Schindler here prints the now well-known canon and adds: “Out of this canon was developed the Allegretto Scherzando.” That Mälzel’s “ta, ta, ta,” suggested the Allegretto, and that at a farewell meal the canon on that subject was sung, is doubtless true; but it is by no means certain that the canon preceded the symphony. Schindler was then a youth of 17 years, “in the last course of the gymnasium at Olmütz,” and consequently relates his story on the authority of another--Count Brunswick. There may have been a slight lapse of memory on the part of Brunswick as to date, but it is far more probable that Schindler unconsciously adapted what he heard to his own preconceived notions. At all events, the preceding pages show that he was in the wrong as to the metronome, as to the proposed journeys of both Beethoven and Mälzel, and therefore, probably, as to the date of the farewell meal. On this last point, the lists of “Arrivals in Vienna” offer very strong negative evidence, namely: Forray comes from Pesth-Ofen in 1809-10-11; Countess Brunswick, 1811; but no Count Brunswick after March, 1810, until the end of February, 1813--four months after the Eighth Symphony is completed. At that date, we shall find reasons in plenty for the farewell gathering--though none in the “Spring of 1812.” The canon could not have contained the word “Metronome” until 1817; nor could the “ta, ta, ta,” have represented the beat of a pendulum of an instrument not yet invented; it was an imitation of the beat of the lever on the anvil. The Conversation Books show, in Schindler’s own hand, how he became possessed of the canon. Beethoven, during the first years of their acquaintance, was in the habit of meeting frequently evenings a captain of the ~Arcierenleibgarde des Kaisers~, a certain Herr Pinterics, well known then in musical circles, and Oliva, “in a retired room in the Blumenstock in the Ballgässchen.” In a Conversation Book (1820) Schindler writes: The motif of the canon, 2d movement of the 8th symphony--I cannot find the original--you will, I hope, have the kindness to write it down for me. Herr Pintericks at that time sang the bass, the Captain 2d tenor, Oliva 2d bass. [Again in 1824]: I am just in the second movement of the 8th symphony--ta, ta, ta--the canon on Mälzel--it was really a very jolly evening when we sang this canon in the “Kamehl”--Mälzel, the bass. At that time I still sang soprano. I think it was the end of 1817.[108] The time when I was permitted to appear before Your Majesty--1816--1815--after the performance of the Symphony in A.--I was still young at that time, but very courageous, wasn’t I?