to be found in any collection of Russian melodies known to us. Had Beethoven borrowed the theme he would, as he always did, have mentioned the fact in connection with the Variations and the ‘Ruins of Athens’ (a singular idea to use a Russian melody for a Turkish march!). It may be that a Russian folktune which was popular in Vienna between 1810 and 1820, which bears some resemblance to this melody and on which, besides Gelinek and others, Beethoven too made Variations (Op. 107, No. 3), gave rise to the confounding of the two.” The Military March in F was designed for Archduke Anton and was chosen for a “carrousel” at the court at Laxenburg. It is the “horse music” of Beethoven’s correspondence with Archduke Rudolph. The year also saw the beginning of the arrangements of the Irish melodies for Thomson. The publications of the year 1809 were: 1. The Fourth Symphony, in B-flat, Op. 60. “~Dediée à Monsieur le Comte Oppersdorff~”; published in March by the Kunst- und Industrie-Comptoir. 2. Concerto for Violin and Orchestra, D major, Op. 61. ~Dediée à son ami Monsieur de Breuning, Sécrétaire aulique, etc.~ Vienna, Kunst- und Industrie-Comptoir, in March. 3. Sonata for Pianoforte and Violoncello. A major, Op. 69. ~Dediée à Monsieur de Gleichenstein.~ Leipsic, Breitkopf and Härtel, in April. 4. Two Trios for Pianoforte, Violin and Violoncello, D major, E-flat, Op. 70. ~Dediés à Madame la Comtesse Marie d’Erdödy née Comtesse Niszky.~ Breitkopf and Härtel, No. 1 in April, No. 2 in August. 5. Fifth Symphony, in C minor, Op. 67. ~Dediée à son Altesse Sérénissime Monseigneur le Prince régnant de Lobkowitz, Duc de Raudnitz, et à son Excellence Monsieur le Comte de Rasoumoffsky.~ Breitkopf and Härtel, in April. 6. Sixth Symphony (~Sinfonia pastorale~), F major, Op. 68. The same dedication as the Fifth Symphony. Breitkopf and Härtel, in May. 7. Song: “Als die Geliebte sich trennen wollte.” Supplement No. II, to the “Allg. Mus. Zeit.,” November 22. Breitkopf and Härtel. FOOTNOTES: [64] The agreement between this memorial and the letters written on the subject (apparently to Gleichenstein--though Thayer was not willing to commit himself on this point) make it most probable that he was the author of the document. Even the sentimental suggestion that the contributors might look upon themselves as co-authors of the great works to come, went out from Beethoven in one of the notes probably sent to Gleichenstein.