the Court Theatre in her fifth year; and in 1739, just before her accession to. the imperial dignity, being in Florence, she sang a duet with Senesino — of Handelian memory—with such grace and splendor of voice, that the tears rolled down the old man’s cheeks. In all her wars and amid all the cares of state, 5 Maria Theresa never ceased to cherish music. Her children were put under the best instructors, and made thorough musicians; — Joseph, whom Mozart so loved, though the victim of his shabby treatment; Maria Antoinette, the patron of Gluck and the head of his party in Paris; Max Franz, with whom we now have to do,— and so forth.
Upon learning the death of Max Frederick, his successor hastened to Bonn to assume the Archiepiscopal and Electoral dignities, with which he was formally invested in the Spring of 1785. In the train of the new Elector, who was still in the prime of life, was the Austrian Count Waldstein, his favorite and constant companion. Waldstein, like his master, was more than an amateur,—he was a fine practical musician. The promising pupil of Neefe was soon brought to his notice, and his talents and attainments excited in him an extraordinary interest. Coming from Vienna, where Mozart and Haydn were in the full tide of their success, where Gluck’s operas were heard with rapture, and where in the second rank of musicians and composers were such names as Salieri, Righini, Anfossi, and Martini, Waldstein could well judge of the promise of the boy. He foresaw at once his future greatness, and gave him his favor and protection. He, in some degree, at least, relieved him from the dry rules of Keefe, and taught him the art of varying a theme extempore and carrying it out to its highest development. He had patience and forbearance with the boy’s failings and foibles, and, to relieve his necessities, gave him money, sometimes as gifts of his own, sometimes as gratifications from the Elector.
As soon as Maximilian was installed in his new dignity, Waldstein procured for Ludwig the appointment of assistant court organist;—not that Keefe needed him, but that he needed the small salary attached to the place. From this time to the downfall of the Electorate, his name follows that of Keefe in the annual Court Calendar.
Wegeler and others have preserved a variety of anecdotes which illustrate the skill and peculiarities of the young organist at this period, but we have not space for them;—moreover, our object is rather to convey some distinct idea of the training which made him what every lover of music knows he afterward became.
Maximilian Francis was as affable and generous as he was passionately fond of music. A newspaper of the day records, that he used to walk about the streets of Bonn like any other citizen, and early became very popular with all classes. He often took part in the concerts at the palace, as upon a certain occasion when “Duke Albert played violin, the Elector viola, and Countess Belderbusch piano-forte,” in a trio. He enlarged his orchestra, and, through his relations with the courts at Vienna, Paris, and other capitals, kept it well supplied with all the new publications of the principal composers of the day, — Mozart, Haydn, Gluck, Pleyel, and others.
No better school, therefore, for a young musician could there well have been than that in which Beethoven was now placed. While Keefe took care that he continued his study of the great classic models of organ and piano-forte composition, he was constantly hearing the best ecclesiastical, orchestral, and chamber music, forming his taste upon the best models, and acquiring a knowledge of what the greatest masters had accomplished in their several directions. But as time passed on, he felt the necessity of a still larger field of observation, and, in the autumn of 1789, Keefe’s wish that his pupil might travel was fulfilled. He obtained—mainly, it is probable, from the Elector, through the good offices of Waldstein—the means of making the journey to Vienna, then the
