Jahn’s statement by saying that Czerny had repeatedly related as an unimpeachable fact that some time after the first performance of the Symphony Beethoven, in a circle of his most intimate friends, had expressed himself positively to the effect that he perceived that he had made a mistake (_Misgriff_) in the last movement and intended to reject it and write an instrumental piece in its stead, for which he already had an idea in his head. What that idea was the reader knows. That Beethoven may have had scruples touching the appropriateness of the choral finale, is comprehensible enough in view of the fact that the original plan of the Symphony contemplated an instrumental close and that Beethoven labored so hard to establish arbitrarily an organic union between the ode and the first three movements; but it is not likely that he gave long thought to the project of writing a new finale. He had witnessed the extraordinary demonstration of delight with which the whole work had been received and he may have found it as easy as some of his commentators to believe that his device for presenting the choral finale as the logical and poetically just outcome of the preceding movements had been successful despite its obvious artificiality. [Sidenote: PREPARING FOR THE FIRST PERFORMANCE] For the chief facts in the story of the first performance of the D minor Symphony in Vienna we are largely dependent on Schindler, who was not only a witness of it but also an active agent. Beethoven was thoroughly out of sympathy with the musical taste of Vienna, which had been diverted from German ideals by the superficial charm of Rossini’s melodies. He wanted much to produce his symphony, but despaired of receiving adequate support or recognition from his home public. His friends offered him encouragement, but his fear and suspicion that his music was no longer understood by the Viennese and he no longer admired, had grown into a deep-rooted conviction. The project of a concert at which the Mass in D should be performed had been mooted months before. One day Sontag visited him and asked, “When are you going to give your concert?” We have a record of her speeches only; what Beethoven said must be supplied from the reader’s fancy. It is plain enough that instead of answering the question he expressed a doubt as to a successful financial outcome. “You give the concert,” said the singer, “and I will guarantee that the house will be full.” Still a moody suspicion, which the lady thinks it her right to rebuke: “You have too little confidence in yourself. Has not the homage of the whole world given you a little more pride? Who speaks of opposition? Will you not learn to believe that everybody is longing to worship you again in new works? O obstinacy!” This was in January. Beethoven had inquired of Count Brühl in Berlin whether or not a performance of the new Mass and Symphony might be given in that city, and Brühl had favored the plan.