If Czerny is correct in his statement, obvious deductions from it are these, which are scarcely consistent with Artaria’s story: if the theme was “very popular” at the time the opera must have had several performances, and it is not likely that the melody was unfamiliar to Beethoven, who also, it may be assumed, wrote the title of Weigl’s trio, which is printed at the beginning of the last movement of Beethoven’s composition. Beethoven produced the Trio for the first time at the house of Count Fries on the occasion of his first meeting with Steibelt. The three Sonatas for Pianoforte and Violin, Op. 12, were advertised in the “Wiener Zeitung” of January 12, 1799, as published by Artaria, which would seem to place their origin in 1798. The program of a concert given by Madame Duschek on March 29, 1798, preserved in the archives of the Gesellschaft der Musikfreunde, announces a sonata with accompaniment to be played by Beethoven. The accompanying (_obbligato_) instrument is not mentioned, but the work may well have been one of these Sonatas. Nottebohm discusses the juxtaposition of sketches for the second Sonata with sketches for the Pianoforte Concerto in B-flat and the sonata in E, Op. 14, No. 1, and is inclined to fix 1795 as the year of the sonata’s origin. But we are in the dark as to whether the sketches for the Pianoforte Concerto were for its original or its revised form. Among the instrumental compositions of this year belong the Variations for Pianoforte and Violoncello on “Ein Mädchen oder Weibchen” from Mozart’s “Zauberflöte,” of which nothing more is known than that Traeg announced their publication on September 12, 1798. They were afterward taken over by Artaria. The Variation for Pianoforte on a theme from Grétry’s “Richard, Cœur de Lion” (“Une fièvre brûlante”) were announced as newly published on November 7, 1798, by Traeg; Cappi and Diabelli acquired them later. Sketches for them are found by the side of sketches for the first movement of the Sonata in C minor, Op. 10, No. 1, which circumstance indicates that 1796 was the year of their origin. According to Sonnleithner, “Richard, Cœur de Lion” was first performed at the Hoftheater, Vienna, on January 7, 1788; then again on June 13, 1799 in the Theater auf den Wieden; but a ballet, “Richard Löwenherz,” by Vigano, music by Weigl, in which Grétry’s romance, “Une fièvre brûlante,” was interpolated, was brought forward on July 2, 1795, in the Hof- und Nationaltheater and repeated often in that year, and it was thence, no doubt, that the suggestion for the variations came to Beethoven. The six little Variations on a Swiss air were published, according to Nottebohm, by Simrock in Bonn in 1798. The ten Variations on “La stessa, la stessissima” from Salieri’s “Falstaff, ossia le tre Burle,” were announced as just published in the “Wiener Zeitung” of March 2, 1799. Salieri’s opera was performed on January 3 (Wlassak says January 6), 1799, in the Hoftheater; Beethoven’s, therefore,