To the praise of Thy goodness I must confess that Thou hast tried all means to draw me to Thee. Now it hath pleased Thee to let me feel the heavy hand of Thy wrath, and to humiliate my proud heart by manifold chastisements. Sickness and misfortune hast Thou sent to bring me to a contemplation of my digressions. But one thing only do I ask, O God, cease not to labor for my improvement. Only let me, in whatsoever manner pleases Thee, turn to Thee and be fruitful of good works. [Sidenote: WORKS PUBLISHED IN 1805] The publications for the year 1805 were the Two Easy Sonatas, G minor and G major, Op. 49, advertised by the Kunst- und Industrie-Comptoir, on January 23; Trio (arranged from the Septet) for Pf., Violin (or Clarinet) and Violoncello, E-flat, Op. 38, advertised by the same institution on the same date; Prelude for the Pf., F minor, advertised by the same on January 30; Romance for Violin and Orchestra, F major, Op. 50, advertised by the same on May 15; Sonata in C major for Pf., Op. 53, dedicated to Count Waldstein, advertised with the Romance; song, “An die Hoffnung,” Op. 32, advertised by the same on September 18; Six Variations for Pf. four hands, on “Ich denke Dein,” advertised by the same on January 23; Minuet in E-flat for Pf., advertised by same on January 30; Scene and Air, “Ah, perfido! spergiuro,” in pianoforte score, published by Hoffmann and Kühnel. The compositions which were completed were the opera “Leonore” (“Fidelio”) in its first form; the Concerto for Pf. and Orchestra, G major, Op. 58 (this on the authority of Nottebohm); the Pf. Sonata in F major. Op. 54; perhaps also may be added the Concerto for Pf., Violin and Violoncello, C major. Op. 56. It was sketched at the beginning of the year and was written, as Schindler states, for Archduke Rudolph, Seidler, violin, and Kraft, violoncello; it may well have been completed so as to be played by the winter of 1805-1806. FOOTNOTES: [29] Again played by him at the opening of Schuppanzigh’s Augarten concerts in the Spring. [30] See Nottebohm’s study of the sketches for “Fidelio” in “Zweite Beethoveniana,” p. 409 ~et seq.~; also what Jahn has to say, and the results of Erich Prieger’s labors in connection with the reprint of the original form of the opera. [31] Jahn, “Gesammelte Schriften,” p. 244.