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