The enigmatic “Sonata pour M.” in the sketches for this sonata no doubt means “for Mollo” simply. The splendid print in _facsimile_, published by Erich Praeger from the autograph discovered by him, gives information concerning the sketches and also concerning the legends which refer to the origin of the different movements. THE C-SHARP MINOR SONATA Of the two Pianoforte Sonatas, Op. 27, the first (in E-flat) was dedicated to the Princess Johanna von Liechtenstein, _née_ the Landgravine Fürstenberg, the second to Countess Giulietta Guicciardi. It is apparent, therefore, that they appeared separately at first. Sketches of the first show that they originated in 1801. Both are designated “quasi fantasia,” which plainly indicates a departure from the customary structure. The C-sharp minor Sonata, Op. 27, No. 2, was dedicated to the Countess Giulietta Guicciardi, who at this time (1801-1802) was Beethoven’s pupil and indubitably must be counted amongst the ladies who, for a time at least, were near to his heart. Concerning this, later. As his relationship to the Countess has been exaggerated, so also more significance has been attached to this sonata than is justified from a sober point of view. Beethoven himself was vexed that more importance was attached to it than to other sonatas which he held in higher esteem (Op. 78, for instance), simply because it had become popular. Its popularity was subsequently heightened by the designations “Arbor Sonata” and “Moonlight Sonata” and its creation into a sort of love-song without words, especially after Schindler had identified the Countess Guicciardi with the “Immortal Beloved” of the famous love-letter. It was a long time before attention was paid to a letter written by Dr. G. L. Grosheim, to Beethoven, dated November 10, 1819, in which occur the words: “You wrote me that at Seume’s grave (in Teplitz) you had placed yourself among his admirers.... It is a desire which I cannot suppress, that you, Mr. Chapelmaster, would give to the world your wedding with Seume--I mean your Fantasia in C-sharp minor and the ‘Beterin’.”[107]