"The clavichord stands highest of all instruments, and although on account of its nature it is excluded from the concert hall, it is the companion of the recluse. The latter says to himself: 'Here I can produce the feelings of my heart, can shade fully, drive away care, and melt away a tone through all its swellings,'" This critic says further: "The piano is so deficient in its shadings and minor attractions, it is adapted only for concerts and chamber music." This dissertation closes as follows: "In order to judge a virtuoso, one must listen to him while at the clavichord, not while at the piano or harpsichord." To illustrate the novelty of the piano in the year 1767, we find on an old English play bill of the Covent Garden Theater a certain Miss Brickler advertised to sing a favorite song from "Judith," accompanied by Mr. Dibdin on "a new instrument" called the pianoforte. This was at the intermission after the first act of "The Beggars" opera. After Mozart became acquainted with the piano, he gave his preference to those made by Stein, of Augsburg. Afterwards, however, he transferred his affection to those made by Anton Walter, of Vienna. His "grand," which was but five octaves, with white sharps and black naturals, is now in the Mozarteum at Salzburg. [Illustration: Piano made by Matthaeus Andreas Stein Vienna, early Nineteenth Century] Silberman, the German maker, was finally successful in interesting King Frederick of Prussia in his new instrument to the extent of persuading him to purchase outright all he had finished. There were some fifteen of these, which were placed in the rooms at the palace. This demonstrates the King's love for music. He was a flute player of considerable ability. One of the court musicians was Carl Philip Emanuel Bach, son of the great master, and King Frederick had expressed a desire to hear the elder Bach play upon the new invention. For some time old Sebastian was obstinate and tartly declined all invitations. His son at last cajoled him into acceding to the King's wishes. He arrived most unexpectedly and excited the King to such an extent that he rushed out exclaiming: "Gentlemen, old Bach has come." During the performance he stood behind the musician's chair muttering in an undertone: "Only one Bach, only one Bach." The King requested the improvisation of a fugue in six parts, which the master did to the astonishment of all present. But for the new instrument Bach had little use. He complimented Silberman on his production, but he found fault with the unequal tones. He said the high notes were too weak, that it was too hard to play. Of course this greatly displeased the maker. For a long time he was very angry. But his better judgment came to the rescue and at a later date he succeeded in producing an instrument to which the master gave his approval. Bach, however, was never convinced that any instrument was equal to his beloved clavichord.