Produced by Juliet Sutherland, Karina Aleksandrova and the Online Distributed Proofreading Team at http://www.pgdp.net STORIES OF GREAT MUSICIANS BY KATHRINE LOIS SCOBEY AND OLIVE BROWN HORNE AMERICAN BOOK COMPANY NEW YORK CINCINNATI CHICAGO COPYRIGHT, 1905, BY KATHRINE LOIS SCOBEY AND OLIVE BROWN HORNE. ENTERED AT STATIONERS' HALL, LONDON. GREAT MUSICIANS. W. P. 22 PREFACE That the purpose of the public schools is the training of children for a higher citizenship, a more extensive helpfulness in affairs pertaining to the common good, no one questions; but we need expect no manifestation of a greater integrity, unless lofty ideals are kept constantly before them. Neither painter nor sculptor can produce a greater expression of beauty than that which has been built up in his own consciousness; no individual can produce a greater expression of manhood or womanhood than that which he holds in his own mind. It is important, therefore, that a high standard be set for the children in our schools to-day. The question then arises as to how this result may be attained. Educators agree that the study of biography is a potent factor in the achievement of this end. A new field for biographical study is found in the lives of the great musicians, who furnish many examples of untiring effort and persistent endeavor, for almost without exception their lives repeat the oft-stated but none too often emphasized verity that success comes only to him who earns success. We trust that this little volume may aid the many who are striving to enrich the thought concepts of the children under their care. K. L. S. O. B. H. CONTENTS PAGE JOHN SEBASTIAN BACH 7 GEORGE FREDERICK HANDEL 17 WOLFGANG AMADEUS MOZART 33 FRANCIS JOSEPH HAYDN 57 LUDWIG VAN BEETHOVEN 71 FELIX MENDELSSOHN 93 FREDERICK CHOPIN 115 ROBERT SCHUMANN 133 FRANZ PETER SCHUBERT 149 RICHARD WAGNER 159 JOHN SEBASTIAN BACH (1685-1750) THE CHILD MUSICIAN [Illustration: JOHN SEBASTIAN BACH] Long ago, in a little German town, lived a jolly old miller. From morning till night he sang about his work, for he loved music dearly. He had learned to play upon the lute, which is an instrument with strings. The miller used to take his lute with him to his work. He was fond of playing while the merry clacking of the mill beat time for him. This miller was the great-great-grandfather of John Sebastian Bach, who said of the miller, "The grinding of the corn and the music of the lute must have sounded merrily together." John Sebastian Bach was born in Germany, as were most of our great composers. His father was a musician. All his uncles and cousins were musicians. His grandfather, too, was a musician. So it is not strange that the child wished to become one also, for he grew up among people who cared for little else besides music. In his native village little John worked and played, went to school, and studied music much as other German children did. Here, too, he marched through the streets with his playmates, singing hymns. For centuries it had been the custom for the school children to sing in the streets. John was left an orphan at the age of ten, and went to live with his eldest brother in a neighboring town. In his new home he continued his studies. Besides his school work, his brother gave him lessons on the piano. The brother, an organist, had a book in which he had copied many fine compositions. He kept it on a high shelf in a bookcase. Little John had learned so rapidly under his brother's instruction that soon he could play almost as well as the organist himself. However, he was eager to know more about music. He thought, "If only I could use my brother's book, I could learn faster." But he was not allowed even to touch it. He used to look at it and long for it as it lay upon the high shelf. One night, when the house was dark and still, John arose from his bed and crept softly downstairs. Standing tiptoe on a chair, he succeeded in obtaining the treasure. How happy this made him! He could scarcely keep from laughing aloud at his good fortune. Hugging the book close in his arms, he scampered back to his room. He wished to copy every note of the music, but he had neither lamp nor candle. He could work only by the light of the moon, so it was six months before his task was completed. At school John studied arithmetic, grammar, Latin, and Greek. There, too, several hours each week were spent in the study of music. The boy had a sweet soprano voice and was always happy when the time for music came. The school choir often sang at church services and weddings. Clearer and sweeter than any other could be heard the voice of little John. The lad learned something about organ playing during the next few years. These were years filled with hard work; but they were happy years, nevertheless. He no longer sang in the white-robed choir, but devoted his time to the piano, violin, and organ. In the olden days there stood in Hamburg a church, named for the good St. Katherine. The organist of this church was a man of great skill, whose fame had spread throughout the land. Even little John Sebastian Bach had heard of him, and longed to hear him play the great organ at St. Katherine's. One fine morning he started to make the long journey on foot. The lad little knew how tired he would become before he reached Hamburg. Once inside St. Katherine's, however, he forgot his weariness and his bruises and the long miles of dusty road over which he had traveled. He thought of nothing but the wonderful music. John was not satisfied with hearing the great organist once. Several times he went to Hamburg, walking all the way. Once, when