In those times the musical life centered about the Court. Beethoven studied the organ under the court organist, Van den Eeden, an old friend of his grandfather's. Van den Eeden was succeeded shortly after by Christian Neefe, and Beethoven, then eleven years of age, was transferred to him. Neefe had an important bearing on Beethoven's life. He was in his best years, thirty-three, when he began teaching him, and was a thorough musician, who had had a varied experience before assuming this post. He was a university man as well, and it was fortunate for Beethoven in every way that he was brought in childhood under the influence of so cultivated and enthusiastic a musician. Neefe saw the boy's talent and became his friend. On one occasion the Elector took his musicians to Münster where he had a palace, Neefe's duties requiring that he go with them. Beethoven, then under twelve years of age, was left behind as organist. Frimmel states that Neefe, on assuming the position, reserved the privilege of absenting himself frequently from his post, on condition that he provide a substitute. After the Münster episode, the twelve-year-old Beethoven became the regular substitute. When we consider the important rôle that church music played in those times, such precocity is remarkable. This connection with church music bore good fruit in later years.

Neefe was soon after promoted, the Elector giving him charge of the secular as well as the sacred music of the Court, upon which Beethoven received his first appointment, that of cembalist of the orchestra. The duty of the cembalist is to preside at the piano. Only a good musician would be capable of filling such a position, as all the accompaniments were played from the score. He held this for two years, afterward playing viol in the orchestra for several years more. This work in the orchestra was later of the greatest possible benefit to him in composing. There was no salary at first, but the post had an important bearing on his life, as he was obliged to attend all the rehearsals as well as the performances of the opera, always taking an active part. Before he reached the age of fifteen he was appointed second court organist. During this year he studied the violin with Franz Ries, which enabled him a few years later to play in the band.

It was in Beethoven's fifteenth year that he played the organ every morning at the six o'clock mass in the Minorite church. For some years before and during this period he was busy trying his hand at musical composition, but nothing which he composed during his youth amounts to much. He could improvise in a marvelous manner and he attracted much attention by the exercise of this talent, becoming famous in this connection long before he was known as a composer.

His creative talent unfolded itself slowly. He had high ideals and worked faithfully toward their attainment. Failure to reach the level of his aspirations did not dishearten him; rather it spurred him on to greater effort.

The discerning intellect is always in advance of the creative. His delight in Bach was great; he studied him to such purpose that, at twelve years, he was able to play the greater part of the Well-tempered Clavichord. His wonderful interpretation of Bach, later, on his arrival in Vienna, immediately placed him in the front rank of virtuosi, according to Hüttenbrenner, Schubert's friend.

As a boy he was docile, shy and reserved, caring nothing for the ordinary games of boys, or at least not participating in them to any extent. At an age when other boys begin learning their games, he began in composition, being forced to it, no doubt, by his father. He is said to have written a cantata at the age of ten to the memory of an English friend of the family, who died early in the year 1781. Some variations on a march in C minor bear the following statement: Composées par un jeune amateur L v B age de dix ans.

From year to year he kept on in musical composition, feeling his way, not discouraged by his inability to produce anything great, although Mozart's precocity and genius were no doubt frequently held up to him by others as an example to profit by. When he was seventeen he went to Vienna, the funds for the trip probably being furnished by the Elector. Here he met Mozart, then at the height of his fame, whose operas were frequently produced in Bonn and throughout Germany. He probably had some lessons from him. Mozart was very much occupied with the approaching production of Don Giovanni, which took place in Prague shortly after the young man's arrival. As Beethoven's visit terminated in three months, it is not likely that he derived much benefit from these lessons. On his first meeting with the master he extemporized for him on a subject given him by Mozart. That this was a momentous occasion to the impressionable Beethoven is certain. The emotions called up by the meeting enabled him to play with such effect that when he had finished, the well-known remark was elicited from Mozart: "Pay attention to him. He will make a noise in the world some day."

Beethoven, however, was compelled to return to Bonn, owing to the serious illness of his mother, who died of consumption July 17, 1787. He now took charge of the family and had a hard life from almost every point of view, his one enjoyment probably being in the exercise of his art. The affection between mother and son was one of the few bright spots in a boyhood of toil and privation. The father's harshness served to accentuate the kindness of the mother, and he felt her death keenly. He gave a few lessons, most unwillingly, the money from which, together with his salary as assistant organist and a portion of the father's salary, kept the family together, affording them some degree of comfort.

His return, no doubt, retarded his artistic development. The musical atmosphere of Vienna would have been much better for him, especially at this period, when he was entering manhood and eager to get at the works of contemporary composers. In those times only a small amount of the music that was written, was published. Many of the lesser works were 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