A second concert had been contemplated from the outset, or at least since the opening of negotiations with Palfy. Schindler says that Duport offered to pay all expenses and guarantee 500 florins Convention Coin (1200 florins Vienna Standard) with the understanding that the profits should be divided equally between Beethoven and the exchequer of the theatre. But he wanted a change made in the programme. To this change, obviously designed as a concession to the popular taste, Beethoven seems to have given his consent. The concert took place on Sunday, May 23rd, at midday--half-past 12 o’clock. Of the missal hymns only one, the _Kyrie_, was performed; between the overture and it Beethoven’s trio, “Tremate, empj, tremate,” was sung by Madame Dardanelli and Signori Donzelli and Botticelli. The original solo singers sang in the _Kyrie_ and the Symphony, which numbers were separated by Rossini’s “Di tanti palpiti” in a transposed key sung by the tenor David “almost throughout in a falsetto voice.” Schindler says that Sontag also sang her favorite _aria di bravura_ by Mercadante, but of this number there is no mention on the _affiche_. The delightful weather lured the people into the open air, the house was not half full and there was, in consequence, a deficit of 800 florins. Nor was the popular demonstration of enthusiasm over the music so great as at the first concert, and Beethoven, who had not favored the repetition, was so disheartened that he was with difficulty persuaded to accept the 500 florins which Duport had guaranteed to him. He was also vexed to find his old trio announced as a novelty (it was composed more than twenty years before and had been performed in 1814), and so was Tobias Haslinger, who had bought but had not published it. Moreover, Haslinger had been overlooked in the distribution of complimentary tickets. Beethoven had to apologize to him for the oversight, which he protested was due to an inadvertence, and also to explain that the announcement of the trio as a new work was of Duport’s doing, not his. FOOTNOTES: [106] Page 157 _et seq._ [107] There are several stories touching the origin of the fugue-theme of the Scherzo of the D minor symphony, which may be given for what they are worth. Czerny says that the theme occurred to Beethoven while listening to the twittering of sparrows in a garden. Holz told Jahn that one evening Beethoven was seated in the forest at Schönbrunn and in the gloaming fancied he saw all about him a multitude of gnomes popping in and out of their hiding-places; and this stirred his fancy to the invention of the theme. Another story has it that it flashed into his mind with a sudden outbursting glitter of lights after he had long been seated in the dark. [108] “Sinfonie at the beginning only 4 voices, 2 viol. viola, basso, amongst them forte with other voices and if possible bring in all the other instruments one by one and gradually.” [109] Nottebohm fills the hiatus with “Trombones? Subjects?”