r us
all!"

From that moment it was plain that Wolfgang Mozart was a musical
prodigy, and as little Nannerl, too, had great talent, the proud father
now determined to show them to a world which was ever eager to applaud
such genius, and in 1762 he made his first experiment of taking the
children on a concert tour. This was so successful that before Wolfgang
was eight years old and Nannerl twelve, they had appeared at the Courts
of Vienna, Paris, Munich and London, and everywhere Wolfgang made
friends with rich and poor alike, his personality was so full of charm
and simple dignity.

Once, during their travels, being detained by a heavy shower at Ypps,
they took refuge in a monastery. The monks were at supper and did not
know of the arrival of any stranger, until suddenly from the chapel
came wonderful music, music grave and gay, sad, sweet, thrilling, and
marvellous in its appeal to hearts and souls. The Fathers were
frightened, not knowing who could have entered their sanctuary,
thinking it must be a spirit, when at last a light was brought, and
creeping into the chapel, they discovered little Wolfgang at the organ,
not a vision, but just a mortal boy. The Fathers were overcome with
amazement and lavished all possible courtesies on the wonderful little
musician and his family while they remained.

On entering Vienna, at the Custom House, Wolfgang, after a brief chat
with the official there, took out his violin, and played to the
official, who was so delighted with the boy and his music, that the
family had no trouble with examination of their luggage, as they would
otherwise have had.

The Imperial family of Vienna were all very fond of music, and had also
had their curiosity greatly excited in regard to this child prodigy, so
it was not strange that only a few days after the Mozarts arrived,
Leopold should have received a command to bring his children to play at
Schoenbrum, an imperial palace near Vienna, and this without any effort
on Mozart's part to get the invitation.

The Emperor was delighted with the little "sorcerer" as he called
Wolfgang, and besides listening to his real playing with deepest
interest, he made him play with one finger, in which the little fellow
was perfectly successful. Then he asked him to play with the keys
covered by a piece of cloth, which he did instantly, and these musical
tricks suggested by the Emperor's fancy, thereafter formed a far from
unimportant part of Wolfgang's repert