composed merely to grace some social function, with but little thought
given them as to their ultimate fate. It was customary to play from
manuscript, copies of which were not readily attainable. In a city like
Vienna new music was constantly being produced, occasionally at public
concerts, but most often at social gatherings. The freemasonry existing
among musicians and the wealthy amateurs was such that a musician of any
talent was sure to be received, and put on a friendly footing. No other
city in Europe afforded such opportunities for musical culture as did
Vienna. It was the home of Mozart and Haydn and a host of lesser
composers, as well as instrumentalists and singers. Music in one form or
another was the chief diversion of the better classes, the wealthier of
whom maintained their private orchestra. Many of these latter were fine
performers, taking part regularly in the concerts given by their
orchestras.

The next year we find Beethoven taking his meals at the Zehrgarten,
where artists, professors from the university, and other notable people
congregated. It was at this period that he made the acquaintance of
Count Ferdinand Waldstein, the first of the aristocratic circle of
friends which surrounded him all his life. Count Waldstein at
twenty-four, on coming of age, entered the Germanic order, passing the
year of his novitiate at the Court of the Elector at Bonn. The senior by
eight years, his influence over Beethoven was considerable, as is
evidenced in many ways. The Count was an enthusiastic amateur, visiting
him frequently. He gave him a piano, and was useful to him in many ways.
The social position of Count Waldstein was such that his friendly
attitude toward Beethoven at once attracted the attention of others to
the young musician. From this time on he was able to choose his friends
from among the best people of his native city. The young man
commemorated the friendship by taking an air of the Count's, who was