Leopold Mozart's first care on reaching the great English metropolis was to obtain an introduction at Court. King George III and the Queen were very fond of music, and it was not long before an invitation came for the children to attend at the Palace. The King showed the greatest interest in Wolfgang, asking him to play at sight difficult pieces by Bach and Handel. Then the boy, after accompanying the Queen in a song, selected the bass part in a piece by Handel, and improvised a charming melody to it. The King was so impressed that he wished him to play the organ, in the playing of which Wolfgang won a further triumph.
The King's birthday was to be celebrated on June 4 and London was crowded with people from all parts of the country. Leopold Mozart had chosen June 5 as the date for his first public concert. The hall was filled to overflowing; one hundred guineas being taken in. Many of the assisting performers would take no fee for their services, which added to the father's gratitude and happiness.
Not long after this Leopold Mozart fell ill, and the little family moved to Chelsea, for the quiet and good air. Later they were given another reception at Court, where, after Wolfgang's wonderful performances, the children won much applause by playing some piano duets composed by the boy—a style of composition then quite new.
In July, 1765, the family left London and traveled in Holland, after which came a second visit to Paris, where they added to their former triumphs, in addition to playing in many towns on the way back. Finally the long tour was brought to a close by the return to Salzburg in November, 1766.
At the period of musical history in which the gifted boy lived, a musician's education was not complete unless he went to Italy, for this country stood first as the home of music. Leopold Mozart had made a couple of trips to Vienna with his children, the account of which need not detain us here. He had decided that Wolfgang must go to Italy, and breathe in the atmosphere of that land of song. And so in December, 1769, father and son set out for the sunny south, with high hopes for success.
Mozart's happy nature was jubilant over the journey. He watched eagerly the peasants as they danced on the vine-clad terraces, overlooking the deep blue lakes,—or listened as they sang at their work in the sunny fields. He gazed at the wonderful processions of priests through narrow streets of the towns, but above all there was the grand music in the cathedrals.
The young musician had plenty of work to do, more than most boys of thirteen. For, besides the concerts he had to give, he was set difficult problems by the various professors who wished to test his powers. The fame of his playing constantly spread, so the further he traveled into Italy there were more demands to hear him. At Roveredo, where it was announced he would play the organ in St. Thomas's Church, the crowd was so great he could scarcely get to the organ-loft. The vast audience listened spellbound, and then refused to disperse till they had caught a glimpse of the boy player. At Verona he had another triumph; one of his symphonies was performed, and his portrait was ordered to be painted.
When they reached Milan the Chief musician of the city subjected the boy to severe tests, all of which he accomplished to the astonishment and delight of everybody. It was at Bologna however, where he met the most flattering reception. Here was the home of the famous Padre Martini, the aged composer of church music. Father Martini was almost worshiped by the Italians; he was a most lovable man and looked up to as a great composer. He had long ago given up attending concerts, so that every one was astonished when he was present in the brilliant audience gathered at Count Pallavicini's mansion to listen to the boy's playing. Wolfgang did his best, for he realized the importance of the event. Father Martini took the boy to his heart at once, invited him to visit him as often as possible during his stay, and gave him several fugue subjects to work out. These the boy accomplished with ease, and the Padre declared he was perfectly satisfied with his knowledge of composition.
The journey to Rome was now continued, and for Wolfgang it was a succession of triumphs. At Florence he played before the Court of the Archduke Leopold, and solved every problem put to him by the Court music director as easily as though he were eating a bit of bread.
It was Holy Week when young Mozart and his father entered Rome, and the city lay under the spell of the great festival of the year. They soon joined the throngs that filled the vast temple of St. Peter's, to which all turn during this solemn season. After attending a service and viewing the treasures of the Cathedral, they turned their steps to the Sistine Chapel, which contains the wonderful painting of the Last Judgment by Michael Angelo. It was here that the celebrated Miserere by Allegri was performed. Wolfgang had been looking forward to this moment all through the latter part of his journey. His father had told him how jealously guarded this music was; it could never be performed in any other place, and the singers could never take their parts out of the chapel. He was intensely eager to hear this work. And indeed it would be difficult to imagine anything more beautiful and impressive than the singing of the Miserere, which means "Have Mercy." It follows the solemn service called Tenebrae, (Darkness) during which the six tall candles on the altar are extinguished one by one,—till but one is left, which is removed to a space behind the altar. Then in almost complete darkness the Miserere begins. A single voice is heard singing the antiphon, or short introduction,—and then comes silence, a silence so profound that the listener scarcely dares to breathe for fear of disturbing it. At length the first sad notes of the supplication are heard, like the softest wailing of an anguished spirit; they gradually gain force till the whole building seems to throb with the thrilling intensity of the music.