A curious instance of a misprint which by many admirers of Beethoven has been accepted as a beautiful inspiration occurs in the scherzo of his C minor Symphony. To dispel all doubt of its being a misprint, Mendelssohn caused the publishers of the Symphony to make known a letter addressed to them by Beethoven in the year 1810, in which he says: "The following mistake I still find in the C minor Symphony, namely, in the third piece, in 3/4 time, where, after C major, the minor key recommences. It stands thus (I take at once the bass part):-- [Music] The two bars marked with * are redundant, and must be struck out; of course, also in all the other parts which have rests." A reference to the manuscript in the possession of the publishers revealed how the two superfluous bars had crept in. Beethoven had originally intended that the entire scherzo, with the trio, should be repeated, and then be concluded by the coda. He had marked in the manuscript the two superfluous bars with 1, and the two following ones with 2, and had written with a red pencil, "_Si replica con trio allora 2_," which the engraver had not exactly understood. As also the written parts for the instruments, which were used at the first performance of the C minor Symphony in Vienna, under Beethoven's direction, do not possess those two bars, there remains not the least doubt that they were never intended by the composer to be where they are now found to the delight of many enthusiastic admirers of Beethoven. A misprint in Beethoven's 'Sinfonia Pastorale' (which Schumann points out in his 'Gesammelte Schriften,' Vol. IV.) is almost too evident to be left uncorrected, even by those who find it beautiful. In the second part of the first movement, where the theme recommences, with the accompaniment of triplets, the score has the following notations:-- [Music]