returning from a visit, he was walking along the highroad, and came to an inn. Being very hungry, he put his hand into his pocket and drew forth one small coin. That was not enough to buy him a dinner. He seated himself outside the door to rest. The odors of the dinner coming from the kitchen made him hungrier than ever. Some men at dinner in the inn saw the forlorn little figure outside the door. They guessed how tired and hungry the boy must be. "Poor little lad," they said to one another, "let us give him a surprise." Meanwhile, John Sebastian had made up his mind that he must go on. He was just rising to his feet, when a window was thrown open and two herrings' heads were tossed out. He ran to pick them up. Imagine his surprise to find in each a shining piece of money. BACH IN PUBLIC LIFE At an early age, John Sebastian Bach began to earn his own living. He had no thought of earning it by any other means than music. When he was eighteen, he obtained a position where he played the violin in the duke's band. He was greatly pleased with court life. His grandfather, a musician, too, as you will remember, had once lived at the same court. Young Bach did not remain a year in the service of the duke. At the end of summer he accepted a position as organist in a small town. From 1703 until 1723 Bach went from place to place as organist and teacher. Sometimes he was church organist; sometimes he was court musician for some noble prince. At all times he was poorly paid. Bach often received no more for a year's work than many men receive for a month's work. Although Bach played well on the violin and piano, he was most skillful as an organist. Indeed, his fame was spreading throughout all Germany. He often went on journeys to try new organs. On those trips he sometimes played for kings and nobles. Once he played an organ solo for the crown prince. The crown prince was greatly pleased with Bach's pedal solo. Would it not seem strange to hear music and to see the hands of the musician at rest? That was what the prince heard and saw. When the beautiful music had died away, he drew from his finger a ring set with precious stones. He gave it to the musician, saying, "Never before have I listened to such a wonderful organist." In 1717 a noted French organist came to Germany. In his own land, people thought there was no better organist than he. The Frenchman traveled through Italy, and found no one there to equal him. When he arrived in Germany, he played for the king and was highly praised. The proud Frenchman then thought that no one else in the world could play so well as he. Now it happened that Bach had a friend at court, who had heard the French organist play. He said to himself: "Bah! our own German organist can do much better than that. I will invite him to come to Dresden and we will have a contest." So he wrote to Bach, who at once set out for Dresden. Soon after his arrival, a royal contest was held. The musician from France played first, and, to speak truly, he played well. Then Bach came forward. When he had finished, the applause was great, and all his friends felt sure that he would win. It was decided to continue the contest the next day; so the king named the time and place. Promptly at the appointed hour, Bach appeared. The large audience waited impatiently for the Frenchman. At last they sent a messenger for him; but he could not be found. He had left Dresden early that morning. The people said to one another, "Surely, the Frenchman is afraid to meet our great Bach." "France has no musicians to equal those of our own land." Bach played so wonderfully that morning that the king afterward sent him a hundred pieces of gold. Before Bach's time, pianists and organists used only the three middle fingers in playing. Bach taught all his pupils to use the thumb and little finger as well. Some of the music books that he wrote for his pupils are still in use. It was the custom, long ago, for organists to write the music which was sung in their churches. For this reason, many of Bach's compositions are sacred music. When Bach was thirty-eight years old, he and his family moved to Leipzig. Here he had a position as choir master of the Thomas School. The salary was very small, and the work was hard. It was Bach's duty to teach music to all the boys who attended the school. Part of his work in that city was to direct the music in four churches. He trained the boys of the Thomas School to sing sacred music. Every Sunday they were divided into four choirs, one choir singing in each church. Once upon a time Bach paid a visit to King Frederick the Great. It happened in this way. Bach's son had for seven years been in the service of the king as a musician. The king was very fond of music and played well upon the flute. He had often said to young Bach, "How much I should like to know your good father!" The son always repeated the king's words to his father, saying, "Father, will you not come to the palace and pay me a visit?" "Some day I will go," was the reply. And one day the great organist kept his promise. Every evening before supper the king had music in his rooms. At these concerts the king himself played the flute. One evening the musicians were all in place, ready to begin. An officer came in. He handed the king a list of the strangers who had arrived that day. Holding the flute in his hand, Frederick the Great glanced hastily over the names. Halfway down the list he stopped, for he saw the name _Bach_. Without reading further, he turned quickly to his orchestra, saying, "Gentlemen, old Bach has come." Bach, who had gone to his