It is remarkable that Beethoven, under the circumstances which have been set forth in this chapter, could continue his labors on the Mass which were his principal occupation during the year; it was but another proof of the absorbing possession which the composition of a great work took of him when once fairly begun. So diligently did he apply himself that he had hopes not only of finishing it in time for the installation of the Archduke as Archbishop of Olmütz, but wrote to Ries on November 10 that he had already nearly completed it and would like to know what could be done with it in London. To Schindler, however, in expressing a doubt that he would have it done in time for the ceremonial, he said that every movement had taken on larger dimensions than had originally been contemplated. Schindler says also that when the day came, not one of the movements was finished in the eyes of the composer; yet he alleges that Beethoven brought the completed _Credo_ with him when he came back to Vienna from Mödling. There is this to be added to these statements: A pocket sketchbook used in 1820 (it is now in the Beethoven House at Bonn) shows some sketches for the _Credo_; and there are memoranda for the same movement in a Conversation Book used near the close of the year. That the _Gloria_ had received its final shape is a fair deduction from a Conversation Book of the same period. Bernard (presumably) writes: It was decided yesterday that you give a concert either on Christmas or some other day. Count Stadion will give the use of the room, and Schick, Czerny and Janitschek will care for the rest. The programme is to include a symphony, the _Gloria_ from your mass, the new Sonata played by you and a grand final chorus. All your works. 4,000 florins are guaranteed. Only one movement of the mass is to be performed. The project is mentioned again by another friend, and Beethoven remarks: “It is too late for Christmas, but it might be possible in Lent.” That he worked occasionally on the Ninth Symphony, especially in the early part of the year, has already been said. Thomson’s commissions occupied some of his time, as well as a project to extend his labors on folksongs into a wider field. The second set of Variations on folksong themes which was published as Op. 107 in 1820, must be assigned, at least in part, to this year. He also, as Schindler tells us, composed a set of waltzes for a band of seven men who played at an inn in the valley of the Brühl near Mödling, and wrote out the parts for the different instruments. These waltzes have disappeared; Schindler tried in vain to find them a few years later. The canon “Glück zum neuen Jahr” was composed for Countess Erdödy on the last day of December, if A. Fuchs, who says that he copied it from the original manuscript, is correct. He also wrote a canon for Steiner in the summer, as appears from a conversation recorded in a book of March 20, 1820. An unidentified hand writes: