old. Shortly after this he played for a gathering of nobility at the palace of Prince Esterhazy, in whose service the boy's father was as assistant steward; and at that time six noblemen subscribed six hundred gulden a year for six years, that this prodigy might have the means for a proper education.
Adam Liszt then wrote to Hummel, the pupil of Mozart, to secure for his son tuition of this celebrated player. But Hummel's terms were higher than Liszt could afford, so they went to Vienna and sought instruction of Czerny. Czerny was so crowded with work that he declined to receive another pupil. Therefore little Franz, without more ado, seated himself at the piano. On hearing the playing of the youthful Liszt, Czerny quickly changed his mind, and not only received him as a pupil, but refused to take any tuition money from such a genius. A few years later, when they went to Paris, the boy was given the title "the little Mozart." His playing was phenomenal, and he at once became the rage in that artistic city. To show the regard in which this young artist was held—for he was at that time but eleven years old—we quote the following from a criticism of his playing:—
"I cannot help it; since yesterday evening I am a believer in metempsychosis. I am convinced that the soul and spirit of Mozart have passed into the body of young Liszt. And never has an identity revealed itself by plainer signs. The same country, the same wonderful talent in childhood, and in the same art!
"Mozart, in taking the name of Liszt, has lost nothing of that interesting countenance which always increases the interest a child inspires in us by his precocious talent. The features of our little prodigy express spirit and cheerfulness. He comes before his audience with exceeding gracefulness; and the pleasure, the admiration, which he awakens in his hearers as soon as his fingers glide along the keys seem to him an amusement which diverts him extremely."