son's rooms, was summoned to the castle. He had not time even to change his traveling clothes for a court dress. What a strange appearance he made as he came among the gentlemen of the court! Frederick the Great received the master musician with much kindness, and led him through all the rooms of the castle. The king asked him to play the piano. The court musicians followed them from room to room. Whenever Bach played, the king stood behind his chair, exclaiming, "Only one Bach! Only one Bach!" When the great musician returned to Leipzig, he composed some music in honor of his royal friend. On the 30th of July, 1750, at the age of sixty-five, the "Father of Music" passed away. Very little notice was taken of his death. No choir sang hymns at his funeral; no cross ever marked the spot where he was buried. Almost a hundred years after Bach's death, Felix Mendelssohn began to play his music. Then people began to appreciate and love the old master. They were sorry that so little had been done for him. Through the efforts of Mendelssohn, a monument was erected in Leipzig to Bach's memory. Even if no monument had been erected, we should honor his name. His works are his best monument and will last as long as people love music. GEORGE FREDERICK HANDEL (1685-1759) THE WONDER CHILD [Music: (The Messiah.) He shall feed His flock like a shepherd.] It is a bright, sunshiny morning. In an old town in Germany a coach stands waiting before the door of a surgeon's house. The horses are impatient to begin the journey. They toss their heads and paw the ground. The driver speaks sharply, trying to quiet them. Presently the house door opens. An old gentleman comes out and seats himself in the carriage. He waves his hand and calls good-by to a little boy on the steps. The coach door slams and the horses are off. For a moment the child gazes through his tears at the departing carriage. Then, with a bound, he is off as fast as his sturdy little legs will carry him. The boy does not seem to mind the heat and the dust as long as he can keep the carriage in sight. When the first stop is made, the boy appears before his father. "Why are you here, my son? Did I not bid you remain at home?" "Oh, father," pleads the boy, "I want so much to see the castle. Do take me with you!" The child is so earnest and promises so faithfully to be good that the father places him on the broad seat beside him and away they go. Through streets and lanes and highways, from one town to another, they journey on, until they come to the wonderful palace of the duke. The surgeon has come this long distance to visit his grandson, who is a servant in the palace. The travelers intend to remain in the castle several days. The child became a favorite in the duke's household. He made friends with the members of the duke's choir, who allowed him to go to chapel with them. Sometimes they lifted him on the organ bench and bade him play. One Sunday afternoon, when he was playing, some people entered the chapel. Among them was the duke, the owner of the castle. The child paid no heed to the duke and his friends, but went on with his playing. "Who is making such sweet music?" said the duke. When he had gone a few steps farther, he saw before the organ a boy but seven years of age. He called the child to him and said, "What is your name, little one?" "I am George Frederick Handel," answered the boy, trembling. The duke spoke kindly to the little fellow, soon winning from him his secret. The lad told his new friend how dearly he loved to play and how much he should like to study music. He finished by saying that his father would not allow him to spend his time in that way. The duke filled the little musician's pockets with shining gold pieces and called the father. He urged the surgeon to allow his son to study music. For a long time the two men talked together. At last the surgeon said that a teacher should be found for the boy as soon as they reached home. George Frederick Handel was born in Germany, in 1685, on the 23d of February. Although the weather was cold and stormy, the babe was carried the very next day to the church and there baptized. According to the Lutheran custom, the child had a godmother and two godfathers. When he was still very young, the parents of the child noticed that he was fond of music. Little George Frederick liked toys that made a noise. His friends made him presents of drums and horns. He learned to play a Jew's-harp and a flute. At first, the father laughed at the childish music. When he saw that the boy cared for nothing else, he said that he wished to hear no more music in the house. Indeed, he would not even allow George Frederick to go to any house where music could be heard. The old surgeon wished his son to become a lawyer. Although music was forbidden, George Frederick loved it more than ever. Every day the chimes in a neighboring church gladdened his heart. Several times each week he heard sacred music sung from the church tower. The chimes and the tower music were a great comfort to little Handel. About this time, too, he was made happy by having a spinet of his own. With the help of his nurse, he hid his instrument in the garret. A spinet is somewhat like a piano. The wires of little Handel's spinet were wound with cloth. This so deadened the sound that his father could not hear it. George Frederick spent much time in the garret, and often went there to practice when every one else in the house was fast asleep. [Illustration: _Margaret Dicksee_ THE CHILD HANDEL] All this happened before the visit to the duke's castle. When he returned, his father kept