=In Vienna=.—Haydn, passing through Bonn, warmly praised a cantata of Beethoven’s; and the Elector, moved by such marks of approbation, sent him again to Vienna, in 1792, for serious study. Here he was instructed by Haydn till the latter’s departure for England, in 1794, when he went to Albrechtsberger, the celebrated contrapuntist, and others; but these exponents of an earlier school looked somewhat askance at the bold innovations which Beethoven introduced into recognized principles, and failed to understand the irrepressible genius which prompted them. Nothing daunted, he launched zealously into composition, supported by a growing circle of admirers to which the Elector’s patronage had introduced him; and soon became a favorite at the private soirées of the nobility, where, on account of his eccentric manners, he was known as an “original,” but where his wonderful extemporizing was received with ecstasy. =Successes as a Pianist=.—Beethoven’s first public performance in Vienna occurred in 1795, when he performed his pianoforte concerto in C major at a concert. During a journey soon after, he played before King Friedrich Wilhelm II, at Berlin, who distinguished him with marks of favor, and to whom Beethoven dedicated two sonatas written for pianoforte with ’cello. Here also he met the conductor, =Friedrich Himmel= (1765-1814), a pianist and composer of high rank. We hear next of his trial of pianistic skill with Steibelt, a popular virtuoso, in which Beethoven won an overwhelming victory. With Wölfl, another distinguished rival, his relations were those of mutual esteem, and the two masters delighted to extemporize dashing capriccios on two pianofortes. =First Period=.—The thirteen years, from 1790 to 1803, are usually considered to embrace his first period of activity as a composer, comprising his works to opus 50. His opus 1, three trios for piano, violin and ’cello, appeared in 1795, and soon after three piano sonatas, opus 2, dedicated to Haydn, were published. Among the other noteworthy works of this period were his first two symphonies, in C and D, three piano concertos, the piano sonatas including opus 27, the Kreutzer sonata for piano and violin, and his famous Septet for strings and wind instruments. In general, these compositions _follow_ closely the lines laid down by _Haydn_ and _Mozart_, although there is, notably in the piano sonatas, a gradual tendency toward freedom of expression, and the assertion of individuality.