It has been generally imagined that Neefe was paid by the Elector for the instruction given to Beethoven, but this is merely a supposition, without any proof whatever. It is more than likely that Neefe considered the a.s.sistance rendered to him by the boy an equivalent for his lessons.

We have seen how, as early as 1782, he was qualified to relieve him in the organ duty, rather a heavy task, owing to the number of services at which the organist was expected to be present.

In addition to this, Neefe soon found another way of employing him--but this will require a little explanation.

Whilst awaiting his appointment as court organist, Neefe had acted as musical director to a troupe of singers known as the Grossmann Company, from the name of the leader and organizer. This was one of the best operatic companies in Germany, all its members being actors of experience and reputation.

Now it had entered the Elector's head to take this company into his own service, and found a national theatre (in imitation of that at Vienna) which should serve as a school of refinement for the worthy citizens of Bonn. Neefe found himself, therefore, burdened with double duties as conductor and organist, and in the season of 1783, owing to the absence of one of his colleagues (the well-known Lucchesi), was almost overwhelmed with work. He found it impossible to attend the morning rehearsals in the theatre, and accordingly young Ludwig was appointed _cembalist_ in the orchestra, _i.e._, to preside at the pianoforte. In those days this was considered a distinction (as such Haydn regarded it in London), and in fact only an accomplished musician could fill the post, as all the accompaniments were played from the score.

To this early initiation may be attributed the extreme facility with which Beethoven read, _a prima vista_, the most involved and complicated scores, even when in ma.n.u.script, and that ma.n.u.script written by a Bach in a manner calculated to drive any ordinary reader to despair.

For two seasons young Ludwig was the accompanist at all rehearsals, and in addition to the advantage of thus working out in the most practical way all that he learned of theory, he also gained a thorough acquaintance with the works of Gretry and Gluck.

The operas were varied by dramatic representations, and these must have had an immense influence on the observant, reflective boy; for the _repertoire_ of the company was large, and embraced not only the standard pieces of the day, but the new plays of Lessing, and "The Robbers" of Schiller, which had begun to create a ferment of excitement throughout Germany; besides translations from Moliere, Goldoni, and our own Garrick and c.u.mberland.

To return to our young _cembalist_, the two years 1783-84 must have been a busy time to him between the chapel and the orchestra, but not a penny did he receive for his services, although he may have earned a trifle by playing the organ every morning at the six o'clock ma.s.s in the church of St. Remigius.

When he was thirteen, however, through Neefe's influence he was nominated officially to the post he had so long filled in reality, that of a.s.sistant organist, and would have drawn a salary but for an event which threw him back again.

The Elector Max Friedrich died, the operatic company was dismissed, and Neefe, having nothing to do but play his organ, had no further need of an a.s.sistant.

This must have been a great blow to the boy; not that he cared for the money in itself, but he knew how it would have lightened his poor mother's cares, and shed a gleam of sunshine over the poverty-stricken household.

His father was now beginning to throw off all restraint; his failing was generally known, and more than once he was rescued from the hands of the police and brought home by his son in a state of unconsciousness. Long ere this, two sons, Caspar Anton Carl and Nikolaus Johann, respectively four and six years younger than Ludwig, had been added to the family, and doubtless many were the secret councils between the boy and his mother as to how the few thalers of Johann (_minus_ what was spent in the alehouse) could be made to meet the needs of the household. It was probably about this time that Beethoven began to give lessons, that most wearisome of all employments to him, and so for more than a year, to the great hindrance of his own studies, contributed his mite to the general fund.

The year 1785, however, brought with it a little heartening; Ludwig's former appointment as a.s.sistant organist was confirmed by the new Elector, and with the yearly stipend of a hundred thalers an era of hope dawned for the lad.

Max Franz, Archbishop of Cologne, was the youngest son of Maria Theresa, and the favourite of his brother, the Emperor Joseph II., whom he strongly resembled in character and disposition.

