The relationship between Haydn and Beethoven was not as beneficial to Beethoven as hoped. Beethoven wanted to maintain the honor of Haydn's name and decided to take lessons from persons in the Vienna area. The lessons, which were kept quiet, included teachings from Johann Albrechtsberger (Organist at St. Stephen's Cathedral) and the Court Composer of Amadeus fame, Antonio Saleri. Albrechtsberger's abilities were evident as an organist -- a position which required a strong ability for counterpoint. Saleri, although considered dull in popular belief (mainly due to the reputation gained through the film and play based on Mozart's life), was quite noted for his ability to compose for the human voice. Saleri was not on a teacher of voice and piano, he was also the Kappelmeister for the Emperor.

When Haydn returned home to London in 1794, Beethoven decided to remain in Vienna. The choice was not a difficult one for the young man. His former home had been ransacked by French forces bent on domination of Europe. His sponsor from Bonn had been forced out and was no longer providing support to Beethoven. This was not a problem for the young Beethoven. The man in his mid-twenties had numerous opportunities in Vienna and had gained new sponsors, including Prince Karl Lichnowsky. Lichnowsky would provide for Beethoven's needs for years.

Although a noted performed at the piano in the Mannheim area of Bonn, it was three years after he arrived in Vienna before Beethoven performed in public at the keys. The 1795 performance sparked a three year tour of Europe. The tour was very limited in scope due to the political climate of the day. When Beethoven finished his tour, he continued to focus on his composition skills. Those skills were not well known until Beethoven decided to make a debut of his First Symphony in 1800. The fame Beethoven had as a performer was getting ready to give way to the reputation which lasts to today -- as a composer.

Although he had initially appeared as a pianist in a public concert for a Viennese audience only five years prior, Beethoven debuted some of his works alongside those of Haydn and the recently deceased Mozart in 1800. One of the works, the First Symphony, mirrored the style of Haydn and Mozart in technique. With the end of the eighteenth century and beginning of the ninteenth, Beethoven began to slowly alter his style to more of an individualized expression of emotion.

The transition from Classical to Romantic composer coincided with Beethoven's realization that the deafness which had steadily become worse over time was not a temporary disturbance but a permanent one. Over the next twenty years, Beethoven's deafness progressively worsened. As a result, Beethoven became more reclusive from the public eye and ear as a performer. Without the need to dedicate time to performance, Beethoven was more occupied with composition.

Although his early works on the piece reflected rhythmic themes before the melodic ones, the Third Symphony marked the declaration of Beethoven that his style had definitely changed. As most persons are aware, the Third Symphony was originally dedicated to Napoleon. This honor was, however, revoked by Beethoven upon learning Napoleon had taken on the title of Emperor. Beethoven decided to give the dedication instead to "the memory of a great man."

Beethoven's deafness unquestionably created problems for the composer and others. Many thought he was a recluse, insane, rude and prentious. Beethoven himself noted in the Heiligenstadt Testament (a collection of letters thought to be meant for his brothers) the nature of other's reactions.

"O ye men who think or say that I am malevolent, stubborn or misanthropic, how greatly do you wrong me. You do not know the cause of my seeming so. From childhood my heart and mind was disposed to the gentle feeling of good will. I was ever eager to accomplish great deeds, but reflect now that for six years I have been in a hopeless case, made worse by ignorant doctors, yearly betrayed in the hope of getting better, finally forced to face the prospect of a permanent malady whose cure will take years or even prove impossible."

The problems of relating to musicians and others with whom Beethoven regularly worked became evident during the premiere of the Fifth & Sixth Symphonies in 1808. A feud between the musicians and Beethoven led to his decision to leave Vienna. Beethoven relented upon promise of additional support from patrons Prince Lobkowitz, Prince Kinsky and Archiduke Rudolph.

Beethoven was unquestionably popular in the Viennese music circles. However, musicians abroad were limited in their exposure to his music. When E. Hoffman produced a performance of the Fifth Symphony in Berlin in 1810, Beethoven's music began to spread around Europe. By 1814, Beethoven was being lured by heads of state in other regions but choose to stay in Vienna.

Beethoven's work spread to the British isles when he agreed to publish piano sonatas based on Scottish folk tunes. His popularity in Britain increased when one of his pupils, Ferdinand Ries, started the Philharmonic Society. There were discussions of taking the Battle Symphony, which was written in 1813 to honor of Arthur Wellesley's (better known as the Duke of Wellington, a title bestowed to him in 1814) defeat of Joseph Bonaparte (Napoleon's eldest brother).

The Seventh Symphony premiered in 1812, with the Eighth Symphony premiering shortly thereafter. The two symphonies would be the last Beethoven would compose until 1824, tweleve years later. The Seventh premiered to a great reception, with the audience requesting encores. Beethoven flirted with theater most during this stage of his career, with three compositions, Egmont (1810), Die Ruinen von Athen (1811) and König Stephan (1811) coming at this time. One piece which Beethoven continued to modify until the final version debuted in 1814 was Fidelio, which had its first performance in 1805.