Ludwig van Beethoven was of Flemish-Dutch origin as the “van” shows. He was, however, born in Bonn in 1770, his birthplace a bare attic. His father was a lazy tenor and his mother a servant. His childhood was most unhappy. Beethoven was marked for sorrow from his earliest years.
He was compelled to practise the violin and harpsichord by his good-for-nothing father, who made him earn his own living, and he soon lost his mother, whom he adored.
In 1787 he visited Vienna and had some lessons from Mozart. In 1788, when but seventeen, Beethoven was playing in the Orchestra of the Elector of Cologne at Bonn.
We get a good idea of what a fine German Orchestra was in 1791 from Charles Louis Junker, who described it in that year, and Beethoven, too, who was then twenty:
“The Elector remained a considerable time at Mergentheim and had some twenty of his band with him. I heard the most exquisite music and made the acquaintance of some first-rate artists.
“On the first day I heard the musical performance, which took place regularly while the Elector dined. There were two oboes, two clarinets, two flageolets, and two horns. These eight players may fairly be called masters in their art. Soon after the musical performance during dinner the play began. It was King Theodor, with music by Paisiello.
“The Orchestra was capital, the piani, forti and crescendi being exceedingly well observed. Herr Ries, the expert score-reader and player at sight, conducted with the violin. He is worthy of being placed beside Cannabich.[62] His firm, vigorous lead inspires every player with life and spirit.
“The arrangement of the Orchestra was such as I had not seen elsewhere, but I thought it very convenient. Herr Ries stood on a raised platform in the middle of the theatre, and close to the stage where he could be seen by everyone. Immediately below and behind him were a counter violinist and violoncellist; on his right were the first violins, with the second violins opposite them; behind the violins the violas, with the clarinets opposite; behind the violas the counter violin and violoncello; and, last of all, the trumpets. On the conductor’s left were the wind instruments; the oboes with the flageolets opposite and flutes and horns. It would be difficult to find an Orchestra where the violins and basses were so perfect.
“I also heard one of the greatest pianists—the dear, good Beethoven. I heard him improvise. In fact, I, myself, was asked to give him a theme. The greatness of this gentle man as a virtuoso may, I think, be estimated by the almost inexhaustible wealth of his imagination, the skill of his execution and the thorough originality of his expression. I did not find him deficient in any of the attributes of a great artist. In addition to his fluent execution he is suggestive, expressive, telling—in a word he touches the heart, and he is as good in adagio as in allegro. The clever artists of this Orchestra are his admirers one and all and listen intently when he plays. But he is modest and quite unassuming.
“The members of this band are, almost without exception in the prime of early manhood and well-educated. They have a splendid physique and, attired in the scarlet and gold uniform of the Prince, their appearance is very striking.