If it be considered that poor Mozart lost his beloved father on May 28, 1787, and that his mind was then fully occupied with his new operatic subject, “Don Giovanni,” it will not be thought strange that he did not exhibit his powers as a pianist to a youth just beginning with him a course of study in composition, especially as the pupil, in his eyes, was a little, undersized boy of 14--as there is every reason to believe. That pupil’s power of handling a theme, since Mozart probably knew nothing of his five years’ practice at the organ and in the theatre, may well have surprised him; but in execution as a pianist he probably stood far, far below the master when at the same age, below the little Hummel (at that very time an inmate of Mozart’s family), and certainly below Cesarius Scheidl (forgotten name!) aged ten, who had played a pianoforte concerto between the parts of an oratorio no longer ago than the preceding 22nd of December in the grand concert of the “Society of Musicians.” Had not Beethoven’s visit been so abruptly, unexpectedly and sorrowfully brought to an end, he would, doubtless, have had nothing to regret on the score of his master’s playing. In some written talks to Beethoven in the years of his deafness, still preserved, are found two allusions at least made by his nephew to this personal acquaintance with Mozart. In the first case the words are these: “You knew Mozart; where did you see him?” In the other, two or three years later: “Was Mozart a good pianoforte player? It was then still in its infancy.” Of course Beethoven’s replies are wanting; and herewith is exhausted all that, during the researches for this work, has been found relating to his first visit in Vienna. The Vienna newspapers of the time contained notices of the “wonder-children” Hummel and Scheidl, but none whatever of Beethoven. ACQUAINTANCES IN AUGSBURG