The autograph of the Sonata in D, Op. 28, bears the inscription “Gran Sonata, Op. 28, 1801, da L. van Beethoven.” It appeared in print in 1802, having been advertised in the “Wiener Zeitung” of August 14, from the Industriekontor, with the dedication, “À Monsieur Joseph Noble de Sonnenfels, Conseiller aulique et Sécrétaire perpétuel de l’Académie des Beaux Arts.” Touching the personality of Joseph Noble de Sonnenfels something may be learned from W. Nagel’s book, “Beethoven und seine Klaviersonaten,” and also from Willibald Müller’s biography of him. At the time, Sonnenfels was nearly 70 years old and, so far as is known, was not an intimate friend of Beethoven’s; the dedication was probably nothing more than a mark of respect for the man of brains with whose ideas Beethoven was in sympathy. The single clue as to the origin of the work is the date (1801) on the autograph; sketches seem to be lacking. The sunny disposition of the music is the only evidence, and this is internal. The work early acquired the sobriquet “Sonata pastorale” (it was first printed by A. Cranz), and the designation is not inept. THE STRING QUINTET IN C, OP. 29 The String Quintet, Op. 29, as is evidenced by an inscription on the score, was composed in 1801 and published by Breitkopf and Härtel in 1802, towards the close of the year. Simultaneously it appeared from the press of Artaria. This second edition has a history. According to Ries the Quintet was stolen in Vienna and published by A. (Artaria) and Co. Having been copied in a single night, it was full of errors.... Beethoven’s conduct in the matter is without parallel. He asked A. to send the fifty copies which had been printed to me for correction, but at the same time instructed me to use ink on the wretched paper and as coarsely as possible; also to cross out several lines so that it would be impossible to make use of a single copy or sell it. The scratching out was particularly in the Scherzo. I obeyed his instructions implicitly, etc. Nottebohm has proved that the further statements of Ries touching the melting of the plates, etc., are wrong; but the enraged composer did make a public statement--and very properly: To the Lovers of Music. In informing the public that the original Quintet in C long ago advertised by me as having been published by Breitkopf and Härtel in Leipsic, I declare at the same time that I have no interest in the edition published simultaneously by Messrs. Artaria and Mollo in Vienna. I am the more compelled to make this declaration since this edition is very faulty, incorrect and utterly useless to players, whereas Messrs. Breitkopf and Härtel, the legal owners of this Quintet, have done all in their power to produce the work as handsomely as possible. Ludwig van Beethoven. A year later Beethoven revoked this declaration so far as it concerned Mollo in the following