[5] His grandfather, Ludwig, the most remarkable man of the family and whom Beethoven most resembled, was born at Antwerp, and only settled at Bonn in his twentieth year when he became choir master to the Prince Elector. We must not forget this fact to understand properly the passionate independence of Beethoven's nature and so many other traits which are not really German in his character. [6] Letter to Dr. Schade at Augsburg, 15th September, 1787. [7] Later on, in 1816, he said: "He is a poor man who does not know how to die! I myself knew, when I was but fifteen." [8] We quote from several of these letters in a later part of the book, pages 65, _et seq._ [9] To Wegeler, 29th June, 1801. [10] He had already made a short stay there, in the spring of 1787. On that occasion he met Mozart who, however, took little notice of him. Haydn, whose acquaintance he made at Bonn in December, 1790, gave him some lessons. Beethoven also had for masters, Albrechtsberger and Salieri. The first-named taught him Counterpoint and Fugue, the second trained him in vocal writing. [11] It can hardly be called his début, for his first Concert in Vienna had taken place on 30th March, 1795. [12] To Wegeler, 29th June, 1801 (Nohl 14). "None of my friends shall want whilst I have anything," he wrote to Ries about 1801. [13] In his Will and Testament of 1802, Beethoven says that his deafness first appeared six years before--very likely in 1796. Let us notice in passing that in the catalogue of his works, Opus one alone (Three Trios) was written before 1796. Opus 2, the first three Piano Sonatas appeared in March, 1796. It may, therefore, be said that the whole of Beethoven's work is that of a deaf man. See the article on Beethoven's deafness by Dr. Klotz Forest in the "Medical Chronicle" of 15th May, 1905. The writer of the article believes that the complaint had its origin in a general hereditary affliction (perhaps in the phthisis of his mother). The deafness increased without ever becoming total. Beethoven heard low sounds better than high ones. In his last years it is said that he used a wooden rod, one end of which was placed in the piano sound-box, the other between his teeth. He used this means of hearing when he composed. (On the same question see C. G. Cunn: _Wiener medizinische Wochenschrift_, February-March, 1892; Nagel: _Die Musik_ (15th March, 1902); Theodor von Frimmel: _Der Merker_, July, 1912). There are preserved in the Beethoven museum at Bonn the acoustical instruments made for Beethoven, about 1814, by the mechanician Maelzel. [14] I have translated these extracts from M. Rolland's text. Mr. Shedlock's translation from the original German may be seen on pages 65 _et seq._--B.C.H. [15] To Wegeler, 16 November, 1801.