There was no call nor special inducement for the immediate completion of any orchestral work. Since the “Egmont” Overture and the “Pastoral” Symphony, produced by Schuppanzigh in May, and the “Coriolan” Overture at a charity concert on July 14, there is but one notice of the performance of any one of Beethoven’s greater compositions, and even this (November 15) is very doubtful. In truth, this was no season for grand musical entertainments with a view to private emolument. The Finance Patent of February shed its baleful influence on the just and the unjust and compelled all classes alike to study and practise economy. Even the old favorite of the Vienna public, Franz Clement, returning from a musical tour in Russia, and Sebastian Meier, “although Handel’s ‘Acis and Galatea’ was performed” in their annual Akademies, “had few hearers.” Two or three virtuosos were able to fill small halls; but no performances on a grand scale were ventured, except for charities; at these the wealthy appeared in force, it being a pleasant and fashionable method of doing something to alleviate the general distress. Beethoven was not the man to hasten his works to completion when there was no prospect of making either in public or in private any present use of them. The ascertained compositions of this year were: I. Trio in B-flat major, Op. 97. II. Music to “Die Ruinen von Athen,” Epilogue by A. von Kotzebue. III. Music to “König Stephan, Ungarn’s erster Wohlthäter,” a Prologue by A. von Kotzebue. IV. Song by Stoll, “An die Geliebte.” The publications: I. ~Grand Concerto four le Pianoforte avec accompagnement de l’Orchestre composé et dédié à son Altesse Impériale Rodolphe Archiduc, etc.~ Op. 73. E-flat. Breitkopf and Härtel, in February. II. Four Ariettas and a Duet. Op. 82. (With Italian and German words: “Dimmi ben mio,” “T’intendo,” “Che fa, che fa il mio bene,” “Che fa il mio bene” and “Odi l’aura.”) Breitkopf and Härtel, March. III. Overture to Goethe’s “Egmont.” Op. 84. Orchestral parts. Breitkopf and Härtel, March. IV. Fantasia for Pianoforte, Orchestra and Chorus; dedicated to Maximilian Joseph, King of Bavaria. Op. 80. Breitkopf and Härtel, July. V. ~Les Adieux, l’Absence et le Retour. Sonate pour le Pianoforte composée et dédiée à son Altesse Impériale l’Archiduc Rodolphe, etc.~ Op. 81. E-flat. Breitkopf and Härtel, July. VI. Three Songs by Goethe with Pianoforte accompaniment. Dedicated to Princess Kinsky. (“Trocknet nicht,” “Was zieht mir das Herz,” “Kleine Blumen, kleine Blätter.”) Op. 83. Breitkopf and Härtel, October. VII. “Christus am Ölberg.” Oratorio. Op. 85. Score. Breitkopf and Härtel, October. FOOTNOTES: [80] Clemens Brentano, brother of Bettina and Franz, who had written the text of a cantata on the death of Queen Louise.