We behold him in the same select circle, cultivating his talent for improvising upon the piano-forte, by depicting in music the characters of friends and acquaintances, and generally in such a manner that the company had no difficulty in guessing the person intended.  On one of these occasions, Franz Ries was persuaded to take his violin and improvise an accompaniment to his friend’s improvisation, which he did so successfully, that, long afterwards, he more than once ventured to attempt the same in public, with his son Ferdinand.

Professor Wurzer, of Marburg, who well knew Beethoven in his youth, gives us a glimpse of him sitting at the organ.  On a pleasant summer afternoon, when the artist was about twenty years of age, he, with some companions, strolled out to Godesberg.  Here they met Wurzer, who, in the course of the conversation, mentioned that the church of the convent of Marienforst—­behind the village of Godesberg—­had been repaired, and that a new organ had been procured, or perhaps that the old one had been put in order and perfected.  Beethoven must needs try it.  The key was procured from the prior, and the friends gave him themes to vary and work out, which he did with such skill and beauty, that at length the peasants engaged below in cleaning the church, one after another, dropped their brooms and brushes, forgetting everything else in their wonder and delight.

In 1790, an addition was made to the Orchestra, most important in its influence upon the artistic progress of Beethoven, as he was thus brought into daily intercourse with two young musicians, already distinguished virtuosos upon their respective instruments.  The Elector made frequent visits to other cities of his diocese, often taking a part or the whole of his Chapel with him.  Upon his return that summer from Muenster, he brought with him the two virtuosos in question.  Andreas Romberg, the violinist, and now celebrated composer, and his cousin Bernhard, the greatest violoncellist of his age.  With these two young men Beethoven was often called to the palace for the private entertainment of Maximilian.  Very probably, upon one of these occasions, was performed that trio not published until since the death of its composer—­“the second movement of which,” says Schindler, “may be looked upon as the embryo of all Beethoven’s scherzos,” while “the third is, in idea and form, of the school of Mozart,—­a proof how early he made that master his idol.”  We know that it was composed at this period, and that its author considered it his highest attempt then in free composition.

A few words must be given to the Electoral Orchestra, that school in which Beethoven laid the foundation of his prodigious knowledge of instrumental and orchestral effects, as in the chamber-music at the palace he learned the unrivalled skill which distinguishes his efforts in that branch of the art.