the promise made to the duke by choosing a teacher for the boy. George Frederick and his teacher soon became the best of friends. The lad worked hard, and at the end of three years could play the organ, violin, and harpsichord. Young Handel's teacher was a church organist. When he went away, he often allowed the boy to take his place. The boy improved so rapidly that at length his master declared he could teach him no more. Little Handel had many studies besides his music. Although his father had allowed the boy to study music, he still wished him to become a lawyer. He was greatly pleased when he saw how earnestly the lad worked at his Latin and mathematics. George Frederick began to compose when he was only ten years old. After his master had said he could teach him no more, young Handel continued his studies. He learned much by copying works from the old masters. In 1696 George Frederick took a long journey, going with some friends to Berlin. The prince and princess invited the wonder child to the court because they liked music. The child surprised and delighted all who heard him play. "How long have you been studying that you have learned to play so well?" asked the prince. "For three years," replied the lad, "and I have the kindest teacher in all Germany." In the great German capital little Handel met many famous musicians, one of whom was an Italian monk. His own father could not have been kinder to the child than was this priest. He took delight in teaching the boy and listened to his playing by the hour. The prince was proud to count the little musician as his friend. He wrote to Handel's father, saying: "I am willing to send your son to Italy at my own expense. There he shall have the very best teachers." The surgeon was delighted that George Frederick had so pleased the prince. He thanked him for his kindness, but said, "I am now an old man and can not spare my boy." Soon after this, young Handel returned to his native town. He had not been long at home when his father died. Remembering his father's wish, the boy studied law until he was seventeen. While Handel was studying law at the university, he was organist in a large church. So well did he perform his duties that he became famous for his music. Strangers were glad to be in the town over Sunday, that they might hear him play. HANDEL'S EARLY WORK [Illustration: GEORGE FREDERICK HANDEL] In 1703 Handel decided that music should be his life study and work. He left the university and went to Hamburg. There he obtained a position in an orchestra. It was a poor place, and he was paid very little. The other members of the orchestra never suspected that he could fill a better place. One day the leader of the orchestra was absent. The musicians planned to play a joke upon Handel. "Come," said they to him, "you lead the orchestra to-day." They laughed merrily among themselves as he took his place. "Now we shall have some fun," they said to one another. Imagine their surprise when Handel conducted the orchestra even better than the leader could have done. While Handel was in Hamburg, he wrote four operas. Although he was not well paid for the work, he saved some money. He was very generous, and took great pleasure in sending Christmas gifts to his mother. After two years of hard work in Hamburg, Handel had laid aside enough money to take him to Italy. In 1706 he said good-by to his friends and set off on his journey across the Alps. For three years he lived under the blue Italian skies. During that time he learned to speak the language of the country. He worked hard and wrote opera after opera. In Florence his first Italian opera was given. It was listened to with the greatest delight. The grand duke was so much pleased that he presented Handel with a hundred pieces of money and many other valuable gifts. From fair Florence, the young musician went to Venice, the city of bridges and gondolas. The Venetians soon grew to be as fond of him as the Florentines had been. They spoke of him as the "dear Saxon," because he came from that part of Germany which is called Saxony. One evening Handel was invited to a masquerade. He planned to disguise himself so that no one should know him. He might have succeeded had it not been for one thing. He went to the masquerade, and for some time not a single person knew him in his strange costume. Finally he seated himself at the harpsichord, the room becoming quiet as he played. Some one was heard to exclaim: "None but the great Saxon could play like that! It is Handel!" Whenever his operas were sung in Venice, the theater was packed. One night every seat was filled. The audience was eager for the music to begin. At the end of the first act there was a storm of applause. During the remainder of the opera, at every little pause in the music, the building rang with shouts of, "Long live the good Saxon!" In the spring of 1710 Handel returned to Germany. He paid a visit to his mother, but did not stay long. In Italy he had made many English friends who invited him to visit London. It was about the beginning of December when he crossed the sea to England. Little did he dream that the remainder of his life would be spent on English soil. HANDEL IN ENGLAND [Music: (Handel's Largo.) Father in heaven, Thy children hear.] Handel was twenty-five years old when he went to England. He had not been there long before he composed an opera. The music of this opera became very popular. Often when friends met on the street, they said, "Have you heard Handel's opera?" Soon it was hummed and whistled everywhere. Long ago, the river Thames was well loved by the