carcely possible to rely on a single note.
As you have now got all the parts of the _finale_ of the Symphony copied
out, I have likewise sent you the score of the choral parts. You can easily
score these before the chorus commences, and when the vocal parts begin, it
could be contrived, with a little management, to affix the instrumental
parts just above the scored vocal parts. It was impossible for me to write
all these out at once, and if we had hurried such a copyist, you would have
got nothing but mistakes.

I send you an Overture in C, 6/8 time, not yet published; you shall have
the engraved parts by the next post. A _Kyrie_ and _Gloria_, two of the
principal movements (of the solemn Mass in D major), and an Italian vocal
duet, are also on their way to you. You will likewise receive a grand march
with chorus, well adapted for a musical performance on a great scale, but I
think you will find what I have already sent quite sufficient.

Farewell! You are now in the regions of the Rhine [Ries at that time lived
at Godesberg, near Bonn], which will ever be so dear to me! I wish you and
your wife every good that life can bestow! My kindest and best regards to
your father, from your friend,

BEETHOVEN.

404.

TO HERR JENGER,--VIENNA.[1]

1824.

MY ESTEEMED FRIEND,--

It will give me much pleasure to send you some day soon the score of
Matthisson's "Opferlied." The whole of it, published and unpublished, is
quite at your service. Would that my circumstances permitted me to place at
once at your disposal the greater works I have written, before they have
been heard. I am, alas! fettered on this point; but it is possible that
such an opportunity may hereafter occur, when I shall not fail to take
advantage of it.

The enclosed letter is for Hofrath v. Kiesewetter. I beg you will be so
good as to deliver it, especially as it concerns yourself quite as much as
the Herr Hofrath.

I am, with high esteem, your devoted friend,

BEETHOVEN.

[Footnote 1: This note is addressed to Jenger in Vienna, a chancery
official and a musical amateur, connoisseur, factotum, and distinguished
pianist. The date is not known. The _Opferlied_ he refers to, is
undoubtedly the 2d arrangement, Op. 121-b, which according to the Leipzig
_A.M. Zeitung_ was performed as Beethoven's "most recent poetical and
musical work," at the concert in the Royal Redoutensaal, April 4, 1824.]

405.

TO SCHOTT.

I have much pleasure in herewith c