Give to this note the earliest date possible, still there remain to Beethoven less than four months to the Christmas holidays, in which to complete, copy and rehearse whatever new works he intended to produce in the concert. The Pianoforte Concerto in E-flat major is the only work known to have been ready; what others may he have had in contemplation? The question is, in itself, rather interesting than important; its bearing, however, upon other matters hereafter warrants its discussion at some length. [Sidenote: STUDY-MATERIAL FOR A ROYAL PUPIL] Let us turn again for a moment to the so-called “Studien.” On the margin of the “Materialien zum Generalbass,” Beethoven wrote: “from 101 to 1000 florins a quarter--all residents or parties to rent-contracts without distinction.” This was, of course, written at the time of the forced contribution of June 28th, but is no proof that the book was then just begun. It shows merely that it was lying before him, offered him a convenient vacant space for the memorandum.[69] Again on page 17, on the upper margin, stands: “Printer’s errors in the sonata for pianoforte with ~obbligato~ violoncello.” This sonata, beyond all question, was the one dedicated to Gleichenstein, published early in April by Breitkopf and Härtel, and sent to the composer before the breaking of post communications by the advance of Napoleon’s armies. Now, whether Beethoven’s words were merely a memorandum, or--as Nottebohm is of opinion--were the heading of a sheet intended to receive a list of the printer’s errors--in either case we must suppose them to have been written immediately upon the composer’s first examination of the printed work--at the latest in April.[70] Now, it cannot be reasonably supposed that the idea of selecting and arranging such a series of “Studien” for the Archduke’s instruction as these bound sheets contain was suddenly conceived and executed with no previous study nor protracted examination of the then existing authorities, and all during the few weeks when Beethoven was confined to the city. It is equally improbable that the Archduke’s studies in the theory of music did not begin until after his return to Vienna (January, 1810), when he was 22 years of age. We can discover no objection to the following hypothesis as to the origin of the bound sheets in question; namely, that Beethoven began by making his extracts from Bach, Türk, etc., as they were needed in the progress of his lessons; and that the execution of the task complete was an afterthought, arising from want of occupation at a time when he felt himself unfitted for original composition. The inference is, that, for several months, his thoughts had been more than ordinarily turned toward theoretical studies. Now, to the question just proposed. [Sidenote: Study-Material for a Royal Pupil]