[42] For this arraignment and defence (if defence it be) of Beethoven the present Editor wishes to assume entire responsibility. Thayer’s notes fail him here, but the indictment, he is convinced, is not only demanded by historical truth but also wholly within the spirit of Thayer as manifested in the earlier volumes of this work. Dr. Deiters makes no effort to conceal the facts, though he does not marshal them so as to present the moral delinquency in the strong light in which it appears when Beethoven’s words and deeds are brought sharply into juxtaposition; nevertheless, after presenting a plea in extenuation fully and fairly, he says: “We pay the tribute of our profoundest sympathy for Beethoven under these circumstances; we know sufficiently well the noble impulses of his soul in all other fields; we are aware of the reasons which compelled him to try everything which promised to better his condition; but the conscientious reporter cannot ignore facts which lie notoriously before him, and, hard as it may be, can not acquit Beethoven of the reproach that his conduct was not in harmony with the principles of strict justice and uprightness.” [43] This has been made possible for the editor by the courtesy of the present representatives of the venerable house in Bonn, viz.: N. Simrock G. m. b. H. in Berlin, who in 1909 issued a handsome book containing all the letters which passed between N. Simrock and Beethoven in a period beginning in 1794 and ending in 1823. Nicolaus Simrock, the reader may be reminded, was a friend of Beethoven in his childhood and a colleague in the orchestra at Bonn. [44] Youthful works. [45] Probably “Primo amore,” though it has orchestral accompaniment. [46] Composed in 1814 in memory of Baroness Pasqualati. [47] The Romances for Violin Op. 40 and 50 having been published long before, Beethoven must have had another one in mind. [48] The Trio for wind-instruments, Op. 87, already in print. Beethoven had composed variations on “Là ci darem” from “Don Giovanni” for the same instruments and the composition was called a Terzetto when performed in 1797. This was probably in his mind. [49] The last three sonatas as we know them being out of the question, Beethoven must have thought himself in readiness to write another if it was desired; there was no lack of material in his sketchbooks. [50] Degen was a popular aëronaut who had long before excited the interest of Beethoven. [51] Evidences of the second mass may be found in Nottebohm’s “Zweit. Beeth.,” pages 152 and 541-543. [52] Beethoven indulges in his propensity for puns: “Wäre mein Gehalt nicht ganz ohne Gehalt.” [53] A composition written for a serenade given to Hensler, Director of the Josephstädter Theatre, as will appear later.