The two Trios are dedicated to Countess Erdödy, in whose house Beethoven lived when they were written. The first sketches for them found by Nottebohm belong to the second in E-flat and occur amongst the sketches for the Finale of the “Pastoral” symphony. The Trios are not mentioned in the first letter, in which Beethoven offers the Fifth and Sixth Symphonies besides other works to Breitkopf and Härtel. In the second letter, of July, Beethoven speaks of two pianoforte sonatas, and in a later letter of two trios. This has led to the conclusion that Beethoven first conceived them as solo sonatas and later developed them as trios. Beethoven played them at Countess Erdödy’s in the Christmastide of 1808, when Reichardt was present; he wrote an enthusiastic account of them under date December 31. On May 26, Beethoven wrote to Breitkopf and Härtel suggesting changes in the text and also asking that the name of Archduke Rudolph be substituted for that of Countess Erdödy in the dedication. The reason given was that the Archduke had become fond of the works and Beethoven had observed that in such cases his patron felt a gentle regret when the music was dedicated to somebody else. Beethoven, of course, says nothing of his quarrel with the Countess (of which something will be said in the next chapter). There was a reconciliation, and Beethoven’s solicitude for the feelings of the Archduke seems to have evaporated; at any rate, the original dedication remained. The Choral Fantasia was obviously finished only a short time before its performance and is plainly one of the few compositions on which Beethoven worked continuously after once beginning it, though the plan of the work had occurred to him long before. The early sketch, to which allusion has been made, shows that the use of the melody of the song “Gegenliebe” was part of the original scheme. A sketchbook of 1808, whose contents were analyzed by Nottebohm (“Zweite Beethoveniana,” p. 495), is devoted entirely to the Fantasia and the Pianoforte Concerto in E-flat, which was not worked out till later. The most interesting disclosures of Nottebohm’s study are that there is no hint of a pianoforte introduction such as Beethoven improvised at the performance; that Beethoven first thought of beginning with the string quartet of the orchestra; that work was begun before a text had been found; and that, as in the case of the Choral Symphony, of which the Fantasia is so interesting a prototype in miniature, Beethoven thought of paving the way for the introduction of the voices by words calling attention to the newcomers among the harmonious company (~Hört ihr wohl?~). Czerny’s statement that the text was written by Kuffner is questioned by Nottebohm, who points out that the poem is not included in the collected writings of that author, though all manner of fragments and trifles are. Because of the ingenuity and effectiveness with which the words were adapted to the music, Nottebohm suspects