[35] In the chapter immediately preceding the present one in the revised German edition of this biography, Dr. Riemann introduces the following: “Through the efforts of Otto Jahn, Gustav Nottebohm and Erich Prieger, it has been made possible measurably to observe the transformations which ‘Fidelio’ underwent between its first production and its publication. The mysterious disappearance (possibly theft) of several scores made it extremely difficult to determine the form in which it was represented--‘Fidelio’ in three acts in 1805, ‘Leonore’ in two acts in 1806, and ‘Fidelio’ in two acts in 1814--the statements touching the omissions and restorations of single numbers being insufficient and not free from contradictions. About 1850, however. Otto Jahn succeeded in putting together a score of the second revision of 1806 from the separate parts; of this he published a vocal score with pianoforte accompaniment towards the close of 1853 through Breitkopf and Härtel. He also gave some hints concerning its variations from the score of 1805. After another half-century Erich Prieger collected the material for a restoration of the work as it was at the first production in 1805, compiled a vocal score and gave it to the public through Breitkopf and Härtel. More than that--he occasioned its performance at the centennial celebration in the Royal Opera House in Berlin.” From Prieger’s preface we take in part the following statements: “In 1807 Breitkopf and Härtel published three numbers from the second revision of 1806--viz: the Trio in E-flat, ‘Ein Mann ist bald gewonnen’ (afterwards elided), the canon quartet, and the duet ‘Gut, Söhnchen, gut’; not until 1810 was a vocal score of the second version published. It came from the press of Breitkopf and Härtel, but was without overtures and finales. The overture in C, No. 3, which was performed with the opera in 1806, was published by Breitkopf and Härtel, also in 1810; the overture in C, No. 2, with which the representation of 1805 began, edited by Otto Jahn, was published by B. and H. at the end of 1853. (It was performed in Leipsic on January 27 of that year.) Nottebohm notes the performance of the four overtures on January 11, 1840, and a publication in 1842; but this refers to the work as disfigured by cuts. The so-called ‘first’ C major overture found amongst Beethoven’s posthumous effects and published by Haslinger as Op. 138 is in reality the first of the series, the one which, according to Schindler’s report (third edition, I, 127), was tried over once at Prince Lichnowsky’s and put aside as too simple, but purchased at once by Haslinger. It is true that Nottebohm discovered sketches for the overture in company with sketches for the symphony in C minor and, from this fact, argued that the overture had been composed between April, 1807, and December, 1808 (see ‘Beethoveniana,’ pp. 60 ~et seq.~): but in his analysis of the sketchbook of 1803, extending from October,