Well then, it shall appear on the bill to-morrow, Member of the Royal Academies of Stockholm and Amsterdam. Nothing more; that sounds best.--Then it ought to read of Arts and Sciences.--But when one says Roy. Acad. the _epitheton_ Arts and Sciences is understood. In neither of these consultations, which took place two days before the concert, is there any indication that Beethoven objected to the use of the title; on the contrary, he seems to have desired to make it more explicit by the inclusion of the words “Arts and Sciences.” But Schindler relates that when Bernard, in preparing an announcement for the public press, added to Beethoven’s name: “Honorary Member of the Academies of Arts and Sciences at Stockholm and Amsterdam and also Honorary Citizen of the R. I. Capital and Residential City Vienna,” he rebuked the editor severely, not wanting to have such “silly and ridiculous playthings” figure in the announcement. As a matter of fact, all titles were omitted in the affiches of the two concerts, though Otto Jahn found one for the second meeting in the Fuchs Collection which contained them. It would seem that after one had been thus printed it was after all rejected by Beethoven. The rehearsals were now in progress. Dirzka was making good headway with the choruses and was satisfied; Schuppanzigh was holding rehearsals for the strings in the rehearsal-room of the Ridotto; the solo singers were studying under the supervision of Beethoven, sometimes in his lodgings, Umlauf assisting. Accustomed to Rossini’s music, the principal singers found it difficult to assimilate the Beethovenian manner, especially as it is exemplified in the concluding movement of the symphony. They pleaded with the composer for changes which would lighten their labors, but he was adamant. Unger called him a “tyrant over all the vocal organs” to his face, but when he still refused to grant her petitions she turned to Sontag and said: “Well, then we must go on torturing ourselves in the name of God!” The choirmaster requested that the passage in the fugue of the _Credo_ where the sopranos enter on B-flat _in alt_ be altered, because none of the singers could reach the note; but though Umlauf reinforced that argument, a refusal was the only reply. In only one alteration did Beethoven acquiesce;--he changed the concluding passage of the bass recitative, because Preisinger could not sing the high F-sharp; but Preisinger did not sing at all at the concert. The consequences of his obduracy were not realized by Beethoven at the concert, for though he stood among the performers and indicated the tempo at the beginning of each movement he could not hear the music except with his mental ear. The obvious thing happened;--the singers who could not reach the high tones simply omitted them. Duport had allowed two full rehearsals. There was to have been a third, but it was prevented by a rehearsal for a ballet.