3. Variations on the arietta “Venni Amore,” by Righini, in D major--“Venni Amore,” not “Vieni”; the arietta begins: “Venni Amore nel tuo regno, ma compagno del Timor.” Righini gave his melody a number of vocal variations. Beethoven republished his in Vienna in 1801 through Traeg (Complete Works, Series 17, No. 178); composed about 1790 and published in Mannheim in 1791. They were inscribed to Countess Hatzfeld (_née_ Countess de Girodin), who has been praised in this book as an eminent pianist. The story of the encounter between Beethoven and Sterkel in which these variations figure has also been told. Beethoven had a good opinion of them; Czerny told Otto Jahn that he had brought them with him to Vienna and used them to “introduce” himself. PIANOFORTE VARIATIONS AND A SONATA Two books of variations are to be adjudged to the Bonn period because of their place of publication and other biographical considerations. They are the Variations in A major on a theme from Dittersdorf’s opera “Das rothe Käppchen” (“Es war einmal ein alter Mann”) and the Variations for four hands on a theme by Count Waldstein. Both sets were published by Simrock in Bonn, the first of Beethoven’s compositions published in his native town. They were not published until 1794, but according to a letter to Simrock, dated August 2, 1794, the latter had received the first set a considerable time before, and Beethoven had held back the corrections while the other was already printed. Beethoven’s intimate association with Waldstein in Bonn is a familiar story, but we hear nothing of it in the early Viennese days. The variations on a theme of his own seem likely to have been the product of a wish expressed by the Count. That Beethoven seldom wrote for four hands, and certainly not without a special reason, is an accepted fact.[60] Another presumably Bonnian product which has come down to us only as a fragment is the Sonata in C major for Pianoforte, published in 1830 by Dunst in Frankfort, with a dedication to Eleonore von Breuning. It is probably the sonata which Beethoven, according to the letter to be given presently, had promised to his friend and which was fully sketched at the time. There would be no doubt of the fact that the sonata was written in Bonn if the presumption that the letter was written in Bonn were true; but even as it is, the fact that the letter says that it had been promised “long ago” indicates a pre-Viennese origin. All that is certain is that Eleonore von Breuning received it from Beethoven in 1796. In the copy sent to the publisher eleven measures at the end of the _Adagio_ were lacking. These were supplied by Ferdinand Ries in the manner of Beethoven. There can scarcely be a doubt that Beethoven finished the _Adagio_, and it can be assumed that he also composed a last movement, which has been lost. Concerning the Rondo in C major published in Bossler’s “Blumenlese” of 1783, we have already spoken.[61]