ontributing to the "Cecilia"[1] and its
readers some Canons written by me, as a supplement to a humorous and
romantic biography of Herr Tobias Haslinger residing here, which is shortly
to appear in three parts.

In the _first_ part, Tobias appears as the assistant of the celebrated and
solid Kapellmeister Fux, holding the ladder for his _Gradus ad Parnassum_.
Being, however, mischievously inclined, he contrives, by shaking and moving
the ladder, to cause many who had already climbed up a long way, suddenly
to fall down, and break their necks.

He now takes leave of this earthly clod and comes to light again in the
_second_ part in the time of Albrechtsberger. The already existing Fux,
_nota cambiata_, is now dealt with in conjunction with Albrechtsberger. The
alternating subjects of the Canon are most fully illustrated. The art of
creating musical skeletons is carried to the utmost limit, &c.

Tobias begins once more to spin his web as a caterpillar, and comes forth
again in the _third_ part, making his third appearance in the world. His
half-fledged wings bear him quickly to the Paternostergaessel, of which he
becomes the Kapellmeister. Having emerged from the school of the _nota
cambiata_, he retains only the _cambiata_ and becomes a member of several
learned societies, &c. But here are the Canons.

On a certain person of the name of Schwencke.[2]

[Music: treble clef, key of F major, 3/4 time.
Schwen-ke dich, Schwen-ke dich oh-ne
Schwaen-ke, oh-ne Schwaen-ke, oh-ne Schwaen-ke, oh-ne
Schwaen-ke / / / / /
Schwen-ke dich, schwen-ke dich, schwen-ke dich / /
/ / / / / / / /]

On a certain person of the name of Hoffmann.

[Music: treble clef, key of C, 3/4 time.
Hoff-mann! Hoff-mann! Sei ja kein Hof-mann!
ja kein Hof-mann! nein, nein / nein / / /
ich hei-sse Hoff-mann und bin kein Hof-mann]

LUDWIG VAN BEETHOVEN.

[Footnote 1: A periodical published for the musical world, and edited by a
society of _savants_, art-critics, and artists; Mayence, B. Schott & Sons.
The publishers applied to Beethoven, in the name of the editors, for a
contribution to the _Cecilia_.]

[Footnote 2: It appears that Kapellmeister Schwencke in Hamburg, in many
complimentary and flowery phrases, had requested Beethoven to send him his
autograph. Perhaps Beethoven, to whom the sound of certain names appeared
comical, alludes here to this Hamburg Kapellmeister Schwencke.]

406.

TO LUDWIG RELLSTAB.

May 3, 1825.

As I was just s