Now begins the glorious series of sonatas. The first were the three (Op. 10) which, though begun in part at an earlier date, were definitively finished and published in 1798. Eder, the publisher, opened a subscription for them by an advertisement in the “Wiener Zeitung,” July 5th, 1798; therefore they were finished at that time. The sketching for them had begun in 1796, as appears from Nottebohm’s statement,[84] and Beethoven worked on the three simultaneously. Sketches for the first movement of the first Sonata are mixed with sketches for the soprano air for Umlauf’s “Schusterin” which have been attributed to 1796, and the Variations for three Wind-Instruments which were played in 1797. Sketches for the third sonata are found among notes for the Sextet for Wind-Instruments (composed about 1796) and also for the Concerto in C minor, which, therefore, was begun thus early, and for one of the seven country dances which appeared in 1799, or perhaps earlier. The sketches for the last movement of No. 3 are associated alone with sketches for a cadenza for the C major Concerto which Beethoven played in Prague in 1798, and may therefore be placed in this year. It follows that the three sonatas were developed gradually in 1796-98, and completed in 1798. From the sketches and the accompanying memoranda[85] we learn, furthermore, that for the first Sonata, which now has three movements, a fourth, an Intermezzo, was planned on which Beethoven several times made a beginning but permitted to fall. Two of these movements became known afterwards as “Bagatelles.” We learn also that the last movement of the first Sonata, and the second movement of the second, were originally laid out on a larger scale. COMPOSITION OF THE “SONATE PATHÉTIQUE”