As we entered Beethoven arose from the bed, gave me his hand, poured out his feelings of good-will and respect and at once broached the subject of the opera. “Your work lives here,” said he, pointing to his heart; “I am going to the country in a few days and shall at once begin to compose it. Only, I don’t know what to do with the hunters’ chorus which forms the introduction. Weber used four horns; you see, therefore, that I must have eight; where will this lead to?” Although I was far from seeing the need of such a conclusion I explained to him that without injury to the rest of the book the hunters’ chorus could be omitted, with which concession he seemed to be satisfied, and neither then nor later did he offer any objection to the text or ask that a change be made. He even insisted on closing a contract with me at once. The profits of the opera should be divided evenly between us, etc. I declared to him, and truthfully, that I had not thought of a fee or anything of the kind while at work.... Least of all was it to be the subject of conversation between us. He was to do with the book what he pleased--I would never make a contract with him. After a good deal of talk (or rather of writing, for he could no longer hear speech) back and forth, I took my leave, promising to visit him in Hetzendorf after he had settled himself there. I had hoped that he had given up all thoughts of business in regard to the matter; but a few days later my publisher, Wallishauser, came to me and said that Beethoven insisted upon the execution of a contract. If I could not make up my mind, Wallishauser suggested that I assign the property-right in the book to him and he would arrange with Beethoven, who was already advised of such a step. I was glad to get rid of the business, let Wallishauser pay me a moderate sum, and banished the matter from my thoughts. Whether or not they made a contract I do not know. Otto Jahn’s notes of a conversation with Grillparzer state that Beethoven made a contract with Barbaja, who was the _de facto_ manager of the Kärnthnerthor Theatre, for 6,000 florins, W. W. (2,500 C. M.). Shortly afterward Barbaja abandoned the contract, saying to Beethoven that he knew that though he was bound by it he could not use the opera. Thereupon Beethoven tore up the document. On April 20, 1824, Duport wrote to Beethoven that Barbaja had sent word from Naples that he would like to have an opera by Beethoven and would give time and terms as soon as he received assurance that his contract for the theatre would be extended from December 1. The extension was not granted. Schindler denied that a contract between manager and composer ever existed. Grillparzer kept his promise to visit Beethoven at Hetzendorf, going thither with Schindler. Part of his account may best be given in his own words: