethoven felt this, and determined, at all events in his own field of instrumental composition, to leave no doubt who was master. Hence, that monumental work, the great overture to “Leonore” in its second form. He was, as usual, dilatory in meeting his engagements. January and February passed and March drew to its close, and the overture was not ready. This was too much for Baron Braun’s patience. He, therefore, selected the best night of the season--Saturday, March 29, the last before the closing of the theatre for Holy Week and Easter--and gave Beethoven distinctly to understand, that if the opera was not performed on that evening, it should not be given at all. This was effectual and the new score was sent in; but so late, as Röckel well remembered, as to allow but two or three rehearsals with pianoforte and one only with orchestra; and these were directed by Seyfried--the composer appearing at neither. Beethoven and Breuning supposed that a change of title from “Fidelio” to “Leonore” had been agreed to by the directors, and indeed the new text-book and Breuning’s poem on the occasion were so printed; but it was determined otherwise. By the new arrangement of the scenes, the number of acts was reduced to two. The new playbill therefore substitutes “Opera in two Acts” for “three”; excepting this, the change of date, and of Röckel’s for Demmer’s name as ~Florestan~, it is a facsimile of the previous ones, and announces: “Fidelio oder die Eheliche Liebe.” For this determination the directors may well have urged, not only a proper regard for the composer of “Sargino” and the (Italian) “Leonore,” but the manifest impropriety of misleading the public by giving a new title to a work which remained essentially unchanged. As on the original production, Breuning wrote a poem: “To Herr Ludwig van Beethoven, on the occasion of the reproduction of the opera composed by him and first performed on November 20, 1805, now given under the new title ‘Leonore.’” [Sidenote: UNSUCCESSFUL PERFORMANCES]