The works actually performed were the first and second Symphonies, the Pianoforte Concerto in C minor and “Christus am Ölberg”; some others, according to Ries, were intended, but, owing to the length of the concert, which began at the early hour of six, were omitted in the performance. As no copy of the printed programme has been discovered, there is no means of deciding what these pieces were; but the “Adelaide,” the ~Scena et Aria~ “Ah, perfido!” and the trio “Tremate, empj, tremate,” suggest themselves, as vocal pieces well fitted to break the monotony of such a mass of orchestral music. It seems strange--knowing as we do Beethoven’s vast talent for improvisation--that no extempore performance is reported. “The symphonies and concertos,” says Seyfried, “which Beethoven produced for the first time (1803 and 1808) for his benefit at the Theater-an-der-Wien, the oratorio, and the opera, I rehearsed according to his instructions with the singers, conducted all the orchestral rehearsals and personally conducted the performance.”[2] The final general rehearsal was held in the theatre on the day of performance, Tuesday, April 5. On that morning, as was often the case when Beethoven needed assistance in his labors, young Ries was called to him early--about 5 o’clock. “I found him in bed,” says Ries, “writing on separate sheets of paper. To my question what it was he answered, ‘Trombones.’ At the concert the trombone parts were played from these sheets. Had the copyist forgotten to copy these parts? Were they an afterthought? I was too young at the time to observe the artistic interest of the incident; but probably the trombones were an afterthought, as Beethoven might as easily have had the ~uncopied parts as the copied~.” The correspondent of the “Zeitung für die Elegante Welt” renders a probable solution of Ries’s doubt easy. He found the music to the “Christus” to be “on the whole good, and there are a few admirable passages, an air of the ~Seraph~ with trombone accompaniment in particular being of admirable effect.” Beethoven had probably found the aria “Erzittre, Erde” to fail of its intended effect, and added the trombone on the morning of the final rehearsal, to be retained or not as should prove advisable upon trial.[3] Ries continues: [Sidenote: PRODUCTION OF “THE MOUNT OF OLIVES”]