Madame Marie Pachler-Koschak, with whom Beethoven had spent many happy moments in 1817, was among those who took the waters at Baden in the summer of 1823, but we are told she searched for him in vain, a fact which shows in what seclusion he must have dwelt some of the time at least. She was more fortunate when she returned in September to complete her cure; and when she left Baden she carried with her an autographic souvenir--a setting of “The beautiful to the good,” the concluding words of Matthison’s “Opferlied” which he had in hand in this year. Towards the close of October Beethoven returned to Vienna. We know the date approximately from Benedict’s account, the first performance of “Euryanthe” having taken place on October 25. He removed to new lodgings in the Ungarstrasse, where his nephew remained with him as long as he continued a student at the university. Here he worked at the Ninth Symphony, more particularly on the last movement. The exact chronological order in which works were taken up in 1823 cannot be recorded here. Matthison’s “Opferlied” was taken up several times--in 1794, then in 1801 and 1802; finally in 1822 and 1823. In its last stages he extends its dimensions, adds the refrain for chorus and an orchestral accompaniment.[99] Beethoven had offered it to Peters in February, 1823, though at that time he described its accompaniment as being for two clarinets, horn, viola and violoncello, so that the violins and bassoon were added later. Why Peters did not publish the song is not known; the manuscript does not seem to have been returned to Beethoven. Nottebohm concludes that two or more versions were made in 1822 and 1823 (possibly as late as 1824), and that the final form was that known as Op. 121b. On April 9, 1825 (“Notizen,” p. 161), a letter was written to Ries which said: “You will soon receive a second copy of the ‘Opferlied,’ which mark as corrected by me so that the one which you already have may not be used. Here you have an illustration of the miserable copyist whom I have, since Schlemmer died. You can depend on scarcely a note.” A sketchbook analyzed by Nottebohm,[100] which contains sketches made at different times bound up with sketches for the last quartets made in 1824, shows sketches for a pianoforte sonata for four hands, the Ninth Symphony, the Mass in C-sharp minor, a fugue on B-a-c-h, and the “Bundeslied,” besides the latest form of the “Opferlied” but not wholly like the printed edition. The impetus to the C-sharp minor mass came in 1823 and the other sketches in all likelihood were made in the same year. It is therefore to be concluded that he worked on the new “Opferlied” in 1823 and possibly carried it over to the early part of 1824. Beethoven owed money to his brother and offered the song as Johann’s property, in a letter of November 1824, to Schott and Sons, who published it in 1825; but he made alterations by letter as late as May 7, 1825. Schindler’s statement that the two