3. Sonata for Pianoforte: “Das Lebewohl, Wien am 4ten Mai 1809,” etc.; “Die Abwesenheit. Die Ankunft des ... Erzh. Rudolph, den 30. Jänner 1810,” Op. 81a, E-flat. We suppose the sonata to have been completed in 1809, and ready for presentation to the Archduke upon his return; but as this was delayed until January 30th, “Die Ankunft,” of course, took this date. 4. March in F major for Military Band. “For the Bohemian Landwehr, 1809”; also inscribed by Beethoven: “For His Royal Highness, the Archduke Anton, 1809.” 5. Variations for the Pianoforte, D major, Op. 76. 6. Fantasia for Pianoforte, G major, Op. 77. 7. Sonata for Pianoforte, F-sharp major. Op. 78. 8. Sonatina for Pianoforte, G major, Op. 79. 9. Songs from “Blümchen der Einsamkeit” by C. L. Reissig: (a) “An den fernen Geliebten.” A copy bears the words in Beethoven’s hand: “Fifth song,” “1809,” and corrections in the song itself, Op. 75, No. 5. (b) “Der Zufriedene,” Op. 75, No. 6. (c) “Lied aus der Ferne,” “1809.” (d) “Der Liebende.” (e) “Der Jüngling in der Fremde.” 10. Other Songs: (a) “Gretel’s Warnung.” A copy bears the words in Beethoven’s hand: “Fourth song,” “1809,” and corrections in the song itself. (b) “Andenken,” by Matthison. (c) “Die laute Klage,” by Herder. (d) “L’amante impaziente,” “1809”; and probably all the numbers of (e) “Four Ariettas and a Duet,” Op. 82. * * * * * The first sketches for the Fifth Pianoforte Concerto, E-flat, Op. 73, dedicated to Archduke Rudolph, are found in the so-called Grasnick sketchbook after the sketches for the Choral Fantasia as it was performed for the first time on December 22, 1808, and the pianoforte introduction to the same which, as we have seen, is of a later date (“Zweite Beethoveniana,” p. 495 ~et seq.~). It is mentioned by Beethoven in the correspondence with his publishers for the first time on February 4, 1810. It was in their hands on August 21 of that year, when Beethoven prescribed the dedication to his distinguished pupil, and was published in February, 1811. The Concerto had then already been played in public by Johann Schneider with brilliant success toward the close of 1810, and, as the “Allg. Mus. Zeit.” reported, put a numerous audience into such “a state of enthusiasm that it could hardly content itself with the ordinary expressions of recognition and enjoyment.”