At Vienna among his intimates were the violinists Wenzel Krumpholtz (d. 1817) and Schuppanzigh (d. 1830), the 'cellist Joseph Linke (d. 1837), the violinist Schindler (d. 1864), the mechanician Mälzel (d. 1838) and the publisher Haslinger (d. 1842). Other leading violinists of the city from 1800 were Mayseder (d. 1863) and Franz Clement (d. 1842), with the violist Franz Weiss (d. 1830). He knew a long line of pianists, some with admiration, some with unconcealed dislike, such as Hummel, Wölfl, Prince Louis Ferdinand (at Berlin), Himmel, Steibelt, Gelinek, Vogler, Moscheles, Halm and Hüttenbrenner. He gave lessons to Czerny, and in 1823 welcomed the boy Liszt. During his life the Austrian opera-writers most active at Vienna were Gyrowetz (d. 1850), Weigl (d. 1846), who was Salieri's colleague and successor at the court, Seyfried (d. 1841) and Konradin Kreutzer (d. 1849); and among those more identified with sacred music were Eybler (d. 1846), Blahagk (d. 1846), Gänsbacher (d. 1844), Drechsler (d. 1852) and Sechter (d. 1867). No mention can here be made of the many artists who spent but a brief time in Vienna, prominent among whom were Paër, Weber and Spohr. Schubert lived his whole life there, but made no personal expression of his reverence for the older master till the latter's last days.
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Space fails adequately to mention the great circle of patrons and friends to whose appreciation, liberality and forbearance Beethoven owed so much. It is interesting to recount the more than 50 distinguished persons whom he honored by dedications of works. Prominent among these were the Von Breuning family, Count Waldstein, Prince and Princess Lichnowsky, Prince Lobkowitz, Count and Countess Browne, Archduke Rudolph, Count Fries, Prince Galitzin, Princess Kinsky, Countess Keglivics, and the Russian ambassador Count Rasumowsky, besides the Empress Maria Theresa, the King of Prussia and the Emperor and Empress of Russia. As a rule, these dedications signify relations that were much more than formal or ceremonious. The formation of the Lichnowsky quartet (about 1793) and the Rasumowsky quartet (1808), both led by Schuppanzigh, had much to do with the growth of his chamber music. (Lichnowsky and Rasumowsky both married daughters of Countess Thun.)
