It was published by Hoffmeister und Kühnel and dedicated to Carl Nikl Edlen von Nikelsberg. That the Concerto in C was composed later than that in B-flat has been proved by Beethoven’s testimony as well as other external evidences and is confirmed by the few remaining sketches analyzed by Nottebohm. They appear in connection with a sketch for the cadenza for the B-flat Concerto which, therefore, must have been finished when its companion was begun. A sketch for a cadenza for the C major Concerto comes after sketches for the Sonata in D, Op. 10, No. 3, which was published in 1798. This new concerto must, therefore, have been finished. According to the testimony of Tomaschek he played it in 1798 in the Konviktsaal in Prague. Schindler says he played it for the first time “in the spring of 1800 in the Kärnthnerthor-Theater,” but this concert is likely to have been that of April 2nd, 1800, described by Hanslick in his “Geschichte des Concertwesens in Wien” (p. 127). Schindler evidently knew nothing of the performance in Prague and a confusion must be at the bottom of Czerny’s statement that the Concerto was played in the Kärnthnerthor-Theater in 1801. The Concerto in C, dedicated to the Countess Odescalchi, _née_ Keglevich, was published by Mollo in Vienna in 1801. There are three cadenzas for the first movement of the Concerto, the last two of which call for an extended compass of the pianoforte and are thus shown to be of later date than the first. To these concertos must be added the Rondo in B-flat for Pianoforte and Orchestra found unfinished among Beethoven’s compositions and published by Diabelli and Co. in 1829. Sonnleithner, on the authority of Diabelli, says it was completed by Czerny, who also filled out the accompaniment. There is no authentic record of the time of its composition. O. Jahn surmised that it may have been designed for the Concerto in B-flat. Its contents indicate an earlier period. A sketch printed by Nottebohm associated with a Romanza for Pianoforte, Flute and Bassoon, judged by the handwriting, is not of later date than 1795. E. Mandyczewski compared the original manuscript, now in the library of the Gesellschaft der Musikfreunde, with the printed form and decided that the work was completed in plan and _motiri_ by Beethoven, who, however, did not carry out the cadenzas and only indicated the passages. The share which Czerny had in it is thus indicated; he added the cadenzas and extended the pianoforte passages which Beethoven had only indicated, making them more effective and brilliant. The use of the high registers of the pianoforte which Czerny employs somewhat too freely in view of the simple character of the piece, was not contemplated by Beethoven, who once remarked of Czerny: “He uses the piccolo too much for me.” In Mandyczewski’s opinion the handwriting points to a time before 1800, and the contents indicate the early Vienna if not the Bonn period. Mandyczewski also thinks that