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Now that the Mass was completed he began to give his attention to other works. To celebrate the opening of the rehabilitated Josephstadt theatre which occurred in the autumn of 1822, Beethoven wrote a new overture, Weihe des Hauses. He also worked over for this occasion his Ruins of Athens, written in 1812, for which the text was altered to suit the new conditions and several new numbers added.
The programme consisted of the Overture Weihe des Hauses, as well as the Kyrie, Credo and Agnus Dei of the Mass in D, and the Ninth Symphony. The solo parts were taken by Madame Sontag and Fräulein Unger, who protested more than once at the unsingable nature of some of the parts in the Choral Finale when practising them at Beethoven's house. The applause from the very beginning was phenomenal.
We are told that Spohr had been reading a volume of poems which his deceased friend Pfeiffer had left behind him, when he alighted on "Die Weihe der Tone," and the words delighted him so much that he thought of using them as the basis of a cantata. But he changed his purpose, and finally decided to delineate the subject of the poem in orchestral composition.
They are rehearsing Spohr's symphony, "Die Weihe der Toene," with Schumann's "Manfred" overture, and Beethoven's sublime "Leonora," for their first concert, and will do much for classical music by their four concerts. In Boston, in spite of our broken and disorganized condition, we have ten or a dozen Symphony concerts in a winter.
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