“Fidelio.” To Beethoven. The performance in Prague under my direction of this mighty work, which bears testimony to German grandeur and depth of feeling, gave me an intimacy, as inspiring as it was instructive, with the essence through which I hope to present it to the public in its complete effectiveness here, where I have all possible means at my command. Every representation will be a festival day on which I shall be privileged to offer to your exalted mind the homage which lives in my heart, where reverence and love for you struggle with each other. Weber had received the score of the opera on April 10 from Beethoven, who had to borrow it from the Kärnthnerthor Theatre, whose musical archives were in the care of Count Gallenberg. Through Schindler, Gallenberg sent word to Beethoven that he would send the score, provided two copies were on hand; if not, he would have a copy made. Schindler, reporting the message to Beethoven, adds that Gallenberg had said he thought Beethoven himself had the score: “But when I assured him that you did not have it he said that its loss was a consequence of your irregularity and many changes of lodgings.”[94] Nevertheless, Weber got the score and after fourteen rehearsals the representation took place with great success. Von Könneritz, Director-General of the Royal Chapel, reported the triumph to Beethoven and sent Beethoven a fee of 40 ducats. Beethoven in acknowledging receipt on July 17 is emboldened “by the account which my dear friend Maria Weber gives me of the admirable and noble motives of Your Excellency” to ask his intercession with the Saxon court in behalf of the Mass in D, as has already been recorded in this chapter.