One sister-in-law had already been to Beethoven a bitter source of shame and mortification; and now the other?--Time must show. Here we part from the apothecary, and it will be long before we meet him again. Beethoven’s professional occupation in Linz was the completion of the Eighth Symphony, which, on Johann van Beethoven’s doubtful authority, was wrought out from the sketches during walks to and upon the Pöstlingberg.[107] Schindler’s account of the origin of the famous Allegretto Scherzando adds a new name to our ~dramatis personæ~. [Sidenote: ASSOCIATION WITH MÄLZEL] Johann Nepomuk Mälzel was the son of an organ-builder of Ratisbon. He received a thorough musical education, and began life on his own account as a performer upon and a teacher of the pianoforte of no mean ability; but his extraordinary taste for mechanism and talent for invention soon led him to exchange the music-room for the workshop. It is somewhere related, that, having been appointed “Court Mechanician” at Vienna and having a work to execute for the Empress, rooms were assigned him, in 1809, in Schönbrunn. Soon after this, Napoleon took possession of that palace, and while there played a game with Kempelen’s chess player (of which Mälzel had become proprietor), Allgaier being (probably) the person concealed in the chest. The truth of the anecdote we cannot warrant. From Schönbrunn, Mälzel removed to rooms in Stein’s pianoforte manufactory, and began the construction of a new and improved panharmonicon, having sold his first one in Paris. This was his principal employment in the year 1812. Carl Stein (from whom the author derived this information) remembered distinctly the frequent visits of Beethoven to Mälzel’s workshop, the great intimacy of the two men, and the persevering efforts of the mechanician to construct an ear-trumpet which the deaf composer should find of practical use and benefit. It is well known, that of the four instruments constructed, one was so far satisfactory as to be used occasionally for some eight or ten years. The necessity and practicability of inventing some kind of machine by which composers should be able to indicate exactly the duration of a piece of music--in other words, the rapidity of its execution--had been for several years subjects of wide discussion. An article in the “Wiener Vaterländische Blätter” of October 13, 1813, entitled “Mälzel’s musikalischer Chronometer,” reads: