Mention of Beethoven’s orchestral dances has already been made. Schindler’s remark that the musicians of Vienna “refused citizenship” to Beethoven’s efforts to write Austrian dance music is discredited, at least so far as Viennese society is concerned, by the success of his dances composed for the Redoutensaal and the very considerable number of his waltzes, ländlers, minuets, écossaises, allemandes and contra-dances which have been preserved. Only the smaller portion of these dances have been included in the Complete Edition of Breitkopf and Härtel. Thus in Series II there are 12 minuets and 12 German dances; in Series XXV (Supplement), 6 “Ländrische Tänze” for two violins and bass, 6 German dances for pianoforte and violin, and, for pianoforte alone, 6 German dances, 6 écossaises and a few miscellaneous dances; in Series XVIII (Small Pieces for Pianoforte) there are 6 minuets and 13 “Ländrische” (1-6 identical with those numbered 7-13 in Series II, but transcribed). There are many dances as yet unpublished. For instance, among the Artaria MSS, purchased by Erich Prieger, there are 12 écossaises, of which 6 are as yet unknown, also 12 “Deutsche” for pianoforte and 6 minuets for two violins and bass, which have never been printed. The three orchestral dances noted by Thayer in the Thematic Catalogue as No. 290, of the Artaria collection, are Nos. 3, 9 and 11 of the 12 minuets which A. von Perger discovered in the archives of the Künstler-Pensions-Institut in 1872, and which were published by Hengel in Paris in pianoforte transcription in 1903 and in score and parts in 1906, edited by Chantavoine. They were composed for the Künstlersocietät and are now in the Court Library at Vienna. (MS. 16,925.) FOOTNOTES: [75] It is now No. 16 of the extended Operngasse. [76] Czerny described Beethoven’s brothers to Otto Jahn as follows: “Carl: small of stature, red-haired, ugly; Johann: large, dark, a handsome man and complete dandy.” [77] “Mr. von Z.” is doubtless Zmeskall, who is thus shown to have been a trusted friend of Beethoven’s in 1796. “This time” indicates plainly that Beethoven had been in Prague before. Through the words: “Greetings to Brother Caspar” the pen has been heavily drawn, and, if the color of the ink can be trusted after so many years, it was done at the time of writing. “F. Linowsky” is Fürst (Prince) Lichnowsky. [78] Beethoven told the story to Mme. von Arnim with the additional particular that they were walking in Unter den Linden and went thence into a private room of the principal coffee-house where there was a pianoforte, for the exhibition of their skill. [79] After the journey to Pesth? [80] See the articles by J. S. Shedlock in “The Musical Times,” June to December, 1892. Mr. Shedlock made a copy of the duet for Dr. Deiters. [81] “Beethoveniana,” p. 31. Later Beethoven wanted to give the Sonata an Intermezzo in C major (Ibid., p. 479), but did not carry out the intention.