Was, then, the correspondent of the “Zeitung für die Elegante Welt” right? Had Beethoven really received one of Schikaneder’s heroic texts? This much is certain: that in the words “because I am just beginning my opera,” no reference is made to the “Leonore” (“Fidelio”). They may only express his expectation of beginning such a work immediately; or they may refer to one already begun, of which a fragment has been preserved. In Rubric II of the sale catalogue of Beethoven’s manuscripts and music, No. 67, is a “vocal piece with orchestra, complete, but not entirely orchestrated.” It is an operatic trio[15]; the dramatis personæ are ~Porus~, ~Volivia~, ~Sartagones~; the handwriting is that of this part of the composer’s life; and the music is the basis of the subsequent grand duet in “Fidelio,” “O namenlose Freude.” The temptation is strong to believe that Schikaneder had given Beethoven another “Alexander,” the scenes laid in India--a supplement to that with which his new theatre had been opened two years before. However this was, circumstances occurred, which prevented its completion, or indeed the composition by Beethoven of any text prepared by Schikaneder. The compositions which may safely be dated 1803, are few in comparison with those of 1802. The works published in the course of the year were the two Pianoforte Sonatas, Op. 31, Nos. 1 and 2 (in Nägeli’s “Répertoire des Clavecinistes”); the three Violin Sonatas, Op. 30 (Industrie-Comptoir); the two sets of Variations, Op. 34 and 35 (Breitkopf and Härtel); the seven Bagatelles, Op. 33 (Industrie-Comptoir); the Romanza in G for Violin, Op. 40 (Hoffmeister and Kühnel); the arrangement for Pianoforte and Flute (or Violin) Op. 41 of the Serenade (Op. 25), which was not made by Beethoven but examined by him and “corrected in parts” (Hoffmeister and Kühnel); the two Preludes for Pianoforte, Op. 39 (Hoffmeister and Kühnel); two songs, “La Partenza” and “Ich liebe dich” (Traeg); a song, “Das Glück der Freundschaft,” Op. 88 (Löschenkerl in Vienna and Simrock in Bonn), of which Nottebohm found a sketch amongst the sketches for the “Eroica” Symphony in the book used in 1803 and which, therefore, though it may have been an early work, was probably rewritten in 1803; and the six Sacred Songs by Gellert, dedicated to Count Browne (Artaria). The two great works of the year were the “Kreutzer” Sonata for Violin and the “Sinfonia Eroica.” The title of the former, “Sonata per il Pianoforte ed un Violino obligato in uno stilo (~stile~) molto concertante quasi come d’un Concerto,” is found on the inner side of the last sheet of the sketchbook of 1803 described by Nottebohm. Beethoven wrote the word “brillante” after “stilo” but scratched it out. It is obvious that he wished to emphasize the difference between this Sonata and its predecessors. Simrock’s tardiness in publishing the Sonata annoyed Beethoven. He became impatient and wrote to the publisher as follows, under date of October 4, 1804: