The only known publication of the year 1800 is the Rondo in G major, Op. 51, No. 2, which came from the press of Simrock. As for the compositions of the year it is safe to assume that Beethoven put the finishing touches to the first Symphony, the Septet, Op. 20, and the Quartets, Op. 18. Furthermore, there can be little doubt but that the Sonata for Horn, Op. 17, the Pianoforte Sonata, Op. 22, the Concerto in C minor, and the Variations for Four Hands on the melody of the song “Ich denke dein,” belong to this year. The “Variations très faciles” on an original theme in G were sketched and probably completed. The only chronological clues to the Horn Sonata are the date of its first performance, April 18, 1800, and the anecdote by Ries concerning the rapid completion of the work. No sketches have been found and nothing is known of the autograph; but according to Nottebohm the beginning of a clean copy of the Adagio is to be found among the sketches for the Sonatas Op. 22 and 23. Punto was still in Munich in 1800, and since the work seems assuredly to have been designed for him, there is equal certainty that it was composed in that year. It was published by Mollo in March, 1801. The Septet, for four strings and three wind-instruments, dedicated to the Empress Maria Theresia, was played at the concert at which the Symphony in C major was brought forward, April 2, 1800; but it had been heard previously in the house of Prince Schwarzenberg. Inasmuch as sketches for it are found among those for the Quartets, specially the one in A major, which belong to the year 1799, its inception may be placed in that year, though it was probably finished in 1800 shortly before its performance. There is no date on the autograph. It was offered to Hoffmeister in the letter of December 15, 1800, and was published by him in 1802. The Septet speedily won great popularity and was frequently transcribed. Hoffmeister had an arrangement for string quintet which he advertised on August 18, 1802. Ries thought that Beethoven had made it, but he was in error; nevertheless, Beethoven gave Hoffmeister permission to publish an arrangement in which strings were substituted for the wind-instruments, and himself transcribed it as a pianoforte trio with violin or clarinet _ad lib_. This arrangement was made as a tribute of gratitude from the composer to his new physician, Dr. Johann Schmidt. The doctor played the violin and his daughter the pianoforte, both fairly well, and Beethoven arranged his popular piece for family use and, as was customary at the time, gave Dr. Schmidt the exclusive possession of the music for a year.[99]