Fourth Symphony in B-flat, which also on the 15th of November had been played in the Burgtheater at a concert for the public charities. Most, if not all of these works were directed by their composer. The works ascertained as belonging to this year are: (1) The transcription of the Violin Concerto for Pianoforte, made (as Clementi’s letter to Collard says) at Clementi’s request; (2) the overture to “Coriolan”; (3) the Mass in C;[54] (4) the so-called “Leonore” Overture, No. 1, published as Op. 138; (5) the Symphony in C minor; (6) the Arietta, “In questa tomba.” The original publications of the year were few, viz., (1) “LIV^{e} Sonata” for Pianoforte, Op. 57, dedicated to Count Brunswick, advertised in the “Wiener Zeitung” of February 18, by the Kunst- und Industrie-Comptoir; (2) Thirty-two Variations in C minor, advertised by the same firm on April 29; (3) Concerto concertant for Pianoforte, Violin and Violoncello, Op. 56, dedicated to Prince Lobkowitz, advertised in the “Wiener Zeitung” on July 1. The following advertisements are evidence of the great and increasing popularity of Beethoven’s name: On March 21, Traeg announces 12 Écossaises and 12 Waltzes for two violins and bass (2 flutes, 2 horns ~ad lib.~); also for pianoforte; other works are being arranged; on April 20, the Kunst- und Industrie-Comptoir announces an arrangement of the “Eroica” Symphony for pianoforte, violin, viola and violoncello; on May 27 (Artaria), a Sonata for Pianoforte and Violoncello, Op. 64, transcribed from Op. 3; on June 13 (Traeg), the Symphony in D major arranged by Ries as a Quintet with double-bass, flute, 2 horns ~ad lib.~; on September 12 (the Chemical Printing Works), a Polonaise, Op. 8, for two violins and for violin and guitar. FOOTNOTES: [47] The genesis of the fourth symphony, in B-flat, Op. 60, is but imperfectly known. Nottebohm’s studies of the sketchbooks, which are so frequently helpful, fail us utterly here. The autograph score bears the inscription, “Sinfonia 4^{ta}, 1806, L. v. Bthvn.” Having been played in March, 1807, at one of the two subscription concerts at Lobkowitz’s, it was, of course, finished at that time. Beethoven referred to it in his letter to Breitkopf and Härtel from Grätz on September 3, 1806. This is not convincing proof that it was all ready at the time, but certainly that it was well under way. On November 18 he wrote to the same firm that he could not then give them the promised symphony, because a gentleman of quality had purchased its use for six months. It is within the bounds of possibility that this reference was to the symphony in C minor, the sketches for which date back at least to 1805, though it was not completed till March, 1808, at the earliest. It would seem that work on the C minor symphony was laid aside in favor of the fourth, which was either written or sketched in the late summer and fall of 1806, and completed in Vienna in time for the performance in March, 1807.