To these airs must be added a considerable number of songs as fruits of Beethoven’s creative labors in Bonn. The first of these, “Ich, der mit flatterndem Sinn,” was made known by publication in the Complete Works. A sketch found among sketches for the variations on “Se vuol ballare,” led Nottebohm to set down 1792 as the year of its origin. Of the songs grouped and published as Op. 52 the second, “Feuerfarbe,” belongs to the period of transition from Bonn to Vienna. On January 26, 1793, Fischenich wrote to Charlotte von Schiller: “I am enclosing with this a setting of the ‘Feuerfarbe’ on which I should like to have your opinion. It is by a young man of this place whose musical talents are universally praised and whom the Elector has sent to Haydn in Vienna. He proposes also to compose Schiller’s ‘Freude,’ and indeed strophe by strophe. Ordinarily he does not trouble himself with such trifles as the enclosed, which he wrote at the request of a lady.” From this it is fair to conclude that the song was finished before Beethoven’s departure from Bonn. Later he wrote a new postlude, which is found among _motivi_ for the Octet and the Trio in C minor. Of the other songs in Op. 52 the origin of several may be set down as falling in the Bonn period. That of the first, “Urian’s Reise um die Welt,” we have already seen. Whether or not these songs, which met with severe criticism in comparison with other greater works of Beethoven, were published without Beethoven’s knowledge, is doubtful.[51] Probability places the following songs in the period of transition, or just before it: “An Minna,” sketched on a page with “Feuerfarbe,” and other works written out in the early days of the Vienna period; a drinking-song, “to be sung at parting,” “Erhebt das Glas mit froher Hand,” to judge by the handwriting, an early work, presumably _circa_ 1787; “Elegie auf den Tod eines Pudels”; “Die Klage,” to be placed in 1790, inasmuch as the original manuscript form appears simultaneously with sketches of the funeral cantata; “Wer ist ein freier Mann?”, whose original autograph in the British Museum bears the inscription “ipse fecit L. v. Beethoven,” and must be placed not later than 1790, while a revised form is probably a product of 1795, and to a third Wegeler appended a different text, “Was ist des Maurer’s Ziel?” published in 1806; the “Punschlied” may be a trifle older; the autograph of “Man strebt die Flamme zu verhehlen,” in the possession of the Gesellschaft der Musikfreunde, which has been placed in the year 1792, bears in Beethoven’s handwriting the words “pour Madame Weissenthurn par Louis van Beethoven.” Madame Weissenthurn was a writer and actress, and from 1789 a member of the company of the Burgtheater in Vienna, and it is more than likely that Beethoven did not get acquainted with her till he went to Vienna, although she was born on the Rhine.