The Archduke was passionately devoted to music and the friendly relations between master and pupil were maintained almost to the end of the master’s life.  Rudolph had to put up with Beethoven’s outbreaks of temper much the same as if he had been a civilian.  He treated this young Prince, brother of the reigning Emperor, much the same as his other friends, and Rudolph had to adapt himself to his master’s wishes.  He ordered his chamberlain to set aside the observance of the rigid etiquette of the Court, established by his mother, Maria Louisa of Spain, when he learned that it was one of the things which made Beethoven lose his temper.  Some of the master’s best work was written specially for Rudolph and when the latter left Vienna in 1809, Beethoven wrote the sonata, Les Adieux L’absence, et le Retour, to commemorate the occasion.  He inscribed it as follows:  “Der Abschied am vierten Mai gewidmet und aus dem Herzen geschrieben.”  Rudolph had an intuitive perception of Beethoven’s greatness and was glad to be near him, not only to learn from him, but to enjoy his friendship.  He carefully preserved Beethoven’s letters and in every way showed his regard for him.  On the high level which music made for these men, artificial distinctions were forgotten; the Prince became the disciple.  He was a fine performer, with, as may be supposed, special reference to Beethoven’s works.  Beethoven was, no doubt, impressed by Rudolph’s rank, although there is very little evidence of it in the anecdotes which we have relating to them.  He met his friends on the common ground of his art, where he found no superior.

As before stated Beethoven did not take to teaching.  It was Dientschaft to him in the full sense of the word.  He does not seem to have interested himself as much in Rudolph as in Ferdinand Ries.  In the case of the latter an artist was being prepared for a career; some of Beethoven’s own skill as performer was being perpetuated in Ries, while with Rudolph no amount of technical knowledge would have advanced the art much.  He not only accepted no payment from Ries for the lessons given him, but frequently sent him money unsolicited when he had reason to suppose he needed it.  In the old Bonn days, after the death of Beethoven’s mother, when the young man was in sore straits, Ferdinand’s father, who was a member of the Elector’s orchestra with Beethoven, had helped the latter in word and deed.  Ferdinand then was but four years of age.  Beethoven was famous by the time Ferdinand had reached manhood; when he presented himself to the master with a letter from his father, he was cordially received, and was soon on the footing of an intimate friend.  Beethoven when giving him lessons was patient to a degree that was not natural to him.  “I attribute this,” he states, “as well as the long continued friendship he maintained toward me, largely on account of the esteem and regard he felt for my father.  He often made me repeat an exercise ten times.  The lessons frequently lasted two hours.  He was not generally so particular about lapses in execution, but if I was lacking in expression, in crescendo and diminuendo, he would make me repeat the passage until he was satisfied.”  Ries made good use of his opportunities, and became a distinguished performer on the piano, ranking in this respect as high as any man of his time.