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 intuitive faculties, the surest source of all knowledge according to Schopenhauer, were developed to an abnormal degree.  By the aid of this inner light he was able to see truer and farther than his pedantic old master, with the result that the pupil would argue out questions with him on subjects connected with his lessons which subverted all discipline, and well-nigh reversed their relative positions.  Beethoven’s audacity—­his self-confidence, is brought out still more strongly when we reflect on the distinguished position held by Albrechtsberger, both as teacher and composer.  He was director of music at St. Stephen’s and was in great demand as a teacher.  Some of his pupils became distinguished musicians, among them Huemmel, Seyfried and Weigl.  He excelled in counterpoint, and was a prolific composer, although his works are but little known at the present day.  He was set in his ways, a strict disciplinarian, conservative to the backbone, and upward of sixty years of age.  We can readily believe there were stormy times during