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répertoire, and many others that were noteworthy were introduced. But it was not opera alone which was being performed; the drama was also represented, and his connection with the orchestra gave him an intimate acquaintance with the masterpieces of literature, which greatly influenced his subsequent career. The tragedies of Shakespeare were occasionally produced, special prominence, however, being given to the works of the great Germans, Lessing, Schiller and other philosophers and poets of the Fatherland, the exalted sentiments and pure intellectuality of which are unmatched by any people. This early acquaintance with the best literature of his time gave him an intellectual bias which served him well all his life. It is fortunate that his opportunity came so early in life, when the activity of the brain is at its highest and when lasting impressions are produced. The mental pictures called up by the portrayal of these tragedies came to the surface again in after years sublimated, refined, in symphony and sonata, in mass and opera. Every one of his works has its own story to tell; sometimes it is just the record of the events of a day as in the Pastoral Symphony, but told with a glamour of poetry and romance, that for the time gives us back our own youth in listening to it; sometimes it is a tragedy which is unfolded, as in the Appassionata Sonata or the Fifth Symphony; or it will be a Coriolanus Overture, that seething, boiling ferment of emotion and passion, the most diverse, contradictory, unlike, that can be imagined. From these impressions, acquired in the ardor of youth, when the intellect grasps at knowledge and experience with avidity, when its capacity is at its greatest, and the whole world is laid under contribution, came a rich harvest which untold generations may enjoy. No one of the many that made up the audiences night after night, probably ever formed a guess at what was going on in the brain of this quiet reserved youth during the progress of these plays. The keen discriminating intelligence which was always sifting and sorting these pictures and stowing them away for use in after years,—the flashes of enthusiasm,—the intuitive discernment of intellectual subtleties that brought him into rapport with the author and gave him the perception of being on an equality with the great ones of the earth, here were forces already in operation which were destined to influence the world for generations to come. To fall from this ideal world of the intellect and the emotions, at the cue of the conductor, back to the cognitions of ordinary life, and a realization of its limitations, must have been as tragic an experience to this youth, who said of himself: "I live only in my art," as any he had seen depicted on the stage. Mental processes like these write their lines deeply on the faces of gifted people.

Of the thirty-one members of the orchestra some had already attained fame, and others achieved it in after years. In this collection of geniuses the attrition of mind on mind must have been of benefit to each. The conductor, Joseph Reicha, had a nephew, Anton Reicha, whom he adopted, who played the flute in the orchestra. He and Beethoven were intimate, and the prominence which Beethoven gives to the flute in his orchestral works may in part be explained by this intimacy. Reicha afterward joined Beethoven at Vienna, remaining there until 1808, when he took up his residence in Paris. He was a prolific composer and the author of numerous theoretical works. Many of his operas were produced in Paris during his lifetime. He taught at the Paris Conservatoire, and was a member of the Institute. Then there was Bernhard Romberg, and his cousin Andreas Romberg. The latter was a musical prodigy, having played the violin in concerts as early as his seventh year. At seventeen, his virtuosity was such that he was engaged for the Concerts Spirituels at Paris. Some years later he journeyed to Bonn to be near his cousin Bernhard, with whom he was intimate, and accepted a position in the Elector's orchestra as violinist. He later went to Vienna, then Hamburg, and afterward became Kapellmeister at Gotha. He composed all kinds of music, instrumental and vocal, symphonies, operas, etc. His setting of Schiller's "Song of the Bell" is well known at the present day, as well as the oratorio, "The Transient and the Eternal." He was made Doctor of Music by Kiel University. Bernhard Romberg was a distinguished violoncellist. When his connection with the Elector's orchestra ceased, he made a professional tour to Italy and Spain with his more famous cousin Andreas and was very successful. In 1796 they came to Vienna and gave a concert at which Beethoven assisted. Bernhard afterward was a professor in the Paris Conservatoire and later became Kapellmeister at Berlin. He was a composer of operas, concertos, etc. While he and Beethoven were not in accord on the subject of musical composition, each disliking the other's works, there is no question but that his proximity to him at Bonn, was one of the forces that had much to do with Beethoven's artistic development.

Then there was Franz Ries, pupil of Salomon, the distinguished violinist. Ries had already achieved fame in Vienna as soloist, and had been before the public since childhood. He was Beethoven's teacher, as stated. We must not forget Neefe, Beethoven's former teacher, who was pianist, or Simrock, all of whom formed a galaxy of virtuosi and composers unequalled by any similar organization. Beethoven greatly profited by his association with these chosen spirits, assimilating their experiences and endeavoring to emulate them.

