This is doubly true of the members of the quartet. Had they passed away in early manhood, not one of them, except perhaps young Kraft, the only one who ever distinguished himself as a virtuoso upon his instrument, would have been remembered in the annals of music. They were during these years but laying the foundation for future excellence and celebrity as performers of Mozart’s, Haydn’s, Förster’s and Beethoven’s quartets. Schuppanzigh, first violin, and Weiss, viola, alone appear to have been constantly associated in their quartet-playing. Kraft, violoncellist, was often absent, when his father, or Zmeskall, or some other, supplied his place; and as the second violin was often taken by the master of the house, when they were engaged for private concerts, Sina was, naturally, absent. Still, from 1794 to 1799, the four appear to have practised much and very regularly together. They enjoyed an advantage known to no other quartet--that of playing the compositions of Haydn and Förster under the eyes of the composers, and being taught by them every effect that the music was intended to produce. Each of the performers, therefore, knowing precisely the intentions of the composer, acquired the difficult art of being independent and at the same time of being subordinate to the general effect. When Beethoven began to compose quartets he had, therefore, a set of performers schooled to perfection by his great predecessors, and who already had experience in his own music through his trios and quartets.