This very extraordinary child, who now (in June 1779,) daily attracts
the notice and attention not only of persons of the first distinction,
but of all lovers of natural genius, is the son of Michael and Isabella
Crotch: he was born at Norwich, on the 5th of July 1775. His father
being an ingenious carpenter, built an organ for his own amusement; and
it was owing to this incidental circumstance that the musical talents
of his little son William were discovered so early: they might have
lain dormant for years, if Mrs. Lullman, who teaches music at Norwich
with great reputation, and was intimately acquainted with his parents,
had not played upon this organ, and accompanied it with her voice
before the child.
One evening in particular, about the beginning of August 1777, he sat
in his mother’s lap while Mrs. Lullman played and sung a considerable
time. After that lady was gone, the child cried, and was remarkably
fractious: his mother attributed it to a pin, or some inward pain; she
undressed him, and endeavoured to find out the cause, but in vain:
however, as she was carrying him to bed, she passed near the organ, and
he stretched out his little hands towards it: upon which Mrs. Crotch
set him down to the keys, and he instantly struck them, seemingly in
great ecstasy: he played a few minutes; but imagining it to be only
the humour of an infant, she paid no regard to his manner of touching
the instrument, and he was soon put to bed, to all appearance perfectly
satisfied.
The next morning, after breakfast, while Mrs. Crotch was gone to
market, his father, willing to indulge his own curiosity, put the child
to the organ, and was astonished to hear him play great part of the
tunes of _God save the King_, and _Let Ambition fire thy Mind_. The
first Mr. Crotch had attempted several times in the child’s hearing,
but was not perfect in it. The last, Mrs. Lullman had performed in his
presence. Upon his mother’s return, this surprising event being related
to her, she could hardly credit it: but _Billy_ did not keep her long
in suspence, and Mrs. Crotch communicating the intelligence to their
friends, she was advised to let him play according to his own fancy,
whenever he expressed a desire for it.
He was now two years and three weeks old, and, from this time, all
persons who had any taste for music, and all the performers in Norwich,
resorted to the house: he played almost every day, and acquired more
tunes; and, in the midst of performing them, would strike out little
airs of his own in harmony; for it is remarkable, that he never plays
discord, neither will he bear it in others, without expressing disgust.
He performed before full assemblies at different places and at sundry
times, at Norwich, till the beginning of November, when he was carried,
by his mother, to Cambridge, where he played on all the College and
church organs, to the astonishment of the gentlemen of the University.
About the middle of December, he arrived in London, but no public
exhibition was made of his performance, till they had been heard by
their Majesties, to whom he and his mother were presented, by Lady
Hertford, at the Queen’s Palace, on the 7th of February, when he played
on the organ in the presence of their Majesties and the Royal Family,
who were graciously pleased to express their approbation.
On the 13th of the same month they waited on their Royal Highnesses,
the Duke and Duchess of Gloucester, and performed to their entire
satisfaction. On the 26th he played on the organ of the chapel royal
of St. James’s, after morning service was over, their Majesties being
present.
From this time he has continued playing every day, between the hours
of one and three, in public, at Mrs. Hart’s, milliner, in Piccadilly,
opposite Dover Street.
Master William Crotch is now three years and nine months old: is a
lively, active child, has a pleasing countenance, rather handsome,
having fine blue eyes and flaxen hair. A large organ is placed about
the centre of the room, against the wainscot: it is raised upon a stage
about two feet from the floor, and a semicircular iron rod is fixed so
as to secure him in his seat, and separates him from the company. An
arm chair is placed upon this stage, and in it a common, very small
matted chair, which his mother fastens behind with a handkerchief to
the other, that he may not fall out, for he is wanton and full of
tricks, in the short intervals from playing. A book is placed before
him, as if it was a music book, and strangers in a distant part of the
room may mistake it for such; but it is no more than a magazine, or
some other pamphlet, with an engraved frontispiece: this, he looks at,
and amuses himself with the figures in the plate, while he is playing
any tune, or striking into his own harmony. In short he laughers,
prattles, and looks about at the company, at the same time keeping his
little hands employed on the keys, and playing with so much unconcern,
that you would be tempted to think he did not know what he was doing.
He appears to be fondest of solemn tunes, and church music,
particularly the 104th Psalm. As soon as he has finished a regular
tune, or part of a tune, or played some little fancy notes of his own,
he stops, and has the pranks of a wanton boy: some of the company then
generally give him a cake, an apple, or an orange, to induce him to
play again; but it is nine to one, if he plays the tune you desire,
unless you touch the pride of his little heart, by telling him he
has forget such a tune, or he cannot play it: this seldom fails of
producing the effect, and he is sure to play it with additional spirit.
