natural capacity nor what we call education enough to render her on an equality with Mozart, or to elevate him by her intellectual influence; nay, rather, she failed fully to appreciate or understand him. Like all the Weber family, she had musical talent, which had been cultivated up to a certain point. "She played the clavier and sang nicely."[6] At the Mozarteum, in Salzburg, there is the commencement of a "Sonata ä deux Cembali," unfinished, with the superscription "Per la Signora Constanza Weber--ah!" A sonata for pianoforte and violin, in C major, which only wants the concluding bars of the last movement (403 K.), belonging to the year 1782, is inscribed "Sonate Première, par moi, W. A. Mozart, pour ma très chère épouse." In a letter to Härtel (February 25, 1799), the widow mentions a march for the piano which her husband had composed for her. Although her voice was not so fine as those of her sisters Aloysia and Josepha, she sang very well, especially by sight, so that Mozart used to try his compositions with her. Solfeggi by Mozart are preserved, with the inscription--"Per la mia cara Constanze," or "Per la mia cara consorte" (393 K.), some of them exercises of a few bars' length, others elaborate passages in varied tempo and style, which give abundant practice for execution and delivery. There is a song also--"In te spero o sposo amato," (Metastasio, "Demofoonte"), mentioned by the widow in a letter to Härtel (February 25, 1799), as composed "per la cara mia consorte," which implies a compass and volubility reminding us of her sister Aloysia. It was natural, therefore, that Constanze should take the soprano parts in any private performances among their friends, and we know that she once sang the soprano soli of the Mass in C minor (427 K.) at Salzburg, which require a first-rate singer. We must also give her credit for more than ordinary musical taste and cultivation, from her partiality for fugues, of which Mozart writes to his sister (April 20, 1782), when he sent her a prelude and fugue (394 K.), which he had composed for her:-- {CONSTANZE'S SYMPATHY.} (267) The cause of this fugue coming into the world is in reality my dear Constanze. Baron van Swieten, to whom I go every Sunday, allowed me to take home all the works of Handel and Sebastian Bach, after I had played them to him. When Constanze heard the fugues, she quite fell in love with them; she cares for nothing but fugues now, especially those of Handel and Bach. Having often heard me play fugues out of my head, she asked me if I had never written any down? and when I said no, she scolded me roundly for not writing the most artistic and beautiful things in music; she would not leave me any peace until I had written down a fugue, and so it came to pass.