spell is "A Melody by Mozart."

In the second compartment of the triptique, which is labelled
"Drawing-room Music of the Present," a young lady also sits at a
piano-forte. It is a grand, a very grand piano-forte; a tremendous
institution, the invisible end of which stretches far into infinitude.
Plainly it is one of those awful instruments which have received a gold
medal at all the expositions. The lid is propped up so that it looks
like a gigantic trap set to catch some gigantic bird or vermin. The
performer's shoulders and arms, which emerge in a somewhat alarming
manner from their scanty covering, are in violent agitation. Her hands
are flung into the air as they poise for an instant over the upper part
of the long key-board, ready to pounce down upon the shuddering notes
below, and from the great gaping instrument a flock of startled and
affrighted quavers, semiquavers, and demisemiquavers is pouring out
pell-mell over the assembled hearers. Hearers! No. The great
drawing-room is filled with a crowd of people who have evidently been
bidden to listen to the music. But they are undergoing it with stolid
indifference as they talk or try to talk, either almost shouting or
whispering into each other's deafened ears and bewildered brains. The
only person who takes any interest in the performance is the performer
herself. The motive power here is "A brilliant fantasia for the piano
by Signor Rumblestominski."

The third compartment is entitled "Drawing-room music of the Future."
Here five performers are laboring at and around the piano-forte, the
top of which has been taken off. They are all men; tough-brained-looking
fellows: one a violinist, one a violoncellist; two are at the key-board,
and one stands music in hand and mouth wide open. They are toiling as if
at day's work by the piece; and all are singing. They are engaged upon
"Twenty-four consecutive interdependent Logarithmic studies for Violin
and Violoncello, with Double Differential and Integral accompaniment for
the Piano-forte, supplemented by Unisonal Descriptive and Corroborative
vocal exposition in five modern languages." They have evidently got well
into harness, and have dragged their hearers some distance over their
rugged road, which is a "hard road to travel." The mass of the assembled
company are rushing madly for the door. On an ottoman in the foreground
sit five victims, four young ladies and a bald-headed old gentleman, who
are all fast asleep. At