Count Moritz Lichnowsky, brother of Prince Carl, of whom we shall not lose sight entirely until the closing scene, was another of the friends of those years. He had been a pupil of Mozart, played the pianoforte with much skill and was an influential member of the party which defended the novelty and felt the grandeur of his friend’s compositions. Schindler saw much of him during Beethoven’s last years, and eulogizes the “noble Count” in very strong terms. Another of that circle of young dilettanti, and one of the first players of Beethoven’s compositions, was a young Jewish violinist, Heinrich Eppinger. He played at a charity concert in Vienna, making his first appearance there in 1789. “He became, in after years,” says a correspondent of the time, “a dilettante of the most excellent reputation, lived modestly on a small fortune and devoted himself entirely to music.” At the period before us Eppinger was one of Beethoven’s first violins at the private concerts of the nobility. Häring, who became a distinguished merchant and banker, belonged now to this circle of young amateur musicians, and in 1795 had the reputation of being at the head of the amateur violinists. The youthful friendship between him and the composer was not interrupted as they advanced into life, and twenty years later was of great advantage to Beethoven. But a more interesting person for us is the instructor under whom Beethoven in Vienna resumed his study of the violin (a fact happily preserved by Ries)--Wenzel Krumpholz. He was a brother of the very celebrated Bohemian harp player who drowned himself in the Seine in 1790. In his youth Krumpholz had been for a period of three years a pupil of Haydn at Esterhaz and had played first violin in the orchestra there. He left Esterhaz to enter the service of Prince Kinsky, but came to Vienna in 1795 to join the operatic orchestra, and at once became noted as a performer in Haydn’s quartets. He was (says Eugene Eiserle in Glöggl’s “Neue Wiener Musik-Zeitung” of August 13, 1857), a highly sensitive art-enthusiast, and one of the first of those who foresaw and recognized Beethoven’s greatness. He attached himself to Beethoven with such pertinacity and self-sacrifice that the latter, though he always called him “his fool,” accepted him as “a most intimate friend,” made him acquainted with all his plans for compositions and generally reposed the utmost confidence in him. Krumpholz formed also an exceedingly close friendship with his countryman Wenzel Czerny, a music-teacher living in the Leopoldstadt, and from 1797 onward spent most of his leisure evenings with the Czerny family, and thus the little son Karl, in his eighth and ninth years, learned almost daily what works Beethoven had in hand, and, like Krumpholz, became filled with enthusiasm for the tone-hero.