The letter will be seen, on comparison with that written on the same day to Goethe, to be either a draft for the latter in part or an echo of it. There is the same pun on “geschrieben” and “erschrieben,” the same lament about having to keep his eyes on the ground while desirous to keep them fixed on higher things, the same reference to the value of the Mass for concert purposes in behalf of charity. As this last point is one which would naturally occur to the writer in addressing a musician and not at all naturally in an appeal to a poet, it is safe to say that the Zelter letter was written first. It is an unpleasant duty to call attention to a very significant difference between this letter and the invitation issued to the courts as well as the letter to Goethe. In the latter he distinctly says that the Mass will not be published in the ordinary way “for the present,” thus reserving the privilege of printing it at a future time. To Zelter, and presumably to the Frankfort society, he plainly intimates that there is to be no publication in the ordinary way at all. It is not a violent presumption that Zelter may have observed this discrepancy, which was of vital moment to his society, and that this may have caused the termination of the negotiations, which began auspiciously enough in a letter written by Zelter on February 22 in reply to Beethoven’s. In this letter he said he was ready to purchase the Mass for the Singakademie at his own risk, provided Beethoven would adapt it to the use of the society--that is, arrange it for performance practically without instruments--a proceeding, he explained, which would make it practicable for all similar concert institutions. To this letter Beethoven replied on March 25: I have carefully considered your suggestion for the Singakademie. If it should ever appear in print I will send you a copy without pay. It is true that it might almost be performed _a la capella_, but to this end the whole would have to be arranged. Perhaps you have the patience to do this. Besides, there is already a movement in it which is entirely _a la capella_ and I am inclined to call this style the only true church style. I thank you for your readiness. From such an artist as you are, _with honor_, I would never accept anything. I honor you and desire only an opportunity to prove this to you in deed. There the matter ended, so far as is known. The negotiations with the Frankfort society were more successful. On May 19, 1823, J. N. Schelble, director, wrote saying: The hope of receiving a new composition from you, great master, inspires all the members and reinvigorates their musical zeal. I therefore request you as soon as it is convenient to you to forward a copy of your Mass to me.