[ 54 ]
Jtecei ved November 28, 1 7 dp ,
VIII . Account of a very remarkable young
Mujtcian. In a Letter from the Ho-
nourable Daines Harrington, F. R. S, to
Mathew Maty, M. D. Sec. R« S.
SIR,
Read Feb. 15, Tp I was to fend you a well attefted ao
17709 X count of a boy who meafured feven
feet in height* when he was not more than eight
years of age, it might be confidered as not unde-
serving the notice of the Royal Society.
The inftance which 1 now defire you will com-
municate to that learned body, of as early an ex-
crtion of moft extraordinary mufical talents, feems
perhaps equally to claim their attention.
Joannes Chryfoftomus Wolfgangus Theophilus
Mozart, was born at Saltzbourg in Bavaria, on the
17th of January, 1756 *.
* I here fubjoin a copy of the tranflation from the regifter at
Saltzbourg, as it was procured from his excellence Count Haflang,
envoy extraordinary and minifter plenipotentiary of the electors
of Bavaria and Palatine ;
I have
[55]
I have been informed by a moft able muficiati
and compofer, that he frequently faw him at
Vienna, when he was little more than four years
old.
By this time he not only was capable of executing
leflbns on his favourite inftrument the harpfichord,
but compofed feme in an eafy ftile and tafte, which
were much approved of.
His extraordinary mufical talents foon reached the
ears of the prefent emprefs dowager, who ufed to
place him upon her knees whilft he played on the
harpfichord.
This notice taken of him by fb great a perfonage,
together with a certain confcioufnefs of his moft An-
gular abilities, had much emboldened the little mu-
fician. Being therefore the next year at one of the
German courts, where the elector encouraged him,
by faying, that he had nothing to fear from his au<-
" I, the under-written, certify, that in the year 1756, the 17th
<c of January, at eight o'clock in the evening, was born Joannes
" Chryfoftomus Wolfgangus Theophilus, fon of Mr. Leopold
c * Mozart, organift of his highnefs the prince of Saltzbourg,
cc and of Maria Ann his lawful wife (whofe maiden name was
* c Pertlin), and chriftened the day following, at ten o'clock in
** the morning, at the prince's cathedral church here; his god-
" father being Gottliel Pergmayr, merchant in this city. In
** truth whereof, I have taken this certificate from the parochial
" regifter of chriftenings, and under the ufual feal, figned the
4< the fame with my own hand.
Saitzbourg, c< L e0 p a irj Comprecht,
Jan. 3, 1769. r *
" Chaplain to his Highnefs in this city."
guft
[ 5 6 ]
goft prefence * little Mozart immediately &t dowa
with great confidence to his harpfichord, inform-
ing his highnefs, that he had played before the
fa.
At feven years of age his father carried him to
Paris, where he fo diftinguifhed himfelf by his com-
pofitions, that an engraving was made of him.
The father and fifter who are introduced in thk
print, are exceffively like their portraits, as is alfo
little Mozart, who, is ftilecj " Compofiteur et Maitre
« de Mufique, age de fept ans."
After the name of the engraver, follows the date,
which is in 1764; Mozart was therefore at this time
in the eighth year of his age.
Upon leaving Paris, he came over to England,
where he continued more than a year. As during
this time I was witnefs of his moft extraordinary
abilities as a mufician, both at fome publick concerts,
and likewife by having been alone with him for a
confiderable time at his father's houfe % I fend you
the following account, amazing -and incredible al-
moft as it may appear.
I carried to him a manufcri.pt duet, which was
compofed by an Englifh gentleman to fome favourite
words in Metaftafio's opera of Demofoonte.
The whole fcore was in five parts, viz. accom-
paniments for a firft and fecond violin, the two
vocal parts, and a bafe.
I fhali here likewife mention, that the parts for
the firft and fecond voice were written in what the
Italians ftile the Contralto cleff 1 the reafon for taking
notice of which particular will appear hereafter.
2 My
[ 57 3
My intention in carrying with me this manufcript
compofittion, was to have an irrefragable proof of
his abilites, as a player at fight, it being abfolutely
impoffible that he could have ever feen the mufic
before.
The fcore was no fooner put upon his defk, than
he began to play the fymphony in a moft mafterly
manner, as well as in the time and ftile which cor-
refponded with the intention of the compofer.
I mention this circumftance, becaufe the greateft
matters often fail in thefe particulars on the firft
trial.
The fymphony ended, he took the upper part,
leaving the under one to his father.
His voice'in the tone of it was thin and infantine,
but nothing could exceed the mafterly manner in
which be fung.
His father, who took the under part in this duet,
was once or- twice out, though the paflages were not
more difficult than thofe in the upper one ; on which
occcafions the fon looked back with fome anger, point-
ing out to him his miftakes, and fetting him right.
