Another young Rhinelander, to whom Beethoven became much attached, and who returned the kindness with warm affection for him personally and a boundless admiration for his genius, became known to the composer also just at this time. Willibrord Joseph Mähler, a native of Coblentz--who died in 1860, at the age of 82 years, as pensioned Court Secretary--was a man of remarkably varied artistic talents, by which, however, since he cultivated them only as a dilettante and without confining himself to any one art, he achieved no great distinction. He wrote respectable poetry and set it to correct and not unpleasing music; sang well enough to be recorded in Boeckh’s “Merkwürdigkeiten der Haupt- und Residenz-Stadt Wien” (1823) as “amateur singer,” and painted sufficiently well to be named, on another page of Boeckh, “amateur portrait painter.” He painted that portrait of the composer, about 1804-5, which is still in possession of the Beethoven family, and a second 1814-15--(Mr. Mähler could not recall the precise date)--once owned by Prof. Karajan. Several of the portraits now in possession of the Gesellschaft der Musikfreunde in Vienna are from his pencil; but two or three of the very best specimens of his skill have been sold to a gentleman in Boston, U.S.A.[12] Soon after Beethoven returned from his summer lodgings to his apartment in the theatre building, Mähler, who had then recently arrived in Vienna, was taken by Breuning thither to be introduced. They found him busily at work finishing the “Heroic Symphony.” After some conversation, at the desire of Mähler to hear him play, Beethoven, instead of beginning an extempore performance, gave his visitors the finale of the new Symphony; but at its close, without a pause, he continued in free fantasia for ~two hours~, “during all which time,” said Mr. Mähler to the present writer, “there was not a measure which was faulty, or which did not sound original.” He added, that one circumstance attracted his particular notice; viz.: “that Beethoven played with his hands so very still; wonderful as his execution was, there was no tossing of them to and fro, up and down; they seemed to glide right and left over the keys, the fingers alone doing the work.” To Mr. Mähler, as to most others who have recorded their impressions of Beethoven’s improvisations, they were the ~non plus ultra~ of the art. There was, however, be it noted in passing, a class of good musicians, small in number and exceptional in taste, who, precisely at this time, had discovered a rival to Beethoven, in this his own special field. Thus Gänsbacher writes, as cited by Frölich in his “Biographie Voglers”: