“Countess Henriette Lichnowsky,” writes Count Amade, “was the sister of the ruling Prince Carl, and was doubtless married to the Marquis of Carneville after the dedication to her of the Rondo (G major, Op. 51, No. 2, published in September, 1802); she lived in Paris after her marriage and died about 1830.” The Rondo was first dedicated to Countess Giulietta Guicciardi, but Beethoven asked it back in exchange for the C-sharp minor Sonata; to which fact we shall recur presently. Countess Thun, to whom Beethoven dedicated the Clarinet Trio, Op. 11, in 1797, was the mother of Prince Carl Lichnowsky and Countess Henriette Lichnowsky. She died May 18, 1800. The Sonata in E-flat, Op. 27, No. 1, was dedicated to Josepha Sophia, wife of Prince Johann Joseph von Liechtenstein, daughter of Joachim Egon, Landgrave of Fürstenberg-Weitra. She was born on June 20, 1776, married on April 22, 1792 and died February 23, 1848. Whether her father was related at all, and if so, how, to the Fürstenberg in whose house Beethoven gave lessons in Bonn, is not known. Her husband, however, was first cousin to Count Ferdinand von Waldstein. The Baroness Braun to whom Beethoven dedicated the two Pianoforte Sonatas Op. 14 and the Sonata for Horn in 1801, was the wife of Baron Peter von Braun, lessee of the Nationaltheater and afterwards of the Theater an der Wien. The dedications disclose an early association which eventually led to Beethoven’s being asked to compose an opera. It is not known that Beethoven was a social visitor in the house of Baron Braun, but he was a highly respected guest in the house of Count Browne, to whose wife Beethoven dedicated the “Waldmädchen” Variations and the three Pianoforte Sonatas, Op. 10. FOOTNOTES: [86] Amenda returned to his home in Courland in the fall of 1799. The friends corresponded with each other for a time, but the majority of Beethoven’s letters are lost. While a student at the University in Leipzig, Amenda’s grandson placed some of them in the hands of a publisher at his request and did not get them back. Amenda was first a private teacher, became a preacher in Talsen in 1802, provost of the diocese of Kadau in 1820, consistorial councillor in 1830 and died on March 8, 1836. A portrait painted in 1808, is preserved in the Beethoven Museum in Bonn. [87] Beethoven did not always follow the suggestions of these men. According to an anecdote told by Doležalek to Otto Jahn, Kraft once complained that a passage was not playable. “It’s got to be,” answered Beethoven. In a like vein K. Holz relates that “Beethoven asked an excellent artist whether or not certain things were possible”; the question of how difficult they were did not enter. Thus Friedlowsky for clarinet, Czerwensky for oboe, Hradezky and Herbst for horn. If others complained of impossibilities the answer was “They can do it and you must.” (From Thayer’s papers.)