To any one familiar with the musical history of the period and the Emperor's relation to Mozart, this will be sufficient to indicate the pleasure with which the Bonn musicians must have hailed his advent. Nor were their expectations disappointed; Max Franz surpa.s.sed his predecessors not only in the munificence of his support, but (what is perhaps of more importance) in the real interest shown by him in the progress of art at his court. Neither did he confine his patronage to music alone (though, as was natural in a son of Maria Theresa, this was his first care); painting, science, and literature alike felt the influence of his generous mind. The university was founded and endowed by him, and the utmost efforts made to meet that universal demand for a higher culture, and that striving after truth in art, which the works of Schlegel, Lessing, Schiller, Goethe, and others were rapidly disseminating throughout the length and breadth of Germany. As Wegeler (the friend and biographer of Beethoven, at that time a medical student of nineteen) writes, "It was a splendid, stirring time in many ways at Bonn, so long as the genial Elector, Max Franz, reigned there." It can readily be imagined, therefore, that a youth so full of promise as Beethoven could not escape the notice of such a prince, and that to his own talents, backed by the recommendation of Neefe--not to the influence of any patron--he owed the only official appointment ever held by him.

For the next year he seems to have had a comparatively easy life, his salary no doubt going to his mother, and the little he could make by teaching carefully put aside for a great purpose he had formed. A characteristic anecdote of this period is worth repeating, inasmuch as Beethoven himself used often to speak of it with glee in after life as a specimen of his boyish achievements.

In the old style of church music, on the Tuesday, Friday, and Sat.u.r.day of Pa.s.sion Week it was usual to sing select portions from the Lamentations of Jeremiah, consisting of short phrases of from four to six lines. In the middle of each phrase a pause was made, which the accompanist was expected to fill up as his fancy might dictate by a free interlude on the pianoforte--the organ being prohibited during these three days. Now it so happened that the singer to whom this was allotted in the Electoral Chapel was one h.e.l.ler, a thoroughly well-practised but somewhat boastful musician. To him Beethoven declared that he was able to throw him out in his part without employing any means but such as were perfectly justifiable. h.e.l.ler resented the insinuation, and rashly accepted a wager on the subject. When the appropriate point was reached, Beethoven ingeniously modulated to a key so remote from the original one, that although he continued to hold fast the key-note of the latter, and struck it repeatedly with his little finger, h.e.l.ler was completely thrown out, and obliged abruptly to stop.

Franz Ries the violinist, father of the afterwards celebrated Ferdinand, and Lucchesi, who were present, declared themselves perfectly astounded at the occurrence, and the mystified singer rushed in a tumult of rage and mortification to the Elector and complained of Beethoven. The good-humoured Max Franz, however, rather enjoyed the story, and merely ordered the young organist to content himself with a more simple accompaniment for the future.

In the spring of 1787, Ludwig at length reached the height of his boyish aspirations. His little savings had acc.u.mulated to what was in his eyes a large sum, and he looked forward with eagerness to a journey to Vienna. It has been supposed that the funds for this visit were supplied by others, but this is improbable. At that time Beethoven had no wealthy friends; there is no evidence to show that the Archbishop a.s.sisted him, and certain is it that no money was forthcoming from his father. We are obliged to fall back upon the supposition that his own scanty earnings, eked out perhaps by his mother, were his only means, especially as we know that they proved insufficient for his purpose, and that he was obliged to borrow money for his journey home.

What were Beethoven's intentions with regard to this visit?

His father's conduct, which must have many a time brought the flush of shame to his young brow, his mother's evidently failing health, the numerous unsupplied wants of the family, now increased by the birth of a daughter,[3]--all these circ.u.mstances combined to urge on his sensitive, loving nature the necessity of making some exertion, of taking some decided step for the a.s.sistance of his dear ones.

Vienna, so far away, was his goal; there were a.s.sembled all the great and n.o.ble in art--Gluck, Haydn, Mozart! the very mention of these names must have roused the responsive throb of genius in the lad. To Vienna he would go, and surely if there were any truth in the adage that "like draws to like," these men must recognise the undeveloped powers within him; and help him to attain his object.

