The _Gavotte_ was played at a concert of the Beethoven Association in New York in January, 1920, by Madame Samaroff and Harold Bauer, being inserted as a movement in the Sonata in A major for four hands, Op. 6. Mr. Bauer also made an arrangement for two hands which has been published by G. Schirmer. [61] The discoveries which have been made since Thayer wrote his first volume have very effectually disproved the old belief touching the sterility of the Bonn period. The inquiry which might still be pursued now is whether or not other compositions which have been attributed to a later period may not also have been composed, or at least projected and sketched, in Bonn. The point of view has changed, but what Thayer wrote over half a century ago is still so largely pertinent that it is here given in the body of the text with only such modifications as were necessary to bring it into harmony with the rest of the chapter. [62] Thayer proceeds from this point to give the reasons for his belief that the Trios Op. 1 and 3 were written in Bonn. The origin of Op. 1 will be discussed hereafter; that of the latter has just been made clear by the story of Mrs. Bowater and Abbé Dobbeler. Chapter XI Beethoven in Vienna--Personal Details--Death of His Father--Minor Expenditures and Receipts--Studies with Albrechtsberger and Salieri. BEETHOVEN SETTLES DOWN IN VIENNA It would be pleasant to announce the arrival of Ludwig van Beethoven in Vienna with, so to speak, a grand flourish of trumpets, and to indulge the fancy in a highly-colored and poetic account of his advent there; but, unluckily, there is none of that lack of data which is favorable to that kind of composition; none of that obscurity which exalts one to write history as he would have it and not as it really was. The facts are too patent. Like the multitude of studious youths and young men who came thither annually to find schools and teachers, this small, thin, dark-complexioned, pockmarked, dark-eyed, bewigged young musician of 22 years had quietly journeyed to the capital to pursue the study of his art with a small, thin, dark-complexioned, pockmarked, black-eyed and bewigged veteran composer. In the well-known anecdote related by Carpani of Haydn’s introduction to him, Anton Esterhazy, the prince, is made to call the composer “a Moor.” Beethoven had even more of the Moor in his looks than his master. His front teeth, owing to the singular flatness of the roof of his mouth, protruded, and, of course, thrust out his lips; the nose, too, was rather broad and decidedly flattened, while the forehead was remarkably full and round--in the words of the late Court Secretary, Mähler, who twice painted his portrait, a “bullet.”