Again in Bonn,—­the young master’s last year in his native city,—­that petite perle.  It was a fortunate circumstance for the development of a genius so powerful and original, that the place was not one of such importance as to call thither any composer or pianist of very great eminence,—­such a one as would have ruled the musical sphere in which he moved, and become an object of imitation to the young student.  Beethoven’s instructors and the musical atmosphere in which he lived and wrought were fully able to ground him firmly in the laws and rules of the art, without restraining the natural bent of his genius.  His taste for orchestral music, even, was developed in no particular school, formed upon no single model,—­the Electoral band playing, with equal care and spirit, music from the presses of Vienna, Berlin, Munich, Mannheim, Paris, London.  Mozart, however, was Beethoven’s favorite, and his influence is unmistakably impressed upon many of the early compositions of his young admirer.

But the youthful genius was fast becoming so superior to all around him, that a wider field was necessary for his full development.  He needed the opportunity to measure his powers with those of the men who stood, by general consent, at the head of the art; he felt the necessity of instruction by teachers of a different and higher character, if any could be found.  Mozart, it is true, had just passed away, but still Vienna remained the great metropolis of music; and thither his hopes and wishes turned.  An interview with Haydn added strength to these hopes and wishes.  This was upon Haydn’s return, in the spring of 1792, after his first visit to London, where he had composed for and directed in the concerts of that Johann Peter Salomon in whose house Beethoven first saw the light.  The veteran composer, on his way home, came to Bonn, and there accepted an invitation from the Electoral Orchestra to a breakfast in Godesberg.  Here Beethoven was introduced to him, and placed before him a cantata which he had offered for performance at Mergentheim, the preceding autumn, but which had proved too difficult for the wind-instruments in certain passages.  Haydn examined it carefully, and encouraged him to continue in the path of musical composition.  Neefe also hints to us that Haydn was greatly impressed by the skill of the young man as a piano-forte virtuoso.

Happily, Beethoven was now, as we have seen, free from the burden of supporting his young brothers, and needed but the means for his journey.

“In November of last year,” writes Neefe, in 1793, “Ludwig van Beethoven, second court organist, and indisputably one of the first of living pianists, left Bonn for Vienna, to perfect himself in composition under Haydn.  Haydn intended to take him with him upon a second journey to London, but nothing has come of it.”