IV. Three Equali for four trombones. “Linz den 2ten 9ber 1812.” V. Sonata for Pianoforte and Violin. G major, Op. 96. VI. Irish airs nearly or quite completed for Thomson, and VII. Welsh airs probably continued. The publications: I. Music to “Egmont” except the overture, Op. 84. Breitkopf and Härtel, in January. II. ~Messa a quattro voci coll’accompagnamento dell’Orchestra, composta da Luigi van Beethoven.~ “Drey Hymnen für vier Singstimmen mit Begleitung des Orchesters, in Musik gesetzt und Sr. Durchlaucht dem Herrn Fürsten von Kinsky zugeeignet von Ludw. v. Beethoven, 86. Werk. Partitur.” Breitkopf and Härtel, in October. FOOTNOTES: [89] Kinsky, 725, 80; Archduke Rudolph, 604, 84; Lobkowitz, 282, 26. [90] After the large payment for a year and a quarter which Beethoven received from Kinsky on July 31, 1810, the Prince continued to pay 450 florins regularly every quarter but on July 26 (from March to May), 1811, with the memorandum: “450 bank-notes, or 90 florins notes of redemption,” and again the same on August 30 (for June-August), 1811;--i. e., one-fifth of the stipulated sum. It was not until the issuance of the Court Decree of September 13, 1811, that the more favorable rate of the above table was established. It is to be assumed that the payments thereafter were made in accordance with the scale, 185 florins in notes of redemption for 450 florins; the receipts have not been preserved. (See “Beethoven und Prinz Kinsky,” Frimmel’s “II. Beethoven-Jahrbuch,” 1909, by V. Kratochvil.) Lobkowitz’s payments were suspended in September, 1811, for nearly four years, his assumption of the management of the theatres having thrown his financial affairs into disorder and caused the sequestration of his estates. [91] An untranslatable pun. [92] Under date of London, 14th February, 1875, Mr. E. Speyer writes: “My father ... on a visit to Vienna in 1832, made the acquaintance of the Abbé Stadler, who communicated to him the following curious fact in relation to Beethoven’s Seventh Symphony, viz: That the theme of the Trio [Illustration: ~etc.~] was nothing more nor less than a Lower-Austrian Pilgrimage Hymn (Wallfahrtgesang), which the Abbé himself had frequently heard sung.” This correspondent’s father was the W. Speyer, or Speier, whose name so often appears in old volumes of the “Allg. Mus. Zeit.” [93] Here Beethoven was mistaken. Haydn composed accompaniments for a volume of Scottish songs for Napier, a London publisher, without ritornellos or violoncello; he wrote as Beethoven wrote for Thomson--with violoncello part as well as ritornellos. In a later letter (of February 19) the same error is repeated. [94] Laub and Jahn read “R”; Köchel, “M.” The former might be the publisher Rizzi, the latter Mollo. [95] “Andreas Baron von Forray, husband of Countess Julie Brunswick, a cousin of Count Franz Brunswick, was a good pianoforte player and great music lover,” says Köchel.