kings and queens of England. When they wished to spend a pleasant holiday, nothing was so enjoyable as a sail down the river. One fine morning in August, King George and his family returned to London after a pleasant day spent on the water. The people had seen the royal boats floating past in the morning and were ready to welcome their king on his return. They built big bonfires on the banks of the river. From time to time salutes were fired. The people crowded the bridges and banks to see the royal procession. Soon the boats of the king came in sight. How the banners waved and how the flags fluttered in the breeze! How the water splashed as the oars rose and fell! "That must be the king's own boat that we see yonder!" shouted the people. "Yes, there is the king under that crimson canopy!" But hark! the sound of music comes floating gently across the water. How soft is the melody in the still night air! Whence come those sweet sounds? Not far from the royal barge are several boats filled with musicians. In one of the boats stands a young man, the leader of the musicians. He must have trained them well, for the fine music attracts the attention of the king. "Who is the leader of the musicians?" asks the king of one of the gentlemen near him. "It is Handel, your Majesty," replies the courtier. "And did he compose the music which we now hear?" asks the king. "Yes, your Majesty," is the reply. The people on the banks of the river become quiet as one piece of beautiful music after another is heard. King George thinks that each is better than the one that preceded it. At last, when the royal barge is no longer in sight, the sweet sounds die away. The next day the king invited Handel to the court and asked him to become the teacher of the young princess. He also promised the composer that he should receive two hundred pounds sterling every year. It was not unusual in those days for a king to settle a sum of money upon a poet or musician. One day Handel walked out into the country. He was caught in a shower and found shelter in a blacksmith's shop. The jolly old smith was singing at his work and beating a tune upon the anvil as he sang. The composer caught the clanging music of the hammer on the anvil. When he went home, Handel put the tones that he had heard into some music, which he called _The Jolly Blacksmith_. By the year 1726 the composer was so much pleased with England that he decided to live there. He sometimes went back to Germany to visit; but England was his home. During the first years that Handel lived in London, he composed many operas. Great crowds of people went to hear them sung; sometimes twenty dollars was paid for one seat. Sometimes hundreds of people were turned away from the theater. King George and Queen Caroline often attended the operas. That was a great honor for Handel. It is not as a composer of operas that George Frederick Handel is remembered to-day. Indeed, if he had written nothing but operas, we should hear little of him now. In 1741 he composed an oratorio more beautiful than any other that has ever been written. It is called _The Messiah_. If Handel had written nothing but this one oratorio, his name would live forever. The music was composed in twenty-four days. _The Messiah_ means _The Christ_. The words which are sung to Handel's music are taken from the Bible. The music is so wonderfully written that one scarcely needs the words to know the story. While Handel was composing the music of _The Messiah_, he thought much of the life of Christ. His heart was filled with sorrow when he thought how He was crucified. The words of one of the solos speak of Christ as "a man of sorrows and acquainted with grief." When Handel was writing the music for these words, a friend, coming in, found him in tears. Some one once asked Handel how he could write such beautiful music. He replied, "While I was writing _The Messiah_, I did think I saw all heaven before me and the great God himself." There are many choruses in _The Messiah_. The one best liked is the _Hallelujah Chorus_. When _The Messiah_ was first sung in London, the king was present. He listened in silence to the wonderful music. When the _Hallelujah Chorus_ was reached, he rose and stood with bowed head. The whole audience followed his example. This has now become a custom. Whenever and wherever _The Messiah_ is sung, the people rise and remain standing until the last Hallelujah has died away. Handel was fifty-six years old when he wrote _The Messiah_. The remaining eighteen years of his life were filled with work. He wrote many other oratorios. In the year 1752 the master musician became blind. In spite of his blindness, he worked on, dictating many pieces of music, while some one wrote for him. His misfortune did not make Handel sad. He was still cheerful and happy, and was never heard to complain. Until the end of his life he carried on his work. George Frederick Handel died in London in 1759, and was laid to rest in the Poets' Corner in Westminster Abbey. Now the soft light from the great rose window falls gently upon a marble statue of the musician. The statue represents Handel standing and looking upward. Upon the marble table beside him is carved a sheet of music from _The Messiah_. Here may be seen the words of one of the most beautiful parts of the oratorio:-- [Music: (The Messiah.) I know that my Redeemer liveth.] WOLFGANG AMADEUS MOZART (1756-1791) THE CHILD MOZART Far, far away over land and sea lies the little town of Salzburg. What a beautiful place it is! Old Mother Nature herself has given it its charm. The town lies in the midst of a