Note (return) — The Anecdote Gallery.

The father of Mozart held the situation of Vice Kapell-meister and violinist in the chapel of the archbishop of Salzburg. In the service of this haughty and ignorant nobleman, (who appears to have been a complete feudal tyrant, and to have represented all the pride and insolence for which the then beggarly-princes of Germany were remarkable), he was so ill paid, that notwithstanding his utmost exertions as an instructor, it was with difficulty he supported a wife and family. Anna Maria,3 born August 29, 1751, and Wolfgang Amadeus Mozart, born January 27, 1756, were the only two of seven children who survived. The sister made such progress on the harpsichord, that in the first journeys which the father took in order to display the talents of his children, she divided the public attention with her brother. Wolfgang, however, not only profited as a player, from the careful instruction which both the children received from their parent, but began then to exhibit the extraordinary precocity of his musical mind; the minuets and other little movements which he composed from the age of four to seven show a consistency of thought and a symmetry of design which promised a maturity of the highest genius. Of the first expedition of Leopold Mozart with his son and daughter, in January, 1762, little account is preserved, further than that they visited Munich, and played concertos on the harpsichord before the royal family. In the following autumn, (Wolfgang being then in his seventh year), the father proceeded in the same company to Vienna; the journey was made by water, and the family gave concerts at the principal towns they passed, as occasion served. Leopold Mozart writes, "On Tuesday we arrived at Ips, where two Minorites and a Benedictine who accompanied us said mass,4 during which our little Wolfgang tumbled about upon the organ and played so well, that the Franciscan fathers, who were just sitting down to dinner with some guests, left the table, and ran with all their company into the choir, where they were filled with wonder." A little before, he says, "the children are as merry as when they were at home. The boy is friendly with every body, but particularly with military officers, as though he had known them all his life. He is the admiration of all." At the Court of Vienna the family was received with great favour, the Emperor Francis I. being mightily pleased with "the little magician," as he used playfully to call young Mozart. "There is nothing wonderful," said the emperor one day, joking with him, "in playing with all the fingers, but to play with one finger and with the keys covered, would really be surprising." Upon which the child instantly performed in this manner with as much neatness and certainty as if he had long practised it. The father writes, "you will scarcely believe me when I tell you how graciously we have been received. The empress took Wolfgang on her lap, and kissed him heartily."5 It was at this time that Mozart began to display the feeling of a great artist; just before he commenced a concerto, seeing himself surrounded by people of the Court, he asked the emperor—"is not M. Wagenseil here? he understands these things." Wagenseil was called forward to the harpsichord; "I am going to play one of your concertos," said the boy, "will you turn over for me?"