Mose came to be performed in several more places, and finally also in Berlin. The Singakademie had provided the chorus, and its directors at that time, Rungenha-gen and Grell, provided me the most welcome assistance. King Frederick William IV had (if I am correctly informed, at the recommendation of Meyerbeer) authorized the Royal Chapel as the orchestra. In spite of this the performance was extremely deficient, and the success insignificant. The guilt was no one's, but rather the circumstances. For the jubilee of F. Schneider, according to the wishes of the Queen, one of his oratorios, one of the Greek tragedies (Oedipus, I believe was to be performed in Potsdam, while at the same time in Berlin an opera of Gluck was to be prepared. The orchestra traveled back and forth between Berlin and Potsdam almost every day, from one rehearsal to the other; at the same time the Singakademie had more than one commitment to deal with. And the solo singers also found themselves hindered and exhausted in the press of all these demands. And so a careful level of study, and sufficient rehearsals were not to be achieved; indeed, it even came to the point that not even a single complete dress rehearsal could be held.

My last joy in the work was something I had to thank Franz Liszt for, and once again, without my involvement. First I received a verbal greeting from him from Weimar, with the information that he wanted to perform Mose there. Uncertain whether this was a serious decision, I did not reply. Soon thereafter, however, the formal written request arrived.

I had met Franz Liszt in the unforgettable days, when he visited Berlin as a virtuoso, and in a series of concerts, which he could have easily multiplied by a factor of ten, put Berlin into an ecstasy, which, before or after, it had never seen the like of.