smiling plain. On one side are the forest-clad hills, dark and green. Behind the town rise the mountains, steep and rugged. As the great white clouds float across the blue sky above, their shadows are seen on the bare rock of the mountain sides below. Here in 1756, in the home of a musician, a little child was born. The fair-haired baby boy was very welcome. He was the pet and plaything of the whole household. His sister Marian was especially fond of him. She was four years older than her little brother. She looked forward to the time when he would be old enough to play with her. The baby's father was an organist and violinist. He played in the king's chapel. The child's mother was a beautiful, loving woman. So it is not strange that little Wolfgang Mozart, for that was his name, became a musician. No two children ever had a happier childhood than Marian and Wolfgang Mozart. Their father and mother were always planning how to make them happy. Leopold Mozart, the father, was not a rich man, but his heart was full of love and tenderness. Dearly did little Wolfgang love his father. He never went to bed without kissing him on the tip of the nose, and singing a little good-night song. He used to say, "Next to God comes papa." Leopold Mozart devoted much time to the training of his two children. When Marian was quite small, he began to give her piano lessons. The child learned rapidly. Little Wolfgang, three years old, liked to listen while his sister was having her lesson. One afternoon Marian's father was giving her a music lesson. Wolfgang stood close to the piano, as he was fond of doing. He was as quiet as a little mouse. All through the lesson he watched and listened. When it was over, he surprised his father. He searched for a few moments among the white keys. Then with his baby fingers he played one of Marian's exercises. He was only a tiny lad, and yet he played the exercise correctly. Leopold Mozart caught his little son in his arms, exclaiming, "Who would have thought the baby understood what I was teaching Marian?" Little Wolfgang was fond of games and had many toys. Often some little friend played with him. Wolfgang was happiest when they had music in their games. Indeed, he would not play when there was no music. Even when they carried their playthings from one room to another, the one who went empty-handed must sing a march. When the boy was four years old, his father began teaching him. He learned music easily, often mastering a piece in half an hour. A year later he began to compose little pieces, which his father wrote down. One day Leopold Mozart came home from church with a friend. He found his son daubing notes on a sheet of paper. The child dipped his pen to the very bottom of the inkhorn each time. He made many blots on his paper; but he was not discouraged. He wiped them off with the sleeve of his coat and went cheerily on. "What are you doing there, my boy?" asked his father. "I am writing a concerto and have almost got to the end of the first part," replied Wolfgang. The father took the paper and showed it to his friend. They laughed heartily at first. After a time, however, they saw that it was written according to rule. The father said, "It is a pity it can not be made use of. It is so difficult that no one could play it." "It is a concerto," said Wolfgang, "and must be studied till it can be played properly. See, this is the way it should be given." Going to the piano, he tried to play it for them. Wolfgang Mozart was the most gentle and loving of children. He would say many times a day to those about him, "Do you love me well?" Sometimes they laughingly replied, "No." At this answer, tears would run down the little fellow's cheeks. MOZART'S FIRST TRAVELS Marian and Wolfgang had studied so hard and practiced so faithfully, that their playing was remarkable. Indeed, they played so well that, in Wolfgang's sixth year, their father decided to take them to Munich. In 1762 they set out for that city, where they remained for three weeks. Many people attended the concerts which the Mozart children gave. All who heard them were delighted with their playing. Later in the same year Leopold Mozart took his children to Vienna. Vienna, the capital of Austria, is a larger city than Munich. Part of the journey was made by boat. How much Marian and Wolfgang enjoyed seeing the blue waters of the Danube! They could look far away across the green fields which border the river, to the mountains beyond. While the Mozart children were in Vienna they were invited to play at court. The empress and her husband were great lovers of music. Little Wolfgang, with his delicate face and large soft eyes, became a great favorite in the palace. They liked his music too. Sometimes he played hours at a time for the empress. The emperor called him his "little magician." One day the emperor said in jest to little Wolfgang, "It is not very difficult to play with all one's fingers. To play with only one would be far more wonderful." The young musician showed no surprise. Using only one finger he began at once to play with great clearness. He afterward asked that the keys of the piano might be covered. A cloth was spread over them and he continued to play as well as before. It seemed as though he must have practiced playing in that way. [Illustration: _A. Borckmann_ WOLFGANG AND MARIAN BEFORE THE EMPRESS] Wolfgang was not at all spoiled by the praise he received. He did not think of the empress as a sovereign. To him she was only a kind, loving friend. Sometimes he would spring into her lap, throwing his arms about her neck, and kissing her. The