The overture was written. “The newly organized orchestra of the Josephstadt Theatre did not receive it till the afternoon before the opening, and with innumerable mistakes in every part. The rehearsal which took place in the presence of an almost filled parterre, scarcely sufficed for the correction of the worst of the copyist’s errors.” The overture and chorus written for “The Consecration of the House” are “occasionals” and were conceived and wrought out in a remarkably short time for that period in Beethoven’s activities. The first was offered for publication to Steiner and, with other pieces, to Diabelli. The negotiations failed and the overture finally appeared from the press of Schott in 1825, with a dedication to Prince Galitzin. [Sidenote: OPENING OF THE JOSEPHSTADT THEATRE] The performance of “The Consecration of the House” took place as projected, on October 3, the eve of the Emperor’s name-day. All of the 400 reserved seats and 14 boxes had been sold several weeks before. Beethoven had reserved the direction for himself and sat at the pianoforte, the greater part of the orchestra within view, his left ear turned towards the stage. He was still able to hear a little with that ear, as we know from the fact related by Schindler, that he was fond of listening to Cherubini’s overture to “Medea” played by a musical clock which stood in a restaurant adjoining the Josephstadt Theatre. Chapelmaster Franz Gläser stood at his right, and Schindler, who had recently abandoned the law, led the first violins. At the dress rehearsal Fanny Heckermann sang timidly and dragged perceptibly in the duet. Beethoven observed this and called the singer to him, pointed out the places in which he wanted more animation, spoke some words of encouragement and advised her to follow the tenor, who was an experienced singer. He then had the number repeated and on its conclusion remarked: “Well done, this time, Fräulein Heckermann!” The tenor was Michael Greiner, with whom Beethoven was acquainted, from Baden, and Fräulein Kaiser sang the part of _Pallas_. The rehearsal and the performance demonstrated plainly, Schindler says, that under no circumstances was Beethoven able longer to conduct large bodies of performers. The representation, despite the enthusiasm of the performers, stimulated by Beethoven’s encouraging speeches, was not a success. Beethoven would take none of the fault to himself, however, though his anxiety led him to hold back the music despite the exertions of his two leaders, whom he admonished against too much precipitancy, of which Schindler protests they were not guilty. There were demonstrations of enthusiasm at the close and Beethoven was led before the curtain by Director Hensler. The work was repeated on October 4, 5 and 6. Beethoven’s friendly feeling for Hensler gave rise to a new orchestral composition a few weeks later. The members of the company paid a tribute to their director on his name-day, November 3.