Turn we now to the instrumental works which date back to the Bonn period. The beginning is made with the work which, in a manner, first brought Beethoven into close relationship with the stage--the “Ritterballet,” produced by the nobility on Carnival Sunday, March 6, 1791, and which, consequently, cannot have been composed long before, say in 1790 or 1791. The ballet was designed by Count Waldstein in connection with Habich, a dancing-master from Aix-la-Chapelle. Of the contents of the piece we know nothing more than is contained in the report from Bonn printed three chapters back, namely, that it illustrated the predilection of the ancient Germans for war, the chase, love and drinking; the music, being without words, can give us no further help. It consists of eight short numbers, designed to accompany the pantomime: 1, March; 2, German Song;[52] 3, Hunting Song; 4, Romance; 5, War Song; 6, Drinking Song; 7, German Dance; 8, Coda. It was intended that the music should be accepted as Waldstein’s and, therefore, Beethoven never published it. It seems as if the last year of Beethoven’s sojourn in Bonn was especially influential in the development of his artistic character and ability. Of the works of 1792, besides trifles, there were two of larger dimensions which, if we were not better advised, would unhesitatingly be placed in the riper Vienna period. The autograph of the Octet for wind-instruments, published after the composer’s death and designated at a later date as Op. 103, bears the inscription “Parthia in Es” (above this, “dans un Concert”), “Due Oboe, Due Clarinetti, Due Corni, Due Fagotti di L. v. Beethoven.” From a sketch which precedes suggestions for the song “Feuerfarbe,” Nottebohm concludes that the Octet was composed in 1792, or, at the latest in 1793. In the latter case it would be a Viennese product. It is improbable, however, that Beethoven found either incentive or occasion soon after reaching Vienna to write a piece of this character, and it is significant that in his later years he never returned to a combination of eight instruments. But there was an incentive in Bonn in the form of the excellent dinner-music of the Elector described by Chaplain Junker, which was performed by two oboes, two clarinets, two horns and two bassoons. It may be set down as a fruit of 1792, his last year in Bonn. For the same combination of instruments, Beethoven also composed a Rondino in E-flat, published in 1829 by Diabelli, probably from the posthumous manuscript. From the autograph Nottebohm argued that it was written in Bonn, and what has been said of the origin of the Octet applies also to the Rondino. The autograph of a little duet in G for two flutes bears the inscription: “For Friend Degenharth by L. v. Beethoven. August 23rd, 1792, midnight.”