the Prince.  Lichnowsky was also a pupil of Mozart’s.  His wife, Princess of Thun, was famous for her beauty, her kindly disposition, and for her skill as a musician.  Beethoven had not been twelve months in Vienna when he was offered rooms in the Prince’s house.  It was there that the pianoforte sonatas Op. 2 were first played by their author in presence of Haydn.  Beethoven remained in this house until 1800.  In 1799 the “Sonate Pathetique” was dedicated to the Prince, and in the following year the latter settled on him a yearly pension of 600 florins.  In the year 1806 there was a rupture between the two friends.  At the time of the battle of Jena, Beethoven was at the seat of Prince Lichnowsky at Troppau, in Silesia, where some French officers were quartered.  The independent artist refused to play to them, and when the Prince pressed the request, Beethoven got angry, started the same evening for Vienna, and,—­anger still burning in his breast,—­on his arrival home, he shattered a bust of his patron.  The composer’s refusal to play to the French officers was grounded on his hatred to Napoleon, who had just won the battle of Jena.  Beethoven, however, became reconciled with the Prince before the death of the latter in 1814.  It should be mentioned that Beethoven’s first published work, the three pianoforte Trios, was dedicated to Prince Lichnowsky.

The Archduke Rudolph (1788-1831) was one of the master’s warmest friends, and one of his most devoted admirers.  His uncle was Max Franz, Elector of Cologne, to whose chapel both Beethoven and his father had belonged.  The Archduke was the son of Leopold of Tuscany and Maria Louisa of Spain; his aunt was Marie Antoinette, and his grandmother the famous Maria Theresa.  He is supposed to have made the acquaintance of Beethoven during the winter of 1803-4, and then to have become his pupil.  The pianoforte part of the Triple Concerto (Op. 58), commenced in 1804, and published in 1807, is said to have been written for him.

Concerning the Countess Giulietta Guicciardi, for whom Beethoven entertained a hopeless passion, and the Countess Theresa of Brunswick, to whom he is said to have been secretly engaged for some years, there is no necessity to enter into detail.  Everyone has probably heard of the famous love-letters, and of the discussion as to which of these two they were addressed.  Maximiliane Brentano was a niece of the famous Bettine Brentano.

The Baroness Ertmann was an excellent performer on the pianoforte, and is said to have been unrivalled as an interpreter of Beethoven’s music.  Mendelssohn met her at Rome in 1831, and in a letter describes her playing of the C sharp minor and D minor Sonatas.

We must now turn to the sonatas, yet neither for the purpose of analysis nor of admiration.  We shall briefly discuss how far Beethoven worked on the lines established by his predecessors, and how far he modified them.  And, naturally, the question of music on a poetic basis will be touched upon.