At this period, and without having given any attention to theoretic study, Meyerbeer already occupied himself with composition. Guided alone by his instinct and his natural taste, he wrote numerous songs and piano pieces, so that his father resolved to give him a master in composition, and fixed his choice on Bernard Anselme Weber, then leader of the orchestra at the Berlin Opera. But this artist, very distinguished in his way, and who could give excellent advice on dramatic style, instrumentation, etc., was not himself sufficiently versed in the science of counterpoint and fugue to be able to guide a pupil in this difficult study. Moreover, he showed himself too easily satisfied with Meyerbeer's efforts. One day when the latter brought him a fugue, he could not conceal his admiration, and, regarding it as a masterpiece, thought he would send it to the celebrated Abbé Vogler, who had been his own teacher, hoping thereby to prove to him that he, Weber, was able to form good pupils. For several weeks they anxiously awaited the Abbé's response, which arrived at length in the form of a bulky package. On opening it, they found that the contents were divided into three parts. The first constituted a sort of practical treatise on the fugue, written by Vogler's own hand, and in which all the rules for this kind of composition were set forth in a precise and succinct manner. The second part, which was called _The Scholar's Fugue_, reproduced that of Meyerbeer, analyzed step by step throughout its development, with remarks which proved super-abundantly that it was far from being good. The third part, entitled _The Master's Fugue_, was that which Vogler had constructed on Meyerbeer's theme, analyzed in all its details and in its _ensemble_, with an explanation of the reasons which justified its general form and all the incidents. Meyerbeer was greatly impressed by the theories set forth by Vogler. He immediately put himself to work again and wrote a new fugue of eight parts, according to this master's principles, which he sent directly to Vogler at Darmstadt, his place of residence. The latter replied at once, expressing his satisfaction, and the confidence which this new work gave him in his future as an artist, and inviting him to come to Darmstadt; "I will receive you like a son," said he, "and you shall slake your thirst at the very sources of musical knowledge." Meyerbeer, delighted at this kind invitation, easily obtained from his father the necessary permission, and was soon on his way to Darmstadt.