empress had a little daughter called Marie Antoinette, who afterwards became queen of France. One day, at the palace, Wolfgang was playing with her. He slipped on the polished floor and fell. Marie Antoinette helped him to his feet. "You are kind and I will marry you," he said. Before the Mozart children returned to Salzburg, the empress sent them each a present. To Marian she gave a beautiful white silk dress. Wolfgang's gift was a lilac-colored suit, trimmed with bands of gold braid. Wolfgang often wore this suit when he played in concerts. With his powdered curls, bright knee buckles, and little sword, what a picture he must have made! Up to his sixth birthday, Wolfgang had played only the piano. On his return from Vienna he brought with him a small violin which had been given him there. He often amused himself with it. [Illustration: _Louis-Ernest Barrias_ MOZART AS A CHILD] A short time afterwards, two friends came to visit the Mozart family. Both were violinists. Leopold Mozart and his friends were going to play some new music together. One of the guests was to play the first violin and the other the second violin. Leopold Mozart played the bass viol. Now you must know that the second violin is the easier part. Wolfgang asked if he might play that part. His father said, "No, my son, you have never received any violin lessons. You could not possibly play it well. Run away now." Wolfgang was so hurt at these words that he began to cry bitterly. As he was going away with his little violin under his arm, one of the guests said, "Let the child stay and play the second part with me." At last the father consented. "You may play with us," he said, "if you play very softly and do not let yourself be heard." The music was begun, Wolfgang playing the second part. Soon the violinist who was playing the same part saw that he was not needed. Without saying anything, he laid down his violin. The father, too, noticed how well the child played and shed tears of joy at the sight. The picture gives you an idea of the bronze statue of Mozart, made in 1883 by the artist, Barrias. The original is in Paris; but an excellent copy stands in the Art Institute of Chicago. MOZART IN FRANCE, ENGLAND, AND HOLLAND After visiting Vienna the Mozart family spent some months quietly at home. This time was well used by the children. Never a day went by that they did not devote many hours to their studies. Their progress was amazing. In fact they improved so much that their father concluded to take them on another tour. This time they were to go to Paris. The summer after Wolfgang's seventh birthday, Leopold Mozart set out with his children. They stopped at so many towns and cities that it took them five months to complete the journey to Paris. They decided to give a concert in Frankfurt, one of the German towns that they visited. At that time Goethe was a lad of fourteen. He attended the concert and never forgot little Wolfgang Mozart. Years afterward the poet wrote, "In imagination I can still see the little man in his wig and sword." The first Paris concert was a great success. The people applauded again and again. When the children came upon the stage, the men clapped their hands, and the ladies waved their handkerchiefs. In writing about this very concert to a friend, Leopold Mozart said, "We burned more than sixty candles." At New Year's the Mozart children were presented at the French court, where they were kindly received by the king and queen. The queen had Wolfgang placed beside her and talked with him in German. He had the honor of playing the great organ in the king's chapel. Those who heard him play both the piano and the organ could not decide which he played the better. The children of a royal family are not often allowed to play with children of lower rank. The king's daughters admired Wolfgang and Marian Mozart very much. The princesses and the little musicians had many romps together in the palace. From the French capital the Mozarts went to London. On their journey the children saw the sea for the first time. They liked to watch the great waves break against the cliffs. They clapped their hands with delight when the spray dashed over the rocks on the shore. They liked to run down upon the beach to meet the incoming waves. "See, brother," exclaimed Marian, "how the sea runs away and grows again." [Illustration: _Carl Herpfer_ MOZART AT THE ORGAN] The young musicians gave many concerts in London. The English people were even better pleased with their playing than the French had been. They were invited to Buckingham Palace, where Wolfgang amazed his hearers by playing difficult music at sight. King George was very fond of music and Handel was his favorite composer. He was surprised that this little fellow could play much of Handel's music. One day, at the palace, Wolfgang played while Queen Charlotte sang. He was very proud to be chosen to play for the queen. The queen's music master was a son of the great Sebastian Bach. He took quite a fancy to little Wolfgang. They became good friends and often played together. One day Bach took his little friend on his knee and they played a sonata together. First Bach would play a few measures; then Wolfgang would play three or four. They continued in this manner until they had played the whole sonata. Those who did not see them could not have told that the sonata had been played by two persons. In London, Wolfgang Mozart had his first singing lessons. They were as easy for him as his piano lessons had been. While in that great city he wrote six sonatas. He sent them to Queen Charlotte, with a little