Haydn’s approbation was an important link in the chain of circumstances that was soon to enable Beethoven to leave for Vienna.  Count Waldstein was the moving spirit in this matter, the Elector furnishing the funds.  He knew that the artistic atmosphere of Vienna would be of incalculable benefit to Beethoven and encouraged him in the project.  Accordingly we find him setting out for Vienna in 1792, leaving Bonn never to return to it even for a visit.

CHAPTER II

THE MORNING OF LIFE

Thou, O God! who sellest us all good things at the price of labor. 
—­Leonardo DA Vinci.

Closely following his arrival in Vienna, Beethoven began studying composition with Haydn, applying himself with great diligence to the work in hand; but master and pupil did not get along together very well.  There were many dissonances from the start.  It was not in the nature of things that two beings so entirely dissimilar in their point of view should work together harmoniously.  Beethoven, original, independent, iconoclastic, acknowledged no superior, without having as yet achieved anything to demonstrate his superiority; Haydn, tied down to established forms, subservient, meek, was only happy when sure of the approbation of his superiors.  His attitude toward those above him in rank was characterized by respect and deference; he probably expected something similar from Beethoven toward himself.  Haydn was then at the height of his fame, courted and admired by all, and his patience was sorely tried by the insolence of his fiery young pupil.  He nicknamed Beethoven the Grand Mogul, and did not have much good to say of him to others.  The pittance which he received for these lessons was no inducement to him, as he was in receipt of an income much beyond his requirements.  The time given up to these lessons could have been better employed in composing.

Haydn and Beethoven, however, were in a measure supplementary to one another as regards the life-work of each.  Haydn paved the way for Beethoven, who was his successor in the large orchestral forms.  He and also Mozart were pioneers in the field which Beethoven made peculiarly his own.  Haydn also directed Beethoven’s attention to the study of Haendel 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.