Treitschke of having written them in accordance with Beethoven’s suggestions as to form and contents. The introductory pianoforte fantasia which was published to take the place of Beethoven’s improvisation at the first performance, was composed in 1809. * * * * * [Sidenote: SUMMARY OF A YEAR’S WORK] The publications of the year 1808 were: 1. ~Trois Quatuors pour deux Violons, Alto et Violoncello, composés par Louis van Beethoven. Œuvre 59^{me}.~ Dedicated to His Excellency Count von Rasoumowsky. Advertised by the Kunst- und Industrie-Comptoir in the “Wiener Zeitung” of January 9. 2. ~Ouverture de Coriolan, Tragédie de M. de Collin, etc., composée et dediée à Monsieur de Collin, etc.. Op. 62.~ Advertised in the same place on the same date. 3. “Sehnsucht,” by Goethe, No. 1 of the four melodies published as a supplement to the periodical “Prometheus” in April. 4. Fourth Concerto for Pianoforte and Orchestra. Dedicated to His Highness, Archduke Rudolph of Austria, Op. 58. Advertised by the Kunst- und Industrie-Comptoir in the “Wiener Zeitung” on August 10. 5. ~Concerto pour le Pianoforte avec accompagnement de grand Orchestre, arrangé d’après son 1^{er} Concerto de Violon et dédié à Madame de Breuning. Œuvre 61.~ Advertised in the same journal on August 10. 6. “~In questa tomba oscura~,” the last of 63 settings of the same text by various composers, published by T. Mollo, and advertised in the “Wiener Zeitung” of September 3. FOOTNOTES: [55] This letter was doubtless followed by a billet to Gleichenstein reading as follows: “I think--you would better have them pay you 60 florins more than the 1500 or, if you think that it would be consistent with my honesty--the sum of 1600--I leave this wholly to you, however, only honesty and justice must be the polestar which is to guide you.” The transaction to which the letter and note refer must have been the sale of the compositions, the British rights for which had been sold to Clementi. The quartet was probably one of the Rasoumowsky set and the symphony that in B-flat, since the fifth and sixth were not published by the Viennese Bureau but by Breitkopf and Härtel. [56] Alois Fuchs related that when Beethoven heard from Krumpholz of Napoleon’s victory at Jena he exclaimed: “Pity that I do not understand the art of war as well as I do the art of music; I would conquer him yet!” [57] Nevertheless a letter, of which a copy was placed in the hands of Thayer at a later date, indicates that an oratorio “Die Sündfluth” was written by Hammer-Purgstall, and also that the correspondence between Beethoven and the Orientalist took place in 1809. It is dated “Ash Wednesday,” the year not being mentioned, but refers to the departure of the Persian Ambassador and the fact that H. Schick had acquainted the writer with Beethoven’s desire to have an Indian chorus of a religious character for composition.