Thus passed a few years pleasantly enough during this formative period at Bonn, music in one form or another taking up most of his waking moments. He fell in love a few times, first with a Mlle. de Honrath of Cologne, who visited the Von Breunings frequently and was their intimate friend. She had a bright, lively disposition, and like a true daughter of Eve, took great pleasure in bantering him. There was also a Miss Westerhold who made a deep impression on him. Both were the subject of conversation by him in after years.

The visit of Haydn, who with Salomon made a short sojourn at Bonn, on their return from London to Vienna in July of 1792, gave Beethoven an opportunity for an interview with the great master, which had an important bearing on the young man's career. Salomon was acquainted with the Beethovens as he was a native of Bonn. The fame of the young musician had reached his ears, and he brought about the meeting with Haydn. Beethoven at twenty-two, had, unlike so many promising children, fulfilled the promise of his youth. He was not only a distinguished performer: his compositions were also attracting attention in his circle. In honor of the distinguished guests, a breakfast was arranged at Godesburg, a resort near Bonn, at which some compositions of Beethoven's were performed by the Elector's orchestra. Some of this music had been submitted to the master previously. Haydn, who was in holiday humor, seems to have been specially attracted to it, and encouraged Beethoven to continue.

Some of the sketch-books of the Bonn period are in the British Museum, and an examination of them is of interest as it shows his method of composing. Beethoven all through life was a hard worker and a hard taskmaster to himself. He elaborated and worked over his first inspiration, polishing, cutting down, altering, making additions, never satisfied, always aiming after the attainment of his highest ideals, never considering himself, always placing his art first and personal comfort and convenience afterward. This is apparent in the sketch-books of this early date. His industry was extraordinary, although his work grew but slowly. It was elaborated bit by bit in much the same way in which Nathaniel Hawthorne built up his romances.

Haydn's approbation was an important link in the chain of circumstances that was soon to enable Beethoven to leave for Vienna. Count Waldstein was the moving spirit in this matter, the Elector furnishing the funds. He knew that the artistic atmosphere of Vienna would be of incalculable benefit to Beethoven and encouraged him in the project. Accordingly we find him setting out for Vienna in 1792, leaving Bonn never to return to it even for a visit.

CHAPTER II
ToC THE MORNING OF LIFE

Thou, O God! who sellest us all good things at the price of labor.

—Leonardo da Vinci.

C

losely following his arrival in Vienna, Beethoven began studying composition with Haydn, applying himself with great diligence to the work in hand; but master and pupil did not get along together very well. There were many dissonances from the start. It was not in the nature of things that two beings so entirely dissimilar in their point of view should work together harmoniously. Beethoven, original, independent, iconoclastic, acknowledged no superior, without having as yet achieved anything to demonstrate his superiority; Haydn, tied down to established forms, subservient, meek, was only happy when sure of the approbation of his superiors. His attitude toward those above him in rank was characterized by respect and deference; he probably expected something similar from Beethoven toward himself. Haydn was then at the height of his fame, courted and admired by all, and his patience was sorely tried by the insolence of his fiery young pupil. He nicknamed Beethoven the Grand Mogul, and did not have much good to say of him to others. The pittance which he received for these lessons was no inducement to him, as he was in receipt of an income much beyond his requirements. The time given up to these lessons could have been better employed in composing.

Haydn and Beethoven, however, were in a measure supplementary to one another as regards the life-work of each. Haydn paved the way for Beethoven, who was his successor in the large orchestral forms. He and also Mozart were pioneers in the field which Beethoven made peculiarly his own. Haydn also directed Beethoven's attention to the study of Händel and Bach, whose works Beethoven always held most highly in esteem. It is true that Beethoven, even in the old Bonn days, was familiar to some extent with the works of these masters; but his opportunity for getting at this kind of music was limited in Bonn. Vienna, the musical center of the world at that time, was, as may be supposed, a much better field in this respect. The study of these profound works of genius under the leadership and eulogy of so prominent a musician as Haydn had much to do with shaping Beethoven's ideals. These masters gave an example of solidity and earnestness which is characteristic of their work. Haydn and Mozart, on the other hand, appealed to him in his lighter moods, in the play of fancy, in the capricious and humorous conceits of which he has given such fine examples in the symphonies and sonatas.

The lessons to Beethoven continued for a little over a year, or until Haydn left on another visit to England in January of 1794. So eager was he for advancement, that he took lessons from another teacher at the same time, carefully concealing the fact from Haydn. Beethoven always maintained that he had not learned much from him.

Strangely, Haydn had no idea at this time or for some years after that his pupil would ever amount to much in musical composition. He lived long enough to find Beethoven's position as a musician firmly established, but not long enough to witness his greatest triumphs.

On the departure of Haydn he began with Albrechtsberger in composition, also having violin, and even vocal lessons from other masters. Beethoven realized, on coming to Vienna, more fully than before, the necessity for close application to his studies. Though a finished performer, he knew but little of counterpoint, and the more

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