Another family in which Beethoven was received on the footing of a friend was that of Appellate Councillor Kanka. Both father and son were dilettante composers and instrumental players--the father on the violoncello, the son on the pianoforte. Gerber gives them a place in his Lexicon. “Miss Jeanette” (the daughter), says the eulogistic Schönfeld, “played the pianoforte with great expression and skill.” The son adopted his father’s profession, became a distinguished writer on Bohemian law, and in later years did Beethoven good service as legal adviser. There is in the Artaria collection, a thick fascicle of sketches and musical fragments from Beethoven’s hand in which papers from the Bonn period down to the close of the century are stitched together in such disorder as to show that they were thus joined merely for preservation. One sheet of mere sketches bears, if correctly deciphered, this inscription: “Written and dedicated to Gr. C. G. as a souvenir of his stay in P.” On the fourth page of the sheet stands “these 4 Bagtalles by B.” with something more illegible. May not some yet unknown composition of Beethoven be still in the possession of the family Clam-Gallas? Count Christian and his two daughters are numbered by Schönfeld among the fine pianoforte players of Prague, and these few notices exhaust the information obtained upon this visit of Beethoven there. His next appearance is in Berlin. No record has been found of the proposed visit to either Dresden or Leipsic, although his journey, it would seem, must have taken him through the Saxon capital. INCIDENTS OF A VISIT TO BERLIN In after years he was fond of talking about his sojourn in Berlin, and some particulars have thus been preserved. “He played,” says Ries, several times at court (that of King Frederick William II), where he played the two grand sonatas with _obbligato_ violoncello, Op. 5, written for Duport, first violoncellist of the King, and himself. On his departure he received a gold snuff-box filled with Louis d’ors. Beethoven declared with pride that it was not an ordinary snuff-box, but such an one as it might have been customary to give to an ambassador. This king shared his uncle Frederick II’s love for music, while his taste was better and more cultivated. His instrument was the violoncello, and he often took part in quartets and sometimes in the rehearsals of Italian operas. He exerted a powerful and enduring influence for good upon the musical taste of Berlin. It was he who caused the operas of Gluck and Mozart to be performed there and introduced oratorios of Handel into the court concerts. His appreciation of Mozart’s genius, and his wish to attach that great master to his court, are well known; and these facts render credible a statement with which Carl Czerny closes a description of Beethoven’s extemporaneous playing contributed to Cock’s “London Musical Miscellany” (August 2nd, 1852):