Under such circumstances, and with no immediately pressing necessity for composition, even the genius of a Beethoven must sleep. We may suppose, that under the impulse of the departure of the Archduke, Beethoven completed the “Farewell” and “Absence” of the Sonata, Op. 81a; and that he gave the final touches to the Pianoforte Concerto in E-flat, Op. 73, and made some studies for new symphonies, and sonatas; but the fountain soon ran dry, and the tedious weeks of this miserable summer were mainly devoted to the laborious task of selecting and copying in order extracts from the theoretical works of C. P. E. Bach, Türk, Kirnberger, Fux and Albrechtsberger, for subsequent use in the instruction of Archduke Rudolph--a task which, in our opinion, he had for some time had in mind, and had begun, at the very latest, early in the year. The “Materials for Thoroughbass” and “Materials for Counterpoint”--as two of his books are respectively headed by him--are largely the basis of that extraordinary imposition upon the musical public, prepared by Seyfried and published by Haslinger as Beethoven’s Studies under Haydn and Albrechtsberger--an imposition which was successful for 30 years! Schindler early warned the public against the fraud. His charges were never answered; nor was his challenge to prove the genuineness of the work taken up. [Sidenote: A MEMBER OF THE DUTCH INSTITUTE] Some time in August a letter from Amsterdam, which was preserved by the widow of Beethoven’s nephew Karl, was received by the composer, notifying to him his appointment as a Correspondent of the Fourth Class of the Royal Institute of Science, Literature and the Fine Arts. It gave occasion shortly after its receipt for a letter to Breitkopf and Härtel in which Beethoven says: “Do you know that I have become a member of the Society of Fine Arts and Sciences?--after all a title--ha-ha, it makes me laugh!” In another letter to Breitkopf and Härtel, dated August 8, he says he has sent them the Sextet for Wind-instruments, Op. 71, and two German songs as a “return gift for all the things ~which I have asked as gifts from you~.” “The Sextet is one of my early things and, besides, was written in one night; nothing more can be said of it except that it was written by an author who at least has done better things--~but to many people such things are the best~.” He also asks for the complete works of Goethe and Schiller, his “favorite poets, with Ossian and Homer.” One of the two songs referred to was undoubtedly “Ich denke dein.” The second song was probably the “Lied aus der Ferne,” the first of five settings which Beethoven made of poems by C. L. Reissig and which gave rise to much annoyance. In a letter to Breitkopf and Härtel, dated February 4, 1810, he wrote: