[41] Johann Schobert especially caught the boy’s fancy, though both his father and Baron Grimm, their most influential friend in Paris, depreciated his merits and tried to picture him as a small, jealous person. T. de Wyzewa and G. de St. Foix, in their study _Un maître inconnu de Mozart_ (_Zeitschrift Int. Musik-Ges._, Nov., 1908), and in their partially completed biography of Mozart, have clearly shown the powerful influence of the Paris master on the youthful composer. [42] T. de Wyzewa and G. de St. Foix in their scholarly work ‘W.-A. Mozart’ have catalogued and fixed the relative positions of all the Mozart compositions. This in a sense supersedes the famous catalogue made by Ludwig von Koechel (1862, Supplement 1864). [43] Mozart’s mother, ill during the greater part of the Paris sojourn, died about the time of the symphony première. Grief-stricken as he was, he wrote his father all the details of the performance and merely warned him that his mother was dangerously ill. At the same time he advised a close Salzburg friend of the event and begged him to acquaint his father with it as carefully as possible. [44] Another incident of this veritable carnival of music was the famous pianoforte competition between Mozart and Clementi. [45] W. H. Hadow, in ‘The Oxford History of Music.’ [46] It is a well-known fact that the moment of his first acquaintance with the instrument Mozart became enamored of its tone. No ear ever was more alive to the purely sensuous qualities of tone color. [47] Riemann: _Handbuch der Musikgeschichte_, II. [48] Riemann: _Op. cit._ [49] Hermann Kretzschmar: _Mozart in der Geschichte der Oper_ (_Jahrbuch der Musikbibliothek Peters_, 1905). CHAPTER IV LUDWIG VAN BEETHOVEN Form and formalism--Beethoven’s life--His relations with his family, teachers, friends, and other contemporaries--His character--The man and the artist--Determining factors in his development--The three periods in his work and their characteristics--His place in the history of music.