Last summer you sent a _canon infinitus a due_ to Steiner from Mödling
Nobody has solved it, but I have solved it. The second voice enters on the second:
it is infinite. Go to the devil[22] God protect you was the text. ]
On September 21 he wrote a canon to the words “Glaube und hoffe” for the younger Schlesinger, afterwards publisher in Paris, who was a visitor in Vienna from Berlin at the time, as Beethoven’s inscription on the autograph shows.[23]
[Sidenote: PUBLICATIONS OF THE YEAR 1819]
The publications of the year 1819 were (1) Two Sonatas for Pianoforte and Violoncello, Op. 102, dedicated to Countess Erdödy, by Artaria in Vienna (they had already been published by Simrock); (2) The Quintet in C minor, Op. 104, arranged from the Trio, Op. 1, No. 3; (3) Themes and Variations on Motives from Folksongs, for Pianoforte and Flute or Violin, Op. 105, by Artaria; Pianoforte Sonata in B-flat, Op. 106, dedicated to Archduke Rudolph, by Artaria.
[1] He had not been removed, but only temporarily suspended; he retained the supervision of the boy’s education and at a later period voluntarily resigned the guardianship for a time.
[2] See Kalischer-Shedlock, Vol. II. p. 124 _et seq._ The letter was dated erroneously February 1, 1818, instead of 1819.
[3] These citations are from the Conversation Books.
[4] Landshut University. It was afterward removed to Munich.
[5] As a matter of fact the boy was with Kudlich after this and remained there until Beethoven went to Mödling. At the time of this consultation he was with his mother. Kudlich was instructed not to permit any communication between him and his mother.
[6] It is undated, but to judge by its contents and the sequence of events was written in May. See Kalischer-Shedlock, Vol. II, p. 134.
[9] That he was not always scrupulous in preserving their integrity when they offered evidence in contradiction of his printed statements is the conviction of this editor for reasons which will appear later.
[10] Apparently in reply to a question put by Beethoven an unidentified hand writes: “Poor stuff,--empty--totally ineffective--your theme was in bad hands; with much monotony he made 15 or 20 variations and put a cadenza (_fermate_) in every one, you may imagine what we had to endure--he has fallen off greatly and looks too old to entertain with his acrobatics on the violin.”