That some such hopes as these must have beat high in Beethoven's breast, animating him for the effort, is evident from the reaction that set in, the despair that took possession of him when he found himself forced by the iron course of events to abandon his project.

Arrived in the great capital he obtained an interview with Mozart, and played before him. The maestro, however, rewarded his performance with but feeble praise, looking upon it as mere parade; and probably in technical adroitness the boy before him was far behind the little Hummel, at that time under his tuition; for Beethoven's style, through his constant organ-playing, was somewhat heavy and rough.

Beethoven, sensitively alive to everything, perceived Mozart's opinion, and requested a thema for an improvisation. Somewhat sceptically Mozart complied, and now the boy, roused by the doubt cast upon his abilities, extemporized with a clearness of idea and richness of embellishment that took his auditor by storm. Mozart went excitedly to the bystanders in the anteroom, saying, "Pay heed to this youth--much will one day be said about him in the world!"

The amiable Mozart did not live to see the fulfilment of his prophecy, but he appears to have taken an interest in the boy, and to have given him a few lessons.

Beethoven afterwards lamented that he had never heard Mozart play, which may perhaps be accounted for by the fact that the master was much occupied at the time with his "Don Giovanni," and also had that year to mourn the loss of his father.

The following letter fully explains the cause of Beethoven's sudden departure from Vienna, and the apparent shipwreck of all his hopes:--

"_Autumn._ _Bonn_, 1787.

"MOST WORTHY AND DEAR FRIEND,--I can easily imagine what you must think of me--that you have well-founded reasons for not entertaining a favourable opinion of me, I cannot deny.

"But I will not excuse myself until I have explained the reasons which lead me to hope that my apologies will be accepted.

"I must tell you that with my departure from Augsburg, my cheerfulness, and with it my health, began to decline. The nearer I came to my native city, the more frequent were the letters which I received from my father, urging me to travel as quickly as possible, as my mother's health gave great cause for anxiety. I hurried onwards, therefore, as fast as I could, although myself far from well. The longing to see my dying mother once more did away with all hindrances, and helped me to overcome the greatest difficulties. My mother was indeed still alive, but in the most deplorable state; her complaint was consumption; and about seven weeks ago, after enduring much pain and suffering, she died.

"Ah! who was happier than I, so long as I could still p.r.o.nounce the sweet name of mother, and heard the answer! and to whom can I now say it? To the silent images resembling her, which my fancy presents to me?

"Since I have been here, I have enjoyed but few happy hours.

Throughout the whole time I have been suffering from asthma, which I have reason to fear may eventually result in consumption. To this is added melancholy, for me an evil as great as my illness itself.

"Imagine yourself now in my position, and then I may hope to receive your forgiveness for my long silence.

"With regard to your extreme kindness and friendliness in lending me three carolins in Augsburg, I must beg you still to have a little indulgence with me, as my journey cost me a great deal, and here I have not the slightest prospect of earning anything. Fate is not propitious to me here in Bonn.

"You will forgive my having written at such length about my own affairs; it was all necessary in order to excuse myself.

"I entreat you not to withdraw your valuable friendship from me; there is nothing I so much desire as to render myself worthy of it.

"I am, with all esteem,

"Your most obedient servant and friend,

"L. V. BEETHOVEN,

"_Cologne Court Organist_.

"_To_ Monsieur de Schaden,

"_Counsellor at Augsburg_."

When years afterwards Ferdinand Ries came as a boy of fifteen to Beethoven in Vienna, and solicited his help and countenance, the master, who was much occupied at the time, told him so, adding, "Say to your father that I have not forgotten how my mother died. He will be satisfied with that." Franz Ries had, in fact, at the time of the mother's illness, lent substantial a.s.sistance to the impoverished family; and this to the heart of the son was a sure claim on his lasting grat.i.tude.

FOOTNOTES:

[Footnote 3: Margaret, who died while still an infant.]

[Ill.u.s.tration]