{FIRST ATTEMPTS IN VIENNA.} (206) sort of obstacle thrown in his way from the very first. Salieri had been appointed maestro to the Princess Elizabeth, but he was unable to instruct her on the clavier, and Mozart had clearly the next claim. "He may take the trouble," writes he to his father (August 31, 1782), "to do me harm in this matter, but the Emperor knows me; the princess would have liked to learn from me from the first, and I know that my name stands in the book where the list of all those appointed to her service is kept." But Salieri was much too cautious to allow Mozart to attain to such a position. An unknown musician named Summerer was appointed teacher of the clavier to the Princess Elizabeth. Mozart consoled himself, when he heard that the salary was only four hundred florins, by the reflection that it would not leave much over when the waiting, travelling, and other expenses contingent on such a service had been paid for (October 12, 1782). Under these circumstances Salieri and Strack were naturally sworn allies in the Emperor's music room, and resisted together the introduction of any elements which would undermine their influence by giving the Emperor's taste a new direction. Although, therefore, Mozart was encouraged by the Emperor's expressions of liking for him, more especially as "great rulers are not too fond of saying such things for fear of a dagger-thrust from an envious rival," yet the obstacles which he had to overcome in the surroundings of the Emperor were likely to prove too powerful for him. The Emperor's parsimony also restrained him from adding another kapellmeister to those who were already in receipt of salaries from the court. Another chance of such a fixed situation as his father was continually urging upon him to secure offered itself through Prince Aloys Liechtenstein, the eldest son of the reigning prince, whose income was estimated at 900,000 imperial {CONCERTS, LESSONS, AND COMPOSITIONS.} (207) gulden.[49] He proposed enrolling a band of wind instruments in his service, and wished to engage Mozart to arrange pieces for it. For this he could not expect a high salary, but it would be a certain one, for he had quite resolved to accept none but a permanent engagement. But this hope, too, was disappointed,[50] and he continued to exist on the uncertain proceeds of lessons, concerts, and composition. The state of affairs improved somewhat in the winter. He had constant pupils in the Countess Rumbeck and Frau von Trattnem, to whom was added later the Countess Zichy. He gave each of them a lesson daily, and received six ducats for twelve, which sufficed for absolute necessities. Six sonatas for clavier and violin, for which his patronesses had opened a subscription of three ducats, were completed and printed in November, 1781.[51]