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inspired, but that I might ask him whether he was in humour for such a composition.
Happening to know that little Mozart was much taken notice of by Manzoli, the famous singer, who came over to England in 1764, I said to the boy, that I should be glad to hear an extemporary Love Song, such as his friend Manzoli might choose in an opera.
The boy on this (who continued to sit at his harpsichord) looked back with much archness, and immediately began five or six lines of a jargon recitative proper to introduce a love song.
He then played a symphony which might correspond with an air composed to the single word, Affetto.
It had a first and second part, which, together with the symphonies, was of the length that opera songs generally last: if this extemporary composition was not amazingly capital, yet it was really above mediocrity, and shewed most extraordinary readiness of invention.
Finding that he was in humour, and as it were inspired, I then desired him to compose a Song of Rage, such as might be proper for the opera stage.
The boy again looked back with much archness, and began five or six lines of a jargon recitative proper to precede a Song of Anger.
This lasted also about the same time with the Song of Love; and in the middle of it, he had worked himself up to such a pitch, that he beat his harpsichord like a person possessed, rising sometimes in his chair.
