roduced them to
the persons whom he thought could be of use to them, and
frequently composed for their use concertos, of which he did not
even keep a copy, in order that they might have the exclusive
advantage of playing them. But, not content with this, they sold
these pieces to music-publishers; and thus repaid his kindness by
robbing him. He seldom received any recompense for his pianoforte
compositions, but generally wrote them for his friends, who were,
of course, anxious to possess some work of his for their own use,
and suited to their powers of playing. Artaria, a music-seller of
Vienna, and other members of the trade, contrived to get
possession of many of these pieces, and published them without
obtaining the author's consent, or making him any remuneration for
them. A Polish count, who was invited to a concert at Mozart's
house, heard a quintet performed for the first time, with which he
was so greatly delighted that he asked Mozart to compose for him a
trio for the flute. Mozart agreed, on condition that he should do
it at his own time. The count next day sent a polite note,
expressive of his thanks for the pleasure he had enjoyed, and,
along with it, one hundred gold demi-sovereigns (about L100
sterling.) Mozart immediately sent him the original score of the
quintet that had pleased him so much. The count returned to Vienna
a year afterwards, and, calling upon Mozart, enquired for the
trio. Mozart said that he had never found himself in a disposition
to write any thing worthy of his acceptance. "Perhaps, then," said
the count, "you may find yourself in a disposition to return me
the hundred demi-sovereigns I paid you beforehand." Mozart
instantly handed him the money, but the count said not a word
about the quintet; and the composer soon afterwards had the
satisfaction of seeing it published by Artaria, arranged as a
quartet, for the pianoforte, violin, tenor, and violoncello.
Mozart's quintets for wind instruments, published also as
pianoforte quartets, are among the most charming and popular of
his instrumental compositions for the chamber; and this anecdote
is a specimen of the manner in which he lost the benefit he ought
to have derived, even from his finest works. The opera of the
'Zauberfloete' was composed for the purpose of relieving the
distresses of a