There is doubtless some degree of truth in this in so far as it relates to a later period. Punto, of course, gave Beethoven a new revelation of the powers and possibilities of the horn, as Dragonetti did of the contrabass; but he first came to Vienna near the end of 1799, and died at Prague only three years after (February 16, 1803). All the others here named by Schindler--with one exception, the elder Kraft--were youths of 16-18 years, when Beethoven composed his first and second concertos--works which prove that he was not altogether ignorant of the use of orchestral instruments! Had Schindler known something of the history of Max Franz’s orchestra in Bonn, he would have avoided many a mistake.[87] Johann Nepomuk Hummel, the pupil of Mozart, was another of the youths whom Beethoven drew into his circle. In 1795, the elder Hummel brought back his son to Vienna (from that very successful concert tour which had occupied the last six years and had made the boy known even to the cities of distant Scotland) and put him to the studies of counterpoint and composition with Albrechtsberger and Salieri. He seems to have been quietly at his studies, playing only in private, until April 28th, 1799, when he again appeared in public both as pianist and composer, in a concert in the Augartensaal, directed by Schuppanzigh. “He performed a symphony besides a melodrama composed for the occasion and between them played prettily _composed_ improvisations on the pianoforte.” That the talented and promising boy of seventeen years should, upon arriving home again, seek the acquaintance and favor of one who during his absence had made so profound an impression upon the Vienna public as Beethoven, and that the latter should have rejoiced to show kindness to Mozart’s favorite pupil, hardly needs to be mentioned. A chapter of description would not illustrate the nature of their intercourse so vividly, as two short but exceedingly characteristic notes of Beethoven’s which Hummel preserved and which found their way into print after his death: I He is not to come to me again. He is a treacherous dog and may the flayer get all such treacherous dogs! II Herzens Natzerl: You are an honest fellow and I now see you were right. Come, then, to me this afternoon. You’ll find Schuppanzigh here also and we two will bump, thump and pump you to your heart’s delight. A kiss from Your Beethoven also called Mehlschöberl.[88] ENVIOUS VIENNESE MUSICIANS In a letter to Eleonore von Breuning, Beethoven described many of the Vienna pianists as his “deadly enemies.” Schindler’s observations upon the composer’s relations with the Viennese musicians, though written in his peculiar style, seem to be very judicious and correct.