Many important composers since Mozart’s time have worshipped or at least been in awe of Mozart. Rossini averred, “He is the only musician who had as much knowledge as genius, and as much genius as knowledge.” Beethoven’s admiration for Mozart is clear: Beethoven used Mozart as a model a number of times: Beethoven’s A-major Quartet from Op. 18 makes careful use of Mozart’s Quartet in A K. 464. Beethoven even copied out most of the Mozart quartet before he wrote his own A-major quartet, just to figure out how Mozart put the music together. A plausible story–not corroborated–has one of Beethoven’s students looking through a pile of music in Beethoven’s apartment. The student pulls out the Mozart A-major Quartet, Beethoven notices, and says, “Ah, that piece. That’s Mozart saying ‘here’s what I could do, if only you had ears to hear!’”; Beethoven’s own Piano Concerto No. 3 in C minor is an obvious tribute to Mozart’s Piano Concerto No. 24 in C minor, and yet another plausible–if unconfirmed–story has Beethoven at a concert with his sometime-student Ries. They’re listening to Mozart’s C-minor concerto Piano Concerto No. 24. The coda of the last movement is quite unusual, for various reasons, and when it arrives, Beethoven supposedly says to Ries “We’ll never think of anything like that!” Beethoven’s Quintet for Piano and Winds is another obvious tribute to Mozart, similar to Mozart’s own Quintet of the same kind. Beethoven also paid homage to Mozart by writing sets of variations on several of his themes: for example, the two sets of variations for cello and piano on themes from Mozart’s Magic Flute, and cadenzas to several of Mozart’s piano concertos, most notably the Piano Concerto No. 20, K466 (see below for this system and an explanation). After the only meeting between the two composers, Mozart noted that Beethoven would “give the world something to talk about.” As well, Tchaikovsky wrote his Mozartiana in praise of him; and Mahler died with the name “Mozart” on his lips. The variations theme of the opening movement of the A major piano sonata (K331) was used by Max Reger for his Variations and Fugue on a Theme of Mozart, written in 1914 and among his best-known works in turn.