He not only however did complete juftice to the
duet, by finging his own part in the trueft tafte, and
with the greateft precifion; he alfo threw in the
accompaniments of the two violins, wherever they
were moft neceflary, and produced the beft efFefts.
It is well known that none but the moft capital
muficians are capable of accompanying in this fupe-
rior ftile.
As many of thofe who may be prefent, when this
letter may have the honour of being read before
the fociety, may not poflibly be acquainted with
Vol. LX. I the
[58]
the difficulty of playing thus from a mufical fcore, I
will endeavour to explain it by the moft fimilar
comparison I can think of.
I muft at the fame time admit that the illuf-
tration will fail in one particular, as the voice in
reading cannot comprehend more than what is
contained in a fingle line. I mull fuppofe, however,
that the reader's eye, by habit and quicknefs, may
take in other lines, though the voice cannot articulate
them, as the mufician accompanies the words of an
air by his harpfichord.
Let it be imagined, therefore, that a child of eight
years old was directed to read five lines * at once,
in four •{•■of which the letters of the alphabet were
to have different powers.
For example, in the firft line A, to have its com-
mon powers.
In the fecond that of B.
In the third of C.
In the fourth of D.
Let it be conceived alfo, that the lines fo compofed
of chara&ers, with different powers, are not ranged
* By this I mean,
The two parts for the violins.
The upper part for the voice.
The words fet to mufic
And laftly, the bafe.
t By this I mean,
The violin parts in the common treble cleff.
The upper part for the voice in the contralto cleft as before-
mentioned.
The words in common chata&ers*
And the bafe in its common cleff.
fo
[59]
fo as to be read at all times one exactly under the
other, but often in a defultory manner*
Suppofe then, a capital fpeech in Shakefpeare * never
feen before, and yet read by a child of eight years old,
with all the pathetic energy of a Garrick.
Let it be conceived likewife, that the fame child is
reading, with a glance of his eye, three different com-
ments on this fpeech tending to its illuftration ; and
that one comment is written in Greek, the fecond
in Hebrew, and the third in Etrufcan characters.
Let it be alfo fuppofed, that by different figns he
could point out which comment is mod material
upon every word ; and fometimes that perhaps all
three are fo, at others only two of them.
When all this is conceived, it will convey fome
idea of what this boy was capable of, in finging fuch
a duet at fight in a mafterly manner from the fcore,
throwing in at the fame time all its proper accom-
paniments.
When he had finifhed the duet, he e&prefled
himfelf highly in its approbation, afking with fome
eagernefs whether I had brought any more fuch
mufic.
Having been informed, however, that he was
often vifited with mufical ideas, to which, even in
the midft of the night, he would give utterance on
his harpfichord $ I told his father that I fhould be
glad to hear fome of his extemporary compofitions.
The father ihook his head at this, faying, that it
depended entirely upon his being as it were mufically
* The words in Metaftafiu's duet, which little Mozart fung,
are very pathetic.
I z infpired,
[6o]
infpifed^ but that I might afk him whether he was
in humour for fuch a compofition.
Happening to know that little Mozart was much
taken notice of by Manzoli, the famous finger, who
came over to England in 1764, I faid to the boy,,
that 1 fhould be glad to hear an extemporary Love
Song, fuch as his friend Manzoli might choofe in aa
opera.
The boy on this (wko continued to fit at his
harpfichord) looked back with much archnefs, and
immediately began five or fix lines of a jargon reci-
tative proper to introduce a love fong.
He then played a fymphony which might corre-
fpond with an air compofed to the fingle word,.
Jjfetto.
It had a firft and fecond part, which, together with
the fymphonies, was of the length that opera fongs
generally laft : if this extemporary compofitbn was
not amazingly capital, yet it was really above medio-
crity, and fhewed moft extraordinary readinefs of
invention.
Finding that he was in humour, and as it were
infpired, I then defired him to compofe a Song of
Rage> fuch as might be proper for the opera ftage*.
The boy again looked back with much archnefs,
and began five or fix lines of a jargon recitative
proper to precede a Song of Angers
This lafted alfo about the fame time with the Song
of Love ; and in the middle of it, he had worked
himfelf up to fuch a pitch, that he beat his harpfi-
chord like a perfon pofiefTed, rifing fometimes in his
chair.
2 The
[6.]
The word he pitched upon for this feeond extem-
porary compofition was, Perfido.
After this he played a difficult leflbn, which
he had fin-ifbed a day or two before *: his execution 8
was amazing, confidering that his little fingers could'
fcarcely reach a fifth on the harpfichord.
His aftoni&ing readinefs, however, did not arife
merely from great pra&ice ; he had a thorough
knowledge of the fundamental principles of compo-
fition, as, upon producing a treble, he immediately
wrote a bafe under it, which, when tried, had a very
good effe<fl.
He was alfo a great matter of modulation, and his
tranfitions from one key to another were exceffively
natural and judicious ; he pra<9:ifed in this manner
for a considerable time with an handkerchief over
the keys of the harpfichord.
