The “Sonate pathétique,” Op. 13, was published by Eder, in Vienna, in 1799, and afterwards by Hoffmeister, who announced them on December 18 of the same year. Sketches for the rondo are found among those for the Trio, Op. 9, and after the beginning of a fair copy of the Sonata, Op. 49, No. 1. From this there is no larger deduction than that the Sonata probably had its origin about 1798. One of the sketches, however, indicates that the last movement was originally conceived for more than one instrument, probably for a sonata for pianoforte and violin. Beethoven published the two Sonatas, Op. 14, which he dedicated to the Baroness Braun, immediately after the “Sonate pathétique.” They came from the press of Mollo and were announced on December 21, 1799. The exact time of their composition cannot be determined definitely. Up to the present time no sketches for the second are known to exist; copious ones for the first, however, are published by Nottebohm in his “Zweite Beethoveniana” (p. 45 _et seq._), some of which appear before sketches for the Sonata, Op. 12, No. 3, then approaching completion, and some after sketches for the Concerto in B-flat. Because of this juxtaposition, Nottebohm places the conception of the Sonata in 1795. Touching the history of the Trio, Op. 11, for Pianoforte, Clarinet and Violoncello, little is known. It was advertised as wholly new by Mollo and Co. on October 3, 1798, and is inscribed to the Countess Thun. Sketches associated with works that are unknown or were never completed are in the British Museum and set forth by Nottebohm in his “Zweite Beethoveniana” (p. 515). The sketch for the Adagio resembles the beginning of the minuet in the Sonata, Op. 49, No. 2, and is changed later; this points approximately to 1798. The last movement consists of a series of variations on the theme of a trio from Weigl’s opera “L’Amor marinaro,” beginning “Pria ch’io l’impegno.” Weigl’s opera was performed for the first time on October 15, 1797. Czerny told Otto Jahn that Beethoven took the theme at the request of a clarinet player (Beer?) for whom he wrote the Trio. The elder Artaria told Cipriani Potter in 1797, that he had given the theme to Beethoven and requested him to introduce variations on it into a trio, and added that Beethoven did not know that the melody was Weigl’s until after the Trio was finished, whereupon he grew very angry on finding it out. Czerny says in the supplement to his “Pianoforte School”: It was at the wish of the clarinet player for whom Beethoven wrote this Trio that he employed the above theme by Weigl (which was then very popular) as the finale. At a later period he frequently contemplated writing another concluding movement for this Trio, and letting the variations stand as a separate work.