Rellstab had had it in mind to write an opera-book for Weber and had pondered over many subjects, and he now gave a list of these to Beethoven--“Attila,” “Antigone,” “Belisarius,” “Orestes” and others. Beethoven read the names thoughtfully and then apologized for the trouble he was causing his visitor. Rellstab, seeing an expression of weariness in his face, took his departure, after saying that he would send him a specimen of his handiwork. In a Conversation Book used in the middle of April there is further talk between Rellstab and Beethoven about opera, but the notes, which are fragmentary, give no indications of Beethoven’s views. The most interesting incident of the meetings occurred at a subsequent visit. Rellstab had told that he had been deeply moved (he dared not express a more specific opinion on the subject, being in doubt himself) by the Quartet in E-flat, which he had heard performed twice in succession.[135] He continues: Beethoven read and remained silent; we looked at each other mutely, but a world of emotions surged in my breast. Beethoven, too, was unmistakably moved. He arose and went to the window, where he remained standing beside the pianoforte. To see him so near the instrument gave me an idea which I had never before dared to harbor. If he--Oh! he needed only to turn half way around and he would be facing the keyboard--if he would but sit down and give expression to his feelings in tones! Filled with a timid, blissful hope, I approached him and laid my hand upon the instrument. It was an English pianoforte by Broadwood. I struck a chord lightly with my right hand in order to induce Beethoven to turn around; but he seemed not to have heard it. A few moments later, however, he turned to me, and, seeing my eyes fixed upon the instrument he said: “That is a beautiful pianoforte! I got it as a present from London. Look at these names.” He pointed to the cross-beam over the keyboard. There I saw several names which I had not before noticed--Moscheles, Kalkbrenner, Cramer, Clementi, Broadwood himself.... “That is a beautiful gift,” said Beethoven looking at me, “and it has such a beautiful tone,” he continued and moved his hands towards the keys without taking his eyes off me. He gently struck a chord. Never again will one enter my soul so poignant, so heartbreaking as that one was! He struck C major with the right hand and B as a bass in the left, and continued his gaze uninterruptedly on me, repeated the false chord several times in order to let the sweet tone of the instrument reverberate; and the greatest musician on earth did not hear the dissonance! Whether or not Beethoven noticed his mistake I do not know; but when he turned his head from me to the instrument he played a few chords correctly and then stopped. That was all that I heard from him directly.