The Gesellschaft der bildenden Künstler had, in the year 1792, established an annual ball in the Redoutensaal in the month of November; and Haydn, just then returned covered with glory from England, composed a set of twelve minuets and twelve German dances for the occasion. In 1793, the Royal Imperial Composer Kozeluch followed Haydn’s example. In 1794, Dittersdorf wrote the same number of like dances for the large hall, and Eybler for the small. In view of this array of great names, and considering that as yet the Trios, Op. 1, were the only works of a higher order than the Variations which Beethoven had sent to press, the advertisements for the annual ball to be given upon the 22nd of November, 1795, give a vivid proof of the high reputation which the young man had gained as a composer now at the end of his third year in Vienna. These advertisements conclude thus: “The music for the Minuets and German dances for this ball is an entirely new arrangement. For the larger room they were written by the Royal Imperial Chapelmaster Süssmayr; for the smaller room by the master hand of Mr. Ludwig van Beethoven out of love for the artistic fraternity.” These dances, arranged for pianoforte by Beethoven himself, came from the press of Artaria a few weeks later, as did also Süssmayr’s; Beethoven’s name in the advertisement being in large and conspicuous type. As the year began with the first, so it closed with Beethoven’s second appearance in public as composer and virtuoso; and here is the advertisement of the performance from the “Wiener Zeitung” of December 16: BEETHOVEN PAYS TRIBUTE TO HAYDN Next Friday, the 18th instant, Mr. the Chapelmaster Haydn will give a grand musical concert in the small Redoutensaal, at which Mad. Tomeoni and Mr. Mombelli will sing. Mr. van Beethoven will play a Concerto of his composing on the Pianoforte, and three grand symphonies, not yet heard here, which the Chapelmaster composed during his last sojourn in London, will be performed. One would gladly know what concerto was played.[74] But there was little public criticism then outside of London and very rarely any in Vienna. The mere fact of the appearance of Beethoven at his old master’s concert is, however, another proof that too much stress has been laid upon a hasty word spoken by him to Ries. Haydn wanted that Beethoven should put “Pupil of Haydn” on the title-page of his first works. Beethoven was unwilling to do so because, as he said, “though he had taken some lessons from Haydn he had never learned anything from him.” Nothing could be more natural than for Haydn, knowing nothing of the studies of his pupil with Schenk, to express such a wish in relation to the Sonatas dedicated to him, and equally natural that the author should refuse; but to add to the attractions of the concert was a very different matter--a graceful and delicate compliment which he could with pleasure make.