The fads which I have been mentioning I was
myfelf an eye witnefs of-,, to which I muft add, that
1 have been informed by two or three able mufi-
cians, when Bach the celebrated compofer had be-
gun a fugue and left off abruptly, that little Mozart
* He published fix fonatas for the harpfichord, with an ao
companiment for the violin, or German flute, which are fold
by R. Bremner, in the Strand, and are intituled, Oeuvre Troif me .
He is faid in the title page to have been only eight years of
age when he compofed thefe fonatas.
The dedication is to the Queen, and is dated at London,
January 8, 1765.
He fubfcribes himfelf, " tres humble, et tres obeifiant petit
« ferviteur."
Thefe leffbns are compofed in a very original ftile, and fome
of them are mafterly.
[6»]
hath immediately taken it up, and worked it after a
moft mafterly manner.
Witnefs as 1 was myfelf of moft of thefe extra-
ordinary fadts, I muft own that I could not help fuf-
pe&ing his father impofed with regard to the real
age of the boy, though he had not only a moft
childifh appearance, but likewife had all the actions
of that ftage of life.
For example, whilft he was playing to me, a fa-
vourite cat came in, upon which he immediately
left his harpfichord, nor could we bring him back
for a confiderable time.
He would alfo fometimes run about the room with
9 ftick between his legs by way of horfe.
I found likewife that moft of the London mufi-
cians were of the fame opinion with regard to his
age, not believing it pofiible that a child of fo tender
years could furpafs moft of the mafters in that
fcience.
I have therefore for a confiderable time made the
beft inquiries I was able from fome of the German
muficians refident in London, but could never receive
any further information than that he was born near
Saltzbourg, till I was fo fortunate as to procure an
extraft from the regifter of that place, through his
excellence count Haflang.
It appears from this extract, that Mozart's father
did not impofe with regard to his age when he was
in England, for it was in June, 1765, that I was
witnefs to what I have above related, when the boy
was only eight years and five months old.
I have made frequent inquiries with regard to this
very extraordinary genius fince he left England, and
was
[63]
was told laft fummer, that he was then at Saltz-
bourg, where he had compofed feveral oratorios,
which were much admired.
I am alfo informed, that the prince of Saltzbourg,
not crediting that fuch mafterly compofitions were
really thofe of a child, (hut him up for a week,
during which he was not permitted to fee any one,
and was left only with mufic paper, and the words of
an oratorio.
During this fhort time he compofed a very capital
oratorio, which was mo& highly approved of upon
being performed.
Having ftated the above mentioned proofs of
Mozart's genius, when of almoft an infantine age,
it may not be improper perhaps to compare them
with what hath been well attefted with regard to
other inftances of the fame fort.
Amongft thefe, John Barratier hath been mod
particularly diftinguifhed, who is faid to have un~
derftood Latin when he was. but four years old,
Hebrew when fix, and three other languages at the
age of nine.
This fame prodigy of philological learning alfo
tranflated the travels of Rabbi Benjamin when eleven
years old, accompanying his verfion with notes and
differ tations. Before his death, which happened
under the age of twenty, Barratier feems to have
aftonifhed Germany with his amazing extent of learn-
ing; and it need not be faid, that its increafe in fuch a
foil, from year to year, is commonly amazing.
Mozart, however, is not now much more than
thirteen years of age, and it is not therefore neceffary
to carry my comparifon further.
The
The Rev. Mr. Man waring (in his Memoirs of
Handel) hath given us a ftill mofe appofite inftance,
and in the fame fcience.
This great mufician Began to play on the clavi-
chord when he was but feven years of age, and is
faid to have compofed fome church fervices when he
was, only nine years old, as slfo the opera of Al-
meria, when he did not exceed fourteen.
Mr. Manwaring likewife mentions that Handel,
when very young, was ftruck fometimes whilft in
bed with mufical ideas, and that, like Mozart, he
ufed to try their effect immediately on a fpinnet,
which was in his bedchamber.
I am the more glad to ftate this fhort comparifon
between thefe two early prodigies in mufic, as it may
be hoped that little Mozart may poiiibly attain to
the fame advanced years as Handel, .contrary to the
common obfervation that fuch ingenia pracocia are
generally fhort lived.
I think I may fay without prejudice to the memory
of this great compofer, that the fcale moft clearly
preponderates on the fide of Mozart in this com-
parifon, as I have already ftated that he was a com-
pofer when he did not much exceed the age of four.
His extemporary compofitions alfo, of which I was
a witnefs, prove his genius and invention to have
been mod aftonifhing; lead however I fliould in-
infenfibly become too ftrongly his panegyrift, per-
mit me to fubfcribe myfelf, Sir,
Your moft faithful
humble fervant,
Daines Harrington.
IX* Ji
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