[53] The Trio in E-flat was not published until 1797. It is therefore obvious that the music which Abbé Dobbeler carried with him to England must have been a manuscript copy. Dr. Deiters, accepting without attempt at contradiction Thayer’s proof of its origin at a period not later than 1792, nevertheless puts forth the conjecture that the work may have been revised and reconstructed at a later date in Vienna, as was the case with other compositions. It is not to be supposed, he urges, that Beethoven, enjoying the celebrity that he did in 1797, would have published then with an opus number a production of his youth without first subjecting it to a thorough revision. Moreover, his earlier chamber compositions were in three movements, the minuet having been added for the first time in the Octet. It was scarcely conceivable that he should have simultaneously conceived a work in six movements unless he had had a Mozart model in his mind. But why not? We have seen from the story of the music admired at the court of Vienna from which the Elector came that the serenade form was in favor there. The Sonata for Pianoforte and Violoncello which Artaria announced in May, 1807, is an arrangement of this Trio, but it was not made by Beethoven. [54] Josef Hellmesberger, of Vienna, completed the movement, utilizing the existing _motivi_, and the piece was published by Friedrich Schreiber. [55] Dr. Deiters points out as characteristics of this Trio which indicate that it was not written by Beethoven at the age of 15, but long after the pianoforte quartets, the freedom in invention and development, the large dimensions of the free fantasia portion, its almost imperceptible return to the principal theme, and the introduction of a coda in the first movement. _Motivi_ from this movement recur in later works, for instance, the Sonata in F minor, Op. 2, and the Pianoforte Concerto in C major. Beethoven seems to have used the designation “Scherzo” in it for the first time. [56] The combination of instruments in this piece led Dr. Deiters to conjecture that it may have been composed for the family von Westerhold. Count von Westerhold played the bassoon, his son the flute, and his daughter the pianoforte. [57] Dr. Deiters points out that Thayer, in transcribing the themes of this Trio, overlooked a _Largo_, which made the movements number four instead of three as given in the Chronological Catalogue. The existence of four movements added to the doubtful authenticity in the eyes of the German editor.