Breuning’s report (June 2), that Beethoven “had lost a great deal of his pleasure in and love for work,” had even then ceased to be true. On the 26th of May, the first of the Rasoumowski Quartets had been begun--and with it began a series of works which distinguished the year 1806 as one of astonishing productiveness--but more on this point in due time. It is quite certain that he took no summer lodgings: this and other considerations confirm Schindler’s statement, that, when the revision of a copy of his opera for Berlin had been finished, he went into Hungary to enjoy “a short rest with his friend Count Brunswick.” Thence he journeyed into Silesia to the seat of Prince Lichnowsky near Troppau. [Sidenote: NEGOTIATIONS WITH BREITKOPF AND HÄRTEL] Two documents now come up for consideration which fill a hiatus left by the author in the original edition of this work. They are the letters to which reference was made by the English editor in his comments on Beethoven’s love-affairs (Vol. I, p. 344). Both are addressed to Breitkopf and Härtel, the first dated “Vienna, July 5, 1806,” the second “Grätz, den 3ten Heumonath, 1806”--“Heumonath” meaning July. The inaccuracy of the latter date is too obvious to call for extended comment; Beethoven could not apologize on the third day of the month for tardiness in replying to a letter in answer to one which he had dispatched on the fifth. It is not permissible to play fast and loose with Beethoven’s dates, despite their frequent faultiness; we must accept them when they are upheld by corroborative evidence, but reject them when it is plainly impossible to conceive them as correct. In explanation of the obvious incorrectness of the second date it is suggested that when Beethoven wrote “Heumonath,” i. e., July, he meant to write “Herbstmonath,” i. e., September. Irrespective of their dates, however, the letters furnish evidence of Beethoven’s creative activity during the summer of 1806. The first letter is as follows: Vienna, July 5, 1806. I inform you that my brother is going to Leipsic on business of his chancellary and I have given him to carry the overture to my opera in pianoforte arrangement, my oratorio and a new pianoforte concerto--you may also negotiate with him touching some new violin quartets of which I ~have already completed one~ and am purposing to devote myself almost wholly to this work. As soon as you have come to an understanding with my brother I will send you the pianoforte arrangement of my opera--you may also have the score.