Stumpff relates that Beethoven’s brother, who came into the room during his visit, seemed glad to greet him and begged him most amiably to call on him, as he desired to talk with him about a number of things. In saying farewell Beethoven accompanied him to the door and said: “That is my brother--have nothing to do with him--he is not an honest man. You will hear me accused of many wrong actions of which he has been guilty.” Stumpff returned to London on December 6. He fulfilled his vow touching the gift of Handel’s works two years later. On November 17, 1824, as the autograph attests, Beethoven wrote a four-part canon on the words “Schwenke dich ohne Schwänke,” which he sent to Schott and Sons for publication in the “Cäcilia,” where it appeared in April, 1825. There the title is “Canon on one who was called Schwenke.” The person whose name has thus been perpetuated was Carl Schwenke, son of Christian Friedrich Gottlieb Schwenke, Director of Church Music and Cantor at the Johanneum in Hamburg. Of the acquaintanceship between Beethoven and him, the canon is the only relic. In the latter part of the summer Beethoven accepted a commission from Diabelli for “a Sonata in F for pianoforte, four hands.” The project seems to have originated with the publisher, who asked for such a composition and specified the key in a letter dated August 7, 1824. Beethoven waited a fortnight before replying and then agreed to compose the work for a fee of 80 ducats in gold, although a sonata for four hands was not in his line. He mentioned the composition and the fee which he was to receive for it in the draft for a letter to Schlesinger next year, but never wrote the work; nor have any certain traces of it been found in the sketchbooks. [Sidenote: The Quartet in E-flat, Op. 127]