\section{Ludwig van Beethoven} Ludwig van Beethoven (1770\EnDash{}1826) a composer certainly as famous as Mozart. He was born in Bonn. In 1787, at age 17, he visited Vienna\EmDash{}and met Mozart. In 1792, at age 22, he visited Vienna again\EmDash{}a year after \iftth \begin{html}Kirchgaessner\end{html} \else Kirchgaessner \fi performed Mozart's new works for the armonica and Mozart's death, and a year after \iftth \begin{html}Roellig\end{html} \else Roellig \fi moved to Vienna. In 1794 Beethoven moved to Vienna and made it his 'base of operations' for the rest of his life\EmDash{}as Mozart had before him. Unlike Mozart, there is no evidence that Beethoven was interested at all in the \glassarmonica{}. Its delicate sound, after all, hardly fits with Beethoven's musical aesthetic. %In 1806, when Kirchgaessner performed in Vienna again, Beethoven would have been in the city. Yet a search of his extant letters from 1790 to his death in 1826 yields no mention of either the armonica, Roellig, or Kirchgaessner.[ ??? K\"{o}chel, Beethoven's Letters 1790-1826, Vols. I \& II); 'Project Gutenberg' (http://www.gutenberg.org/etext/13065); performed a text search for 'armonica', 'armonika', 'roellig', 'rollig', and 'kirch'. No mention of either the armonica, Roellig, nor Kirchgesnner. Beethoven did write a small Melodrama for the armonica in 1815, but it would appear that it wasn't important enough to warrant mention in his correspondence.] The \Title{Allgemeine Musikalische Zeitung} for April 1805 \footnote{col. 432} mentions a Kirchgaessner concert (``her last before her departure for Breslau'') and a repetition of a new symphony in D (no. 2) by Beethoven (``performed this time with much greater precision'')\EmDash{}both concerts taking place in Vienna. In 1815 Beethoven was commissioned to write the incidental music (Op.202/WoO 96\iftth\begin{html}—click here for the score\end{html}\fi) for a tragic play written by Friedrich Duncker (the King of Prussia's secretary) called Leonore Prohaska.\footnote{\BrThayer{}, 619} The play ``tells the story of a maiden who, disguised as a soldier, fought through the war of liberation.'' Among the movements for your usual Beethoven orchestra and chorus is a short little ``Melodrama'' for armonica and narrator\EmDash{}at the point in the play when the heroine Leonore is speaking to her true love from beyond the grave. The narration (written by Duncker) is as follows: \begin{verse} I entwined for you\\ Two flowers: one for love, and one for constancy.\\ Alas! All I have for you now are death's flowers!\\ And yet, from the earth on my tomb\\ The lily and the rose bloom anew. \footnote{ Du, dem sie gewanden,\\ es waren dein zwei Blumen f\"{u}r Liebe und Treue.\\ Jetzt kann ich nur Todtenblumen dir weihn.\\ Doch wachsen am meinem Leicherstein\\ Die Lilei und Rose auf's neue. } \end{verse} Due to financial problems the production of the play never occurred, so the piece wasn't performed in Beethoven's lifetime.\TODO{??? verify}