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At the time when Beethoven had finally moved to Vienna, the mere act of writing for wind ensembles was greatly appreciated. Beethoven wrote several works before 1800 which were composed for such groups of wind instruments, and these works show us a composer with a pleasant style whose imagination is not limited by ingrained habit. Of all the wind instruments, it was the horn that best came to depict nature and the deep woods at the beginning of the 19th century; the Romantic composers were quick to take advantage of the new mastery of the instrument that Punto had developed, writing sonatas for the instrument of which those by Beethoven and his pupil Ries are the most well known.