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396 Righini, and others, having more pupils though charging the same terms as he. The fact is, he was neither methodical nor obsequious enough; it was only when personally attracted by talent, earnestness, and a desire to get on, that he taught willingly. Many people preferred to profit by his remarks in social intercourse, or took a few lessons merely to be able to call themselves his pupils. Fräulein Auernhammer is an instance of the first, and the celebrated physician Joseph Frank of the second. With such pupils as these he used to say, 'You will profit more by hearing me play, than by playing yourself,' and acted accordingly. Among his best lady pupils were the Countesses Rumbeck and Zichy, Frau von Trattnern, wife of the wealthy bookseller, Franziska von Jacquin, afterwards Frau von Lagusius, and Barbara Ployer. Hummel came to him in 1787, he lived in the house, and his instruction was most irregular, being given only as time and inclination served; but personal intercourse amply supplied any deficiencies of method. Mozart could always hear him play, and played constantly before him, took him about with him, and declared that the boy would soon outstrip him as a pianist. Hummel left in Nov. 1788 to make his first tour with his father. Of Thomas Attwood, who came to him from Italy in 1785 for a course of composition, and became his favourite pupil, he said to Kelly, 'Attwood is a young man for whom I have a sincere affection and esteem; he conducts himself with great propriety, and I feel much pleasure in telling you, that he partakes more of my style than any other scholar I ever had, and I predict that he will prove a sound musician.' Kelly, who wrote pretty songs, wished to have some instruction from Mozart in composition, but he dissuaded him from it, as his profession of the stage ought to occupy all his attention. 'Reflect,' he said, 'a little knowledge is a dangerous thing…; do not disturb your natural gifts. Melody is the essence of music; I compare a good melodist to a fine racer, and counterpointists to hack post-horses: therefore be advised, let well alone, and remember the old Italian proverb—Chi sa più, meno sa.' Mozart also taught composition to a few ladies, a cousin of Abbé Stadler's among the number. The MS. book he used with her is in the Hofbibliothek, and is interesting as showing the cleverness with which, in the midst of jokes and playful remarks, he managed to keep his lady pupils to their grammar. With more advanced pupils he of course acted differently. Attwood began by laying before him a book of his own compositions, and Mozart looked it through, criticising as he went, and with the words, 'I should have done this so,' re-wrote whole passages, and in fact re-composed the book.

He held regular concerts at his own house on Sundays, his friends being invited, and amateurs admitted on payment.

Of his intercourse with other artists on his tours we have spoken, but something remains to be said of his relations with his brethren in Vienna. Of Bonno, at whose house his newest symphony was twice performed in 1781 with an unusually large orchestra (60 strings, wind-instruments doubled, and 8 bassoons), Mozart said, 'he is an honourable old man.' Gluck appreciated him, and was inclined to be friendly, but they were never intimate. At his request the 'Entführung' was performed out of its turn, and 'Gluck paid me many compliments upon it. I dine with him to-morrow.' On another occasion Gluck was at Mme. Lange's concert, where Mozart played. 'He could not say enough in praise of the symphony and aria (both by Mozart), and invited us all four (the Mozarts and Langes) to dinner on Sunday.' Salieri was unfriendly. He had great influence with the Emperor, and could easily have secured an appointment for Mozart, but though astute enough not to show his dislike openly, he put obstacles in his way. Other still more bitter opponents were Kozeluch, Kreibich, and Strack, who with Salieri had it all their own way in the Emperor's music-room. Kozeluch also hated Haydn, and this inspired Mozart with a contempt he took no pains to conceal, and which Kozeluch never forgave. We have already spoken of the relations between Mozart and Haydn: 'It was quite touching,' says Niemetschek, 'to hear Mozart speak of the two Haydns, or of any other great master; it was like listening to an admiring pupil, rather than to the great Mozart.' He recognised in the same generous way the merit of those who merely crossed his path, such as Paisiello and Sarti, with both of whom he was on very friendly terms. Kelly dined at Mozart's house with Paisiello, and was a witness of their mutual esteem. Mozart's pupil, Barbara Ployer, played some of his compositions to Paisiello, who in his turn asked for the score of 'Idomeneo.' Of Sarti, Mozart writes to his father, 'He is an honest upright man; I have played a great deal to him already, including variations on one of his own airs (460) with which he was much pleased.' He immortalised this very theme by introducing it into the second Finale of 'Don Giovanni'; and did a similar service for a theme from Martin's 'Cosa rara,' an opera which at that time threw even Mozart into the shade. Of that composer, then a universal favourite, he said: 'much that he writes is really very pretty, but in ten years time his music will be entirely forgotten.' Mozart took a great interest in all striving young artists, augmented in the case of Stephen Storace by his esteem for his sister Nancy, the first Susanna in 'Figaro.' His sympathy with Gyrowetz has been mentioned: of Pleyel's first quartets he wrote to his father, 'They are very well written,