And now to the compositions of the year. A song translated by Breuning from a French opera, “Le Secret,” was probably the first fruits of the newly awakened “desire and love for work,” which proved so nobly productive during his summer absence from Vienna; it is the one published at different times under the titles “Empfindungen bei Lydiens Untreue,” and “Als die Geliebte sich trennen wollte.” A slight token of gratitude for the recent zealous kindness of Breuning in the matter of the opera, such as this song, would not long be delayed even by Beethoven. But, whether or not this was the first composition after the withdrawal of “Fidelio,” it is certain that, just one week before the date of Breuning’s letter, Beethoven had set himself resolutely to work upon grander themes than Empfindungen bei Lydiens or any other Mädchens Untreue. These are now to be considered. He began the quartets, Op. 59, on May 26. Certain studies to “Fidelio,” not previously mentioned, are contained in a sketchbook of the Landsberger Collection of Autographs, the principal contents of which are sketches for the second, fourth, fifth, sixth and ninth Symphonies, and for “Fidelio.” This, at first view, seems to confirm an assertion of Czerny’s--not accepted by Schindler, who in this case is the better authority--namely, that the Ninth Symphony, except its choral Finale, was projected many years before its composition; but the book itself affords a strong argument against it; it being, as the present writer is convinced, not a manuscript in its original form, but one made up of parts of several different books, stitched together subsequently for the better preservation of these various symphonic studies. In it, however, the sketches for the Fourth Symphony are in immediate connection with those for “Fidelio.” The list, then, of important works sketched during the progress of the opera, is this: Triple Concerto, Op. 56; Sonata in F minor, Op. 57; Pf. Concerto in G, Op. 58; Rasoumowsky Quartets, Op. 59; Fourth Symphony, B-flat, Op. 60; Fifth Symphony, C minor, Op. 67; Sixth Symphony, “Pastorale,” Op. 68. Omitting the first as belonging to 1805, and the last two as belonging to 1807-1808, the other four, we conceive, may be dated 1806. They afford a striking example of Beethoven’s habit of working on several compositions at the same time, and, moreover, as we believe, of his practice in such cases of giving the works opus numbers in the order of their completion. In this order we will take them up. “The first work which followed the exertions caused by the opera,” writes Schindler, “was the Sonata in F minor, Op. 57.... The master composed it straightway from beginning to end, during a short period of rest at the house of his friend Count Brunswick, to whom, as is known, the sonata is dedicated.”