How deeply Beethoven was moved by this friendship we may understand when we listen to the grand sonata which, though it was not composed until some years later, he dedicated to the Count. We want no better title for this exquisitely beautiful work than that by which it is known to the world—the 'Waldstein Sonata.' As the grand chords which follow the opening bars strike the ear it seems as if Beethoven were speaking to his friend—speaking to him out of the fullness of his heart, out of his poverty and mean surroundings—and rising by the strengthening influence of love to a height of eloquence and grandeur which no spoken words could have attained.
The conditions at home, meanwhile, were growing worse. Carl and Johann, Beethoven's two younger brothers, of whom no previous mention has been made, were engaged, the one in studying music, and the other as apprentice to the Court apothecary, but neither was bringing grist to the mill. The father had sunk still deeper under the degrading influence of drink, and his voice was almost ruined by his excesses, so that it had become increasingly difficult to maintain for the family even the appearance of respectability. On more than one occasion Beethoven, in returning home at night, had encountered his drunken father in the hands of the police, from whose custody he had succeeded in rescuing him only after much persuasion, and it seemed as if his discharge from the band must be merely a question of time. The state of affairs, in fact, could no longer be concealed from the Elector, who, knowing the circumstances with which Beethoven had to contend, finally ordered that a portion of the father's salary should be paid over to Ludwig, in order that the money might be properly expended for the support of the family.
Meanwhile, at the Court itself great changes had been effected in regard to the band. With a view to encouraging the growth of operatic art, the Elector had established a national theatre, and Beethoven was appointed viola player in the orchestra, in addition to retaining the post of second organist to the chapel. The numerous performances of operatic works by the company must have given Beethoven an insight into what was to him a new branch of his art, from which he did not fail to profit later on. His work in the band was not increased by the changes which had been made, and as the Elector was frequently absent from Bonn, he found ample leisure to pursue his studies in composition, and to enjoy the intellectual society of his friends. Four years thus slipped away, until the month of July, 1792, saw the Bonn musicians preparing to receive a distinguished visitor. Haydn was to pass through Bonn on his way to Vienna from London, where his compositions and playing had created a sensation, and the band had arranged a grand reception in his honour. Beethoven, of course, was amongst the invited guests on the occasion, and he seized the opportunity of submitting to the master a cantata which he had lately composed. Haydn praised the composition highly, and warmly encouraged Beethoven to go on with his studies—words which sent the young composer back to his work with glowing cheeks and a determination to accomplish greater things.
'Haydn praised the composition highly.'[ToList]
The commendation of so renowned a master as Haydn must have gone far towards convincing the Elector that by keeping Beethoven at Bonn he was burying talent and cramping powers that only required a wider scope in order to produce great works, and that, therefore, some step should now be taken to develop his genius. It was with a heart overflowing with joy and gratitude that Ludwig learnt that the kindly Max Franz had decided to send him to Vienna, at his own expense, to take lessons in strict counterpoint from Haydn. Surely this could mean nothing less than that the days of adversity and struggling with poverty had closed behind him for ever, and that a future bright with hope had opened, upon which, though he might not forecast its results, he could enter with courage and determination. He was now twenty-two, and his compositions—published and in manuscript—had brought him such fame and appreciation as the small German town could give to one born and reared within its narrow sphere. Now, however, the bonds which hitherto had fettered his genius were to be broken, and, freed from the restraint of Court duties, he would be able to give full vent to the powers which he was burning to express.
In November of this year he bade farewell to Bonn and his friends, and set forth on his journey, though not, we may be sure, without regrets at parting with such true helpers and sympathisers as Count Waldstein, the Breunings, and the man to whom he owed so much—Christian Neefe. With the last named he left these words of thanks: 'Thank you for the counsel you have so often given me on my progress in my divine art. Should I ever become a great man you will certainly have assisted in it.' In an album provided for the purpose his musical brethren inscribed their farewells, and Waldstein's message ran as follows:
'Dear Beethoven,
'You are travelling to Vienna in fulfilment of your long-cherished wish. The genius of Mozart is still weeping and bewailing the death of her favourite.[16] With the inexhaustible Haydn she found a refuge, but no occupation, and is now waiting to leave him and join herself to some one else. Labour assiduously, and receive Mozart's spirit from the hands of Haydn.