One of the most prolific and popular composers whom Beethoven found in Vienna was Franz Anton Hoffmeister, “Chapelmaster and R. I. licensed Music, Art and Book Seller.” He was an immigrant from the Neckar valley and (born 1754) much older than Beethoven, to whom he had extended a warm sympathy and friendship, doubly valuable from his somewhat similar experience as a young student in Vienna. This is evident from the whole tone of their correspondence. In 1800, Hoffmeister left Vienna and in Leipzig formed a copartnership with Ambrosius Kühnel, organist of the Electoral Saxon Court Chapel, and established a publishing house there, still retaining his business in Vienna. As late as December 5, 1800, his signature is as above given; but on the 1st of January, 1801, the advertisements in the public press announce the firm of “Hoffmeister and Kühnel, _Bureau de Musique_ in Leipzig.” Since 1814 the firm name has been C. F. Peters. Knowing Beethoven personally and so intimately, it is alike creditable to the talents of the one and the taste and appreciation of the other that Hoffmeister, immediately upon organizing his new publishing house, should have asked him for manuscripts. To his letter he received an answer dated Dec. 15, 1800, in which Beethoven says: ... Per _primo_ you must know that I am very sorry that you, my dear brother in music, did not earlier let me know something (of your doings) so that I might have marketed my quartets with you, as well as many other pieces which I have sold, but if Mr. Brother is as conscientious as many other honest engravers who grave us poor composers to death, you will know how to derive profit from them when they appear. I will now set forth in brief what Mr. Brother can have from me. I^{mo} a Septet _per il Violino_, _Viola_, _Violoncello_, _Contrabasso_, _Clarinetto_, _Corno_, _Fagotto_--_tutti obligati_. (I cannot write anything not obligato for I came into this world with an obligato accompaniment.) This Septet has pleased greatly. For more frequent use the three wind-instruments, namely _Fagotto_, _Clarinetto_ and _Corno_ might be transcribed for another violin, viola and violoncello. II^o A grand Symphony for full orchestra. III^o A Concerto for pianoforte which I do not claim to be one of my best, as well as another one which will be published here by Mollo (this for the information of the Leipzig critics) because I am for the present keeping the better ones for myself until I make a tour; but it will not disgrace you to publish it. IV^o A grand Solo Sonata.[95] That is all that I can give you at this moment. A little later you may have a Quintet for stringed instruments as well as, probably, Quartets and other things which I have not now with me. In your reply you might set the prices and as you are neither a Jew nor an