t 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
close application to his studies. Though a finished performer, he knew
but little of counterpoint, and the more purely scientific side of his
art had been neglected. That he applied himself with all the ardor of
his nature to his studies we know. They were given precedence over
everything else. He even delayed for a long while writing a rondo which
he had promised to Eleonore von Breuning and when he finally sent it, it
was with an apology for not sending a sonata, which had also been
promised.

It is characteristic of Beethoven that his teachers in general were not
greatly impressed by him. We have seen how it was in the case of Haydn.
Albrechtsberger was more pronounced in his disapproval. "He has learned
nothing; he never will learn anything," was his verdict regarding
Beethoven. This was surely small encouragement. Beethoven's original and
independent way of treating musical forms brought on this censure. As he
advanced in musical knowledge he took the liberty to think for himself;
a very culpable proceeding with teachers of the stamp of
Albrechtsberger. The young man's intuit