Scan 73
The American history and encyclopedia of music, 1908
9 lines. Read by computer on 7 September 2026. Printed page 50. See the scan on archive.org.
1Beethoven
2to attend rehearsals and performances, he gained valuable practise and experience. When he was fourteen, he was given the appointment of second Court organist with a salary of 150 florins (about $63), and every morning played the organ at six o'clock mass. During the year he studied violin with Franz Ries, and continued trying his hand at composition. While the compositions of this period were not of much value, the improvisations were, and he began to be spoken of as one of the best piano-players of his day. In 1787 he made his first journey to Vienna, where he met Mozart and played before that master so effectively, extemporizing on a subject given by Mozart, that the latter remarked to a companion: "Pay attention to him. He will make a noise in the world some day."
4Beethoven was recalled from Vienna by the serious illness of his mother, who died of consumption, July 17, 1787, when Ludwig was in his eighteenth year. The following were dark days; death visited the Beethoven home again and the burden of the family, the harsh, dissolute father, weighed heavily upon Ludwig. The father's pittance was small, and the son had to give lessons to help in the general support, though teaching was ever distasteful to him. But this gloom and depression were brightened by the coming into his life of new friends, the family of Stephen von Breuning, a fellow-pupil under Franz Ries. This cultivated, hospitable family, in welcoming young Beethoven to their circle, opened up a new world for him. Madame von Breuning was a woman of much tact and intelligence, intimacy with whom awakened in the boy an interest in the classics and in German and English literature. On their side, they delighted in his playing, especially in the improvisations and the friendship was of mutual pleasure and benefit. He gave lessons to the daughter Eleanore, to whom some of his later compositions were dedicated and with whom he kept in touch after leaving Bonn. Another important friendship of this time was that with a young noble, Count Waldstein, an enthusiastic amateur musician. They were on terms of close intimacy, Waldstein in as delicate a manner as possible assisting Beethoven not only pecuniarily, but in every way in his power. It is thought Count Waldstein's influence was what induced the Elector of Cologne to awaken at last to recognition of Beethoven's rare ability, which recognition resulted in his finally being sent to Vienna.
6When only nineteen Beethoven had to take the place—he had long borne the burden—of head of the family; his drunken father being now so irresponsible that the decree was issued that part of his salary be paid over to Ludwig. Beethoven was at this time working hard on his studies and making great progress as Court musician, his chief recreation being long walks in the country, of which he was passionately fond. In 1788, the Elector established at Bonn a national theatre modeled after the one maintained at Vienna by his brother, the Emperor Joseph, and here both opera and drama were produced. The orchestra, in which Beethoven played second viola for four years, included a number of illustrious musicians, among these Franz Ries, Andreas and Bernhard Romberg, and Christian Neefe, who was pianist and stage manager. Association with these artists was of greatest value, and inspiration, the listening to noteworthy opera and play representing the best in literature. In 1792, Haydn, passing through Bonn, heard a cantata of Beethoven's, which he warmly praised and added to the praise the suggestion that the author be allowed opportunity for further study. The Elector shortly arranged that Beethoven depart for Vienna on this mission and in November, of 1792, he left Bonn, not to return again. The Bonn days end with Beethoven twenty-two years old.
8The compositions of these days are, relatively, of inconsiderable importance; a few songs a rondo; a minuet; three preludes; a trio and three quartets for piano; a string trio; four sets of piano variations; a rondino for wind instruments; the Ritter ballet with orchestra; and a few other works. Beethoven's creative powers developed slowly. Grove says, "If we compare them (his composition up to this time) with those of other composers of the first rank, such as Mozart, Schubert, or Mendelssohn, it must be admitted that they are comparatively few and unimportant . . . . Against Mozart's twenty-eight operas,
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