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Beethoven heard Sterkel play and won notice by his own extemporizations. By 1792 he had produced some compositions, largely piano-variations, had begun the lifelong habit of keeping 'sketch-books' for recording and elaborating his musical ideas and was recognized as a pianist of extraordinary power. He had also begun to win the friendship of cultivated people, notably Mme. von Breuning and Count Waldstein, who were of the utmost value to him socially and mentally. In 1792, perhaps at Haydn's suggestion, the Elector gave him leave to remove to Vienna, where apparently his only support at first was his salary of 150 florins, which ceased in 1794.

Ludwig von Beethoven

At Vienna Beethoven for two years had lessons in counterpoint from Haydn (secretly also from Schenk), and for about a year from Albrechtsberger. He was a conscientious pupil, but both teachers regarded his radical impulses with distrust. He also consulted Salieri and Forster. He made his way among wealthy and intelligent amateurs, like the Lichnowskys, Van Swieten and Lobkowitz, thus securing some teaching, much warm appreciation, and substantial help for the performance of compositions. He was always dependent upon such patronage, simply because at that time there was no other way for a musician to subsist. That he not only kept his many powerful friends, but fascinated them, was remarkable in the face of his low origin, uncouth manners, extreme sensitiveness and unaccountable moods. That he repaid their forbearance with esteem is shown by the long list of his dedications of important works. He was often violent in judgment and speech, so that he alienated many who were not sensible of his innate worth. He came into immediate competition with the popular pianists of the day, vanquishing those who essayed to meet him openly. The profound expressiveness of his playing, with his command of technique and structure, was seen to be unrivaled.

Amid these stimulating circumstances his creative powers now gradually came into action, though used with a unique caution, every work being developed slowly, often with great alterations, and put forth only in what he felt to be its final shape. The first great productions date from about 1795, including 3 trios, 3 sonatas, a concerto and the scena Adelaide; in that year he also began public playing. In 1796 he visited Nuremberg, Prague and Berlin, decidedly enlarging his acquaintance and his renown. Composition became his consuming occupation. By 1800, besides lesser works, the septet, 6 quartets, about 10 sonatas and the First Symphony were completed. What he wrote commanded the enthusiasm of the public and good prices from publishers. He entered the field of the drama with the ballet Prometheus and that of oratorio with The Mount of Olives (not given till 1803),