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fresh subject for the third movement of the Septett, and that the transference of the theme from the little Sonata in G, Op. 49, to the larger work was a second, not a first thought. The twofold use of this familiar Minuetto theme is fully discussed by Nottebohm, and the conclusion arrived at is that, in spite of the conflicting opus numbers, 49 and 20, the Sonata was earliest in possession of the theme. The pretty subject must certainly have been a favourite, for it occurs also in some outline si<etclies for the early pianoforte and clarinet trio, B Flat, Op. 11, as a probable commencement for the slow movement as follows :

This intention, however, was carried out only so far as rhythmic structure of the plirase is concerned, for the melody eventually adopted is different. The theme for the variations appears from the first pretty much as we Icnow it, but without the second section. Nottebohm is doubtful as to the story that the theme is identical with a Rhineland Volkslied, pointing out that the second section of the familiar melody is not Volksthiimlich in cliar- acter. It is curious that the very passage on which therefore he founds his theory of the originality of the tune should be the one left out when, in the first outline sketch, Beethoven passed at once from the first half of the melody to the first variation of it. The inference is, not that he meant to dispense with the second half of the melody, but rather that the original second part was unsuitable for his pur- pose, and that the passage by which it was to be replaced had not at the time occurred to him. Another early work, slighter in dimension, but in substance quite as attractive as the Septett, is the F Major Sonata for piano and violin, Op. 24, on the composition of which a sketch-book of 1800 throws some curious light. Again it is the last movement which is first considered, and its opening phrase makes its appearance under the strange disguise of a key with four sharps, intended presumably for F sharp major. II u Rondo^ ...^ iiSS^^EEliiSig Two different versions of the first movement of the Sonata follow, written out at some length, but differing from the finished work both by their inferiority in grace and elegance, and by their com- parative feebleness in modulation and harmonic structure. The melody for the lovely slow move- ment fixes itself readily, but the theme for the last movement, of which we have just seen the originating germ, undergoes many modifications before reach- ing its final shape. From the various changes which the sketches, in this case, enable us to trace, it is evident that the weak point of the phrase as it originally stood is exactly that where now we find the culminating weight and emphasis of the lovely passage. For as usual Beetlioven never rested till the end he had in view was reached. The first con- ception corresponds in general aspect to the phrase in its finislied form ; the main characteristics are preserved, but the passage, which as it originally stood grew more and more feeble in its progress, has eventually gathered strength and emphasis with every bar, and that without the sacrifice of that tender pathetic grace which first and last, in the sketches and finished work alike, is its distinctive quality. The Scherzo for this Sonata furnishes one of the many interesting examples of second, or as Sir George Grove has recently called them, ' after-thoughts,^ which in Beethovens music play a most important part. Here again we have the opportunity of observing the extraordinary influence of apparently infinitesimal trifles on the sum-total of artistic eff'ect. The first preliminary sketch for the Scherzo gives us the following : Minuetto, i^m^^] |?:g-rEg ^£i3E E^Egg^E:-g;E±EE ^ ^-^^^^ F^-F-- fi^^ --^- .EIEt5 =1-F: H^ _-]-i-_. 3= Here we find the key, time, and notes just as in the finished work, yet nevertheless as they first stood, without colour, life, or character, and altogether without suspicion of the roguish fun of which Beethoven has sliown the passage to be capable. The dotted rest after the first crotchet of the second bar, and the staccato, another after-thought, make all the difference. The scene is changed, and the phrase, which a moment before looked rather ponder- ous, is by a magic touch, the dot to wit, roused into vivacious life, sparkling, alert, and bubbling over with laughter and frolic. The same sketch-book of 1800 which contains the jottings for the Pianoforte and Violin Sonata, Op. 24, throws new light on the production of the A