letter. At the end of fifteen months Leopold Mozart and his children left England. They had been invited by the Princess Caroline to visit Holland. So once again they crossed the rough English Channel. They spent several happy months among the Dutch people. The good Princess Caroline was very kind to them. Wolfgang composed several pieces of music for her. In November, 1765, the child musicians returned from their long journey. They had been traveling for three years. They had been petted and honored at all the great courts of Europe. They had received many beautiful presents, yet they were glad to be in Salzburg once again. MOZART IN ITALY After much serious study at home, Mozart went to Italy. His father thought that it would benefit him to visit that country. Musicians and artists from all over Europe went there to study. The finest musicians played in the large cathedrals. No better music could be heard in the world than in that country. It was worth a journey of many miles to hear one of the organs, when played by a master. Leopold Mozart wished his son to hear this music and to become acquainted with the great Italian musicians. He hoped that he could talk with the composers. He told him to visit the art galleries and study the paintings. All this Wolfgang did and more, too. He spent much time in the art galleries. He listened to much beautiful music and became acquainted with musicians and composers. Besides all this, he practiced regularly, and he studied French. He spent several hours each day composing. In a letter to his mother, Wolfgang wrote: "To-day I had the pleasure of riding on a donkey. Every one in Italy rides a donkey, and I thought I must try it too." In the same letter he asked: "Does my little canary still sing in the key of G? Is there any one to pet my dog, now that I am so far away? Take good care of him." Wolfgang and his father visited many Italian cities. There were no railroads in those days, so the father and son journeyed from place to place in a carriage. That is a slow and very tiresome way to travel, and Wolfgang sometimes became weary and impatient. Then he would jump from the carriage and race with the horses. Often they stopped at some quaint old inn for lunch. The meal was occasionally served out of doors. How good the honey and fresh milk tasted after the long dusty ride! How sweet were the figs and how juicy the melons! After visiting Florence, Verona, and other cities, Leopold Mozart and his son arrived in Rome. It was the week before Easter. Wolfgang liked to attend the services held each day in the magnificent cathedrals. He liked to watch the priests moving softly about the altar. He liked the faint odor of the incense and the glimmer of the candles. When the great organ pealed forth, he forgot all these things. He forgot even his father, seated at his side. He had never heard such music before. It seemed to him like music from heaven. In some of the churches there was singing as well as organ music. One day, while in Rome, Wolfgang visited the Sistine Chapel. He heard some singing that he never forgot. A choir of about thirty voices sang a very beautiful, yet very mournful, piece of music. When the music began, all the candles were burning brightly. As the singing went on, the candles were extinguished one by one. The chapel became more and more dim. The choir sang softly and still more softly. At last not one candle was left burning. No sound could be heard but the sad, sad music and the sobs of the people. Throughout the whole service, the child Mozart sat with clasped hands and bended head. When the music died away, he arose and walked home in silence. He went to his own room and wrote from memory the music which he had heard. It is a rule of the Sistine Chapel that only the members of the choir shall have copies of this music. Many others had asked permission to copy it. They had always been refused. Many had tried to write it from memory; but they had always failed. So it was a wonderful thing that this youth had written the difficult music from memory. When Wolfgang showed the music to his friends, they could not believe that he had written it correctly. "Let us have a concert," they said. "Let the lad sing the chapel music for us. We shall hear whether or not he has remembered it correctly." The concert was held. Young Mozart sang the music from his own copy. It was perfect from beginning to end. While Wolfgang was in Rome, the Pope bestowed a great honor upon him. He made him a Knight of the Golden Spur. That was one of the greatest honors that he could have received in Italy. Wolfgang was very proud to wear the beautiful golden cross. From Rome, the Mozarts went to Naples. There Wolfgang gave a concert before a large audience. When he was in the middle of a sonata, the people became uneasy. They whispered to one another; they pointed to the hands of the young musician; they became more and more excited. Young Mozart wondered at the noise, yet he went on with the sonata. At last his father learned the cause of the disturbance and explained it to his son. He told him that the people believed there was a charm in the diamond ring which he wore upon his left hand. "If the ring is not a charm," they said, "how can he play so rapidly with the left hand?" When Wolfgang heard this, he laughed merrily and took the ring from his finger. When he began to play again, the audience thought the music was even more wonderful than before. In 1771 Mozart made a
{'title': 'Stories of Great Musicians by Olive Brown Horne and Kathrine Lois Scobey', 'source': 'Project Gutenberg', 'lang': 'en'}