sent to Beethoven by Count Dietrichstein, that they were contemplated in connection with the mass for the emperor and that possibly after the abandonment of that project they were associated with the Mass in D. Nothing is known of the music which Beethoven had in mind for these additional numbers, but many sketches are lost and there is no knowing how much music which was never written out Beethoven carried in his head.[83] Beethoven spoke of the “second” mass to others besides the publishers. Nothing came of it, however. He decided to postpone work on the mass for the Emperor, pleading the pressure of other obligations in the letters of thanks which he sent to Counts Lichnowsky and Dietrichstein. They and Archduke Rudolph were greatly disappointed and, if Schindler is to be believed, the Archduke and Lichnowsky rebuked him.[84] [Sidenote: CONSIDERATION OF OPERATIC SUBJECTS] In this period, too, the alluring vision of a new opera presented itself, haunted the minds of Beethoven and his friends for a space and then disappeared in the limbo of unexecuted projects. “Fidelio” had been revived on November 3, 1822, at the Kärnthnerthor Theatre. Its success was so great that the management of the theatre offered a commission to Beethoven for a new opera. Beethoven viewed the proposition favorably and his friends hailed it with enthusiasm, especially Count Moritz Lichnowsky. Beethoven’s love for classic literature led him to express a desire for a libretto based on some story of the antique world. He was told that such stories were all worn threadbare. In the Conversation Books we see what suggestions were offered by others: a text by Schlegel; Voltaire’s tragedies; Schiller’s “Fiesco.” Local poets and would-be poets were willing to throw themselves into the breach. Friedrich August Kanne, editor of the musical journal published by Steiner and Co., wrote a libretto which Beethoven sent to Schindler with a note saying that except for the fact that the first act was rather lukewarm it was so admirably written that it really did not require the collaboration of “one of the first composers,” adding, “I do not want to say that it is just the most suitable thing for me, but if I can rid myself of obligations to which I am bound, who knows what might--or will--happen!” Lichnowsky tells Beethoven in February that he is determined to see Grillparzer, with whom he evidently wants to talk about an opera-book on “Macbeth” or “Romeo and Juliet.” Brother Johann brings Beethoven a proposition from Johann Sporchil, historian and publicist, and Sporchil, receiving encouragement, submitted a work act by act to the composer, who wrote comments on the manuscripts but never did more.[85] Lichnowsky hears of an opera on “Alfred the Great,” said to be very beautiful and full of spectacular pomp. He will bring it to the composer in a few days. The Count has also written to Grillparzer, and Beethoven, recalling that he is an old acquaintance, resolves to visit him.