There are a few other compositions brought to light by Nottebohm and Mandyczewski, which call for notice. No. 299, Series XXV (Supplement), B. and H. Complete Works, is an Allegretto in C minor, 3/4 time; No. 295 a Bagatelle, also in C minor 3/4, Presto, sketches for which are associated with those for the C minor Sonata, Op. 10, No. 1. From the remark: “Very short minuets to the new sonatas. The Presto remains for that in C minor,” written about this time Nottebohm concludes that this Bagatelle was conceived as an intermezzo in the C minor Sonata, and that, possibly, the Allegretto had a similar origin.[81] A unique place among Beethoven’s early works is occupied by the two pieces for mandolin with pianoforte accompaniment first published in the Complete Edition. Thayer, who knew of the sketches at Artaria’s, but seems not to have seen the composition recovered by Nottebohm, which is called Sonatine, associated Beethoven’s purpose with Krumpholz, who was a virtuoso on the mandolin; but Mylich, Amenda’s student companion, may have been in the composer’s mind. The fact that no compositions for orchestra save the dances for the Redoutensaal, to be referred to presently, have been preserved, is not to be taken as conclusive evidence that Beethoven did not venture into the field of orchestral music in the Bonn and early Vienna days. Such an assertion is less likely to be made now than before the discovery of the two Imperial cantatas of 1790. Moreover, Mr. Shedlock’s extracts from the Kafka sketchbook in the British Museum show that Beethoven tried his youthful hand at a symphony. Among the earliest of the sketches there is one in C minor marked “Sinfonia,” which begins as follows: [Illustration] THE “JENA” SYMPHONY AND SOME DANCES Nottebohm notes the theme also in his “Zweite Beethoveniana” (p. 577). Shedlock’s contention that out of this theme grew the second movement of the first Pianoforte Quartet (composed in 1785) is incontestable. The symphonic sketch is therefore of earlier date than 1785. In 1909, Prof. Fritz Stein, Musical Director of the University of Jena, announced that in the collection of music of the Academic Concerts, founded in 1780, he had discovered the complete parts of a symphony in four movements in C “par Louis van Beethoven.” These words are in the handwriting of the copyist on the second violin part; on the ’cello part is written: “Symphonie von Beethoven.” Dr. Hugo Riemann,[82] after a glance through the score prepared by Prof. Stein and put at his disposal, gave it as his opinion that the symphony might well be a composition by Beethoven. Thematically, he says it suggests partly the Mannheim school, partly Haydn; the instrumentation is nearer Mozart than Stamitz or Cannabich.