A project which cropped out intermittently during 1823 was the writing of an overture on the musical motive suggested by the letters composing the name of Bach. The thought seems to have become fixed in his mind in 1822, though the device of using as a motive in composition was at least as old as the Leipsic master’s “Art of Fugue,” and no doubt familiar to Beethoven. However, he was deeply engrossed in fugal writing at this period and it is very likely, as Nottebohm suggests, that he conceived an overture on the motive as a tribute to Bach’s genius. Several sketches showing different forms of the theme appear in the books of 1823; and a collateral memorandum, “This overture with the new symphony, and we shall have a concert (_Akademie_) in the Kärnthnerthor Theatre,” amongst sketches for the last quartets in 1825, shows that he clung to the idea almost to the end. Had Beethoven carried out all the plans for utilizing the theme which presented themselves to him between 1822 and 1825, there would have been several Bach overtures; unfortunately, he carried out none. [Sidenote: BEETHOVEN AND THE BOY LISZT] On April 13, 1823, the boy Franz Liszt, who was studying with Carl Czerny and had made his first public appearance on the first day of the year, gave a concert in the small Ridotto room. Together with his father he had been presented to Beethoven by Schindler, but had not been received with any special marks of friendliness. The precocious boy gave expression to the hope that Beethoven would attend his approaching concert.[89] Later in the Conversation Book: Little Liszt has urgently requested me humbly to beg you for a theme on which he wishes to improvise at his concert to-morrow. He will not break the seal till the time comes. The little fellow’s improvisations do not seriously signify. The lad is a fine pianist, but so far as his fancy is concerned it is far from the truth to say that he really improvises (_was Phantasie anbelangt, so ist es noch weit am Tage bis man sagen kann, er phantasiert_). Czerny (Carl) is his teacher. Just eleven years. Do come; it will certainly please Karl to hear how the little fellow plays. It is unfortunate that the lad is in Czerny’s hands.--You will make good the rather unfriendly reception of recent date by coming to little Liszt’s concert?--It will encourage the boy.--Promise me to come. Did Beethoven attend the concert, and did he afterwards go upon the stage, lift up the prodigy and kiss him? So the world has long believed on the authority of Nohl,[90] who got the story from Liszt himself. Schindler ought to be a good witness in this case, since he pleaded the cause of the little lad before his great friend; but unfortunately Schindler in this instance gives testimony at one time which he impeaches at another. In the second edition of his “Biography of Beethoven” (Münster, 1845, second appendix, page 71, note) he says: