The school of the Abbé Vogler was celebrated at that time throughout Germany, and this master, who had studied in Italy with Vallotti and Martini, was considered one of the first theoreticians of his time. One thing is certain, and that is, that he turned out excellent pupils, of whom some won great renown, and others became more or less famous. Among these were Knecht and Ritter, who themselves became remarkable theoreticians; the composers who were formed by the lessons and counsels of Vogler were Winter, Gänsbacher and the two immortal artists Carl Maria von Weber and Meyerbeer. It was at Vogler's house that these last two met for the first time, and formed a friendship which was broken only by the death of Weber. In after years Weber deplored the Italian tendencies of Meyerbeer, who, in the first days of his career, threw his whole being into the imitation of Rossini's style, but in spite of this divergence of artistic views the affection which these two friends felt for one another was never altered nor disturbed for a single instant. Indeed, all the pupils who lived at the Abbé Vogler's house entertained pleasant and affectionate relations toward each other, and a touching respect and profound tenderness for their excellent master. One proof of this, among many others, is the fact that after Weber's death a cantata was found among his papers, bearing the following inscription: "Cantata written by Weber for Vogler's birthday, and set to music by Meyerbeer and Gänsbacher." In fact, Weber, who was a very ready verse-maker, had written the words of this cantata, while Meyerbeer had composed the music of the choruses and a trio, and Gänsbacher had been charged with that of the _soli_. It is probable also that the cantata was sung by the pupils of the school.