On the title-page of the three Sonatas dedicated to the Elector Maximilian Friedrich, Beethoven says, "From my fourth year music has been my favourite pursuit;" and such would seem to have been really the case.
The readiness with which the child learned was, however, unfortunate for him. No long interval had elapsed since the extraordinary performances of the young Mozarts had astonished the whole musical world, and the evil genius of Johann van Beethoven now prompted him to turn his son's talents to the same account. He resolved to make of Ludwig a prodigy, and foresaw in his precocious efforts a mine of wealth which would do away with any necessity for exertion on his part, and allow him to give full scope to what was fast becoming his dominant passion.
With this end in view he undertook the musical education of his boy, and the little amusing lessons, at first given in play, now became sad and serious earnest. Ludwig was kept at the pianoforte morning, noon, and night, till the child began positively to hate what he had formerly adored.
Still the father was relentless: Handel, Bach, Mozart, all had been great as child-musicians; and if the boy (only a baby of five years) showed signs of obstinacy or sulkiness, he must be forced into submission by cruel threats and still more cruel punishments. Many a time was the little Ludwig seen in tears, standing on a raised bench before his pianoforte, thus early serving his apprenticeship to grief.
In short, Johann was fast doing all he could to ruin the genius of his son, when, fortunately for the world, it soon became evident that if Ludwig were to do wonders as a prodigy, he would require a better teacher than his father, and the boy was accordingly handed over to one Pfeiffer, an oboist in the theatre, and probably a lodger in Johann's house.
This man seems to have been of a genial, kindly nature, though only too willing to second his landlord's views with regard to the boy; for we learn that when the two came home from the tavern far on in the night (as was too often the case) the little Ludwig would be dragged from his bed and kept at the pianoforte till daybreak! Beethoven seems, however, to have had a great regard for Pfeiffer, who was an excellent pianist, and from whom he declared he had learned more than from any one else.
On hearing many years after that he was broken down and in poverty, he sent him, through Simrock the music publisher, a sum of money.
This ruthless conduct on the part of Johann, though unjustifiable and inhuman, probably layed the foundation of the technical skill and power over the pianoforte which so greatly distinguished Beethoven. It is not positively certain that the father gained his end, and made money by exhibiting the child, though we have the testimony of the widow Karth (who as a child inhabited the same house as the Beethovens) that on one occasion the mother made a journey to Holland and Belgium—probably to some relations in Louvain,—where she received several considerable presents from noble personages before whom the wonder-child had performed. This, however, is a mere childish reminiscence, not to be depended on, though it certainly coincides with all we know of Johann's character.
The boy was also forced to learn the violin, and this he disliked infinitely more than the piano, a fact which puts to flight the pretty anecdote narrated in the "Arachnologie" of Quatremère Disjonval, who gravely states that whenever the boy began to practise—in an old ruined garret filled with broken furniture and dilapidated music-books—a spider was in the habit of leaving its hiding-place, and perching itself upon his violin till he had finished. When his mother discovered her son's little companion she killed it, whereupon this second Orpheus, filled with indignation, smashed his instrument! Beethoven himself remembered nothing about this, and used to laugh heartily at the story, saying it was far more probable that his discordant growls frightened away every living thing—down to flies and spiders.
When he was nine years old, Pfeiffer left Bonn to act as bandmaster in a Bavarian regiment, and the boy was placed under the care of Van den Eeden, the court organist. At his death, which took place not long after, Ludwig was transferred to his successor, Christian Gottlob Neefe, whose pupil he remained for several years.