uaintances, and generally in such a manner that the
company had no difficulty in guessing the person intended. On one
of these occasions, Franz Ries was persuaded to take his violin and
improvise an accompaniment to his friend's improvisation, which he did
so successfully, that, long afterwards, he more than once ventured to
attempt the same in public, with his son Ferdinand.

Professor Wurzer, of Marburg, who well knew Beethoven in his youth,
gives us a glimpse of him sitting at the organ. On a pleasant summer
afternoon, when the artist was about twenty years of age, he, with some
companions, strolled out to Godesberg. Here they met Wurzer, who, in the
course of the conversation, mentioned that the church of the convent of
Marienforst--behind the village of Godesberg--had been repaired, and
that a new organ had been procured, or perhaps that the old one had been
put in order and perfected. Beethoven must needs try it. The key was
procured from the prior, and the friends gave him themes to vary and
work out, which he did with such skill and beauty, that at length the
peasants engaged below in cleaning the church, one after another,
dropped their brooms and brushes, forgetting everything else in their
wonder and delight.

In 1790, an addition was made to the Orchestra, most important in its
influence upon the artistic progress of Beethoven, as he was thus
brought into daily intercourse with two young musicians, already
distinguished virtuosos upon their respective instruments. The Elector
made frequent visits to other cities of his diocese, often taking a part
or the whole of his Chapel with him. Upon his return that summer from
Muenster, he brought with him the two virtuosos in question. Andreas
Romberg, the violinist, and now celebrated composer, and his cousin
Bernhard, the greatest violoncellist of his age. With these two
young men Beethoven was often called to the palace for the private
entertainment of Maximilian. Very probably, upon one of these occasions,
was performed that trio not published until since the death of its
composer--"the second movement of which," says Schindler, "may be looked
upon as the embryo of all Beethoven's scherzos," while "the third is, in
idea and form, of the school of Mozart,--a proof how early he made that
master his idol." We know that it was composed at this period, and that
its author considered it his highest attempt then in free composition.

A few words must be given to the El