The sketchbooks bear witness, though not voluminously, to two other works of magnitude which were in Beethoven’s thoughts in this year but never saw completion. These were a symphony and a string quintet. In a book used towards the end of 1825, containing sketches for the last movement of the Quartet in B-flat, there is a memorandum of a _Presto_ in C minor, 3-4 time, and of a short movement in A-flat, _Andante_, which Schindler marked as belonging to “the tenth symphony.” There are also some much longer sketches for an overture on B-a-c-h, in the midst of which Beethoven has written: “This overture together with the new symphony and we shall have a new concert (_Akademie_) in the Kärnthnerthor.” Schindler published the sketches of the symphony in Hirschbach’s “Musikalisch-kritisches Repertorium” of January, 1844, and started the story of an uncompleted tenth symphony. Nottebohm, in his “Zweite Beethoveniana” (p. 12), scouts the idea that Beethoven occupied himself seriously with the composition of such a work. “It is not necessary,” he says, “to turn over many leaves of the sketchbooks to prove the untenableness of the view that if Beethoven had written a Tenth Symphony it would have been on the basis of these sketches. We see in them only such momentary conceits as came to Beethoven by the thousand and which were as much destined to be left undeveloped as the multitude of other abandoned sketches in the other books. To be big with a symphony argues persevering application to it. Of such application there can be no talk in this case. The sketches in question were never continued; there is not a vestige of them in the books which follow. If Beethoven had written as many symphonies as he began we should have at least fifty.” Nottebohm’s argument does not dispose of the matter, though we shall presently find occasion to think well of it. Lenz says that Holz wrote to him that Beethoven had played “the whole of the Tenth Symphony” for him on the pianoforte, that it was finished in all of its movements in the sketches, but that nobody but Beethoven could decipher them. Holz, however, made no such broad statement to Otto Jahn, a much more conscientious reporter than Lenz. To Jahn he said that there was an introduction in E-flat major, a soft piece, and then a powerful Allegro in C minor, which were complete in Beethoven’s head and which he had played to him (Holz) on the pianoforte. This is very different from an entire symphony. But in the letter to Moscheles which Schindler says Beethoven dictated to him on March 18, 1827, bearing a message of thanks to the Philharmonic Society of London, Beethoven says: “An entire sketched symphony lies in my desk, also a new overture and other things”; and a few days later Schindler writes to Moscheles: “Three days after receiving your letter he was greatly excited and demanded the sketches of the Tenth Symphony, concerning the plan of which he told me a great deal. He has now definitely decided that it shall go to the Philharmonic Society.” The reader is familiar with Beethoven’s habit of speaking of works as finished though not a note of them had been put on paper (as in the case of the additional movements for the Mass in D, for instance), and if there were sketches for a finished symphony in Beethoven’s desk when he died, it is passing strange that Schindler did not produce them when he started the world to talking about its loss of a successor to the Ninth. What Nottebohm saw in the books deposited by Schindler in the Royal Library in Berlin seems to justify what he said, at least. Moreover, Schindler says that the sketches for the Symphony dated back to 1824, and the incorrectness of this statement can be shown beyond all peradventure by Nottebohm’s study of the sketchbooks. Of the other works which play a part in the story of 1826, something will be said hereafter.