The central Presbyterian. [volume] (Richmond, Va.) 1856-1908, 1885-01-28
The Little Music-King.

In the year l761, any one looking into
the sitting-room of the chapel-master OF
Salzburg might have seen little figure
bent over table, busily scratching away
with pen and ink. The childish hand
hardly knew how to hold the pen, but
hurried along with marks and dots and
strengthening charac. RS, smeared with
ink, and now and then blackened with a
huge blot, as the pen dashed from ink to
paper, with trembling eagerness. The
door opened, and the chapel-master en-.
tered with friend but the little curly
head did not stir.
What are you doing, my son ?"
| am composing a concerto for the
harpsichord, papa. 1 have nearly finish
ed the first part.
The father took the paper, and showed
it to his friend They both laughed
heartily at the scrawl; but on looking
more attentiyely, the chapel-master
said
See, it is really composed by rule;
but it is too difficult. No one could play
it."
1t must be well studied before it ia
played, said the boy. See this is the
way it begins. And, running to the
harpsichord, he succeeded in playing
enough to show what his idea was.
1t was, indeed, musical composition,
correctly composed, but containing such
great difficulties that an able musician
would nave found it impossible to exc
cute it on the harpsichord.
The chapel-master was Leopold Mo-
Fart and the little composer, only five
years old, was Wolfgang Amadeus Mo-
Fart, afterward so celebrated in the musi.
cal world.
Two years before, he had stood listen.
ing at the Preside while his papa gave a
music-lesson to his sister Anna.
Thou teachest Nunnerl, papa. Teach
me, too"
But thou art baby, Wolferl. Wait,
my little man"
But, when the lesson was over, and
papa gone, the little fellow went to the
harpsichord, and, standing on tiptoe,
CROPPED among the keys, with his baby
fingers stretched wide apart, till he found
and played perfect chord. Papa s
musical ear caught the sound, and he
rushed back into the room to find that
his baby had, indeed, all alone, found
his way into the beautiful tone-world.
After that, music-lessons were for
him, too and he was never far away
when Nunnerl was at the harpsichord,
but, perched on his fathers knee, follow
ed every movement and tone, and often
played the lesson after her from memory
The next year, the family removed to
Munich and the two children were pre-
sented at the Court, and played before
Francis l., the Emperor, to the wonder
and delight Of all who heard them.
Before Wolfgang was eight years old
and Anna twelve, they had performed at
the Courts of Vienna, Paris, Munich, and
London. at Vienna, they saw and play
ed with the little Marie Antoinette and
Wolfgang shocked the fine court ladies
by jumping into the lap of the Empress
for kiss. He could play the works of
Bach, Handel, and other masters, and in
England composed six sonatas, which he
dedicated to the Queen.
Returning to France, they travelled
about in that country and in Holland :;
and Wolfgang played on the organs OF
the churches and monasteries.
One evening, being caught in thun.
terry. The monks were at supper, and
did not know of their guests arrival
But soon wonderful music began to steal
into the hall from the chapel, sometimes
sweet and sad, then wild and stormy
now single voice with pleading tones,
again great chorus Of response; now
the rolling OF the thunder and booming
Of the wind and, as these died away, a
soft, clear, sunny strain, telling that the
storm was over. The fathers were in
great alright. One and another stole
into the dark chapel to listen and they
counted themselves over and over again.
TO be sure they were all there. But at
last a light was brought, the strangers
were discovered, and Wolfgang greatly
enjoyed their amazement terror, and de-
light. They could not believe it was he
who had played such music, 30 far be-
yond what even Brother Ambrose played
their fine musician. They thought il
was p spell, an enchantment, a holy