“Welcome, cordially welcome, dear Beethoven,” said the Frau Hofrathin, extending her hand with friendly and very motherly good wishes.
Beethoven was by nature a strong, proud character, who did not easily bow before any one, and least of all was inclined to waste much civility in social intercourse. The amiability of Frau von Breuning, however, made such a deep impression upon him that he took the hand offered him, bowed low, and kissed it.
In the meantime the others present came forward. The sons of Frau von Breuning—Stephen, Christopher, and Lenz—shook the young man’s hand cordially, and then the sister, Eleonora, welcomed him with a cordial inclination of the head and bright, friendly eyes. Some of the guests already knew Ludwig, particularly the chapelmaster Ries, and some members of the Elector’s chapel. He exchanged a few friendly words with them and was then presented to a handsome, distinguished looking man, the Count von Waldstein,[19] who, notwithstanding his high rank and standing, greeted him with genuine cordiality. In a short time Beethoven felt as much at home in this circle as if he had been in it for years, and Wegeler therefore quietly indulged the hope that his young protégé would bring no discredit upon his urgent recommendations of him. He was in no way disappointed in this hope. Beethoven appeared more cheerful, companionable, frank, and affable than ever before, and when the talk turned upon music he seated himself at the piano without being urged, much to Wegeler’s astonishment and delight, and played a long time with such a splendid technique and depth of feeling that all conversation at once stopped and every one paid the closest attention to his beautiful melodies.
“Brava, brava!” cried every one when the young artist finished his performance. Count Waldstein stepped up to him and tapped him lightly on the shoulder. “You have indeed done splendidly,” he cordially said. “I fancy that I also understand music a little, and therefore speak so positively.”
Chapelmaster Ries complimented Ludwig so enthusiastically that he felt extremely comfortable as well as happy. Wegeler thought it an opportune time to try the new trio, and took it from his pocket. “As we are engaged with music,” he said, “and as we have professional artists right at hand, I would beg you to play an entirely new composition, which by a happy chance has come into my possession.”
“What is it?” said chapelmaster Ries, “and who is the composer?”
“The composer wishes temporarily to remain unknown,” replied Wegeler, “but the work is a trio for piano, violin, and violoncello.”
“That can be arranged without any difficulty,” said Ries. “Our Beethoven will play the pianoforte, friend Muller the violoncello, and I will undertake the violin. The instruments are here, so let us get to work at once.”
In a few minutes the necessary arrangements were made and the trio began. The three accomplished artists easily played it at sight, and the audience paid close attention to the entirely original harmonies and melodies. The trio was played to its close smoothly and with precision, but instead of loud applause after the last tones there was a very painful silence. The good Wegeler turned pale with anxiety, but Beethoven sat as proud as Jupiter at the piano and seemed to have forgotten where or in whose company he was.
Chapelmaster Ries was the first to break the uncomfortable silence and, turning quickly to Wegeler, said: “This is truly a charming composition, full of originality, and developed with true genius. Who is the composer? I am really eager to know, for I never before have heard such music.”