After playing more than an hour, he desired to be taken down, and to
have a piece of chalk. He then entertained himself, and the company,
with drawing the outlines of a grotesque head on the floor: his
mother said it resembled an old grenadier he had seen in the park
that morning. He seems to have strong imitative powers; and, as every
trivial incident of such a child ought to be noticed, the following
instance of an apt idea, uncommon to his age, is mentioned, as it
struck the writer.
A lady gave him a remarkable large orange: after looking at it a
moment, with admiration, “Ah! (says he,) this is a double orange.” Some
have reported that he is humoursome: it is true, he will not always
continue playing on in a regular manner during the time allotted for
company to see him; nor can it be expected, he is not of an age to be
reasoned with, and humanity forbids compulsion: it is, in fact, rather
surprising that he can be brought to play everyday, without growing
tired, and disappointing the company.
We forgot to observe, that if any person plays a tune he never heard,
with the right hand on his organ, he will put a bass to it with his
left hand. He will also name every note that is struck on an organ, or
any other instrument, and always knows if any person plays out of tune.
_Literary Miscellany, for June, 1779._
ACCOUNT OF MADEMOISELLE THERESA PARADIS, OF VIENNA, THE CELEBRATED
BLIND PERFORMER ON THE PIANO-FORTE.
The following account of this wonderful woman appeared in one of the
periodical papers for March, 1785.
“This young person, equally distinguished by her talents and
misfortunes, is the daughter of M. Paradis, secretary to his Imperial
Majesty, in the Bohemian department, and god-daughter to the Empress
Queen.
“At the age of two years and eight months, she was suddenly deprived of
sight, by a paralytic stroke, or palsy in the optic nerves.
“At seven years old, she began to listen with great attention to the
music she had heard in the church, which suggested to her parents, the
idea of having her taught to play on the piano-forte, and soon after to
sing. In three or four years time, she was able to accompany herself
on the organ, in the _Stabat Mater_ of Pergolesi, of which she sung
the first _soprano_, or upper part, in the church of St. Augustin, at
Vienna, in the presence of the Empress Queen; who was so touched with
her performance and misfortune, that she settled a pension on her for
life.
“After learning of several masters at Vienna, she pursued her musical
studies under the care of Kozeluch, who has composed many admirable
lessons and concertos, on purpose for her use, which she plays with the
utmost neatness and expression.
“At the age of thirteen, she was placed under the care of the
celebrated empyric, Dr. Mesmer, who undertook to cure every species of
disease by Animal Magnetism. He called her disorder a perfect _gutta
serena_, and pretended, after she had been placed in his house, as
a boarder, for several months, that she was perfectly cured; yet,
refusing to let her parents take her away, or even visit her, after
some time; till, by the advice of the Barons Stoerk and Wenzel, Dr.
Ingenhous, Professor Barth, the celebrated anatomist, and by the
express order of her late Imperial Majesty, she was taken out of his
hands by force; when it was found, that she could see no more than
when she was first admitted as Mesmer’s patient. However, he had the
diabolical malignity to assert, that she could see very well, and only
pretended blindness, to preserve the pension granted to her by the
Empress Queen; and, since the decease of this princess, the pension of
Madame Paradis has been withdrawn, indiscriminately with all other
pensions granted by her Imperial Majesty.
“Last year Madame Paradis quitted Vienna, in order to travel,
accompanied by her mother, who treats her with extreme tenderness,
and is a very amiable and interesting character. After visiting
the principal courts and cities of Germany, where her talents and
misfortunes procured her great attention and patronage, she arrived at
Paris early last summer, and remained there five or six months; and
likewise received every possible mark of approbation and regard in
that capital, both for her musical abilities and innocent and engaging
disposition.
“When she arrived in England, the beginning of this winter, she brought
letters from persons of the first rank to her Majesty, the Prince
of Wales, the Imperial Minister, Count Kaganeck, Lord Stormont, and
other powerful patrons, as well as to the principal musical professors
in London. Messrs. Cramer, Abel, Solomon, and other eminent German
musicians, have interested themselves very much in her welfare; not
only as their country-woman bereaved of sight, but as an admirable
performer.”
She has been at Windsor, to present her letters to the Queen, and has
had the honour of playing there to their Majesties, who were extremely
satisfied with her performance; and treated her with that condescension
and kindness, which all those who are so happy as to be admitted into
the presence of our gracious sovereigns, in moments of domestic
privacy experience, even when less entitled to it, by merit and
misfortunes, than Madame Paradis. Her Majesty was not only graciously
pleased to promise to patronize and hear her frequently again, in the
course of the winter, but to afford her all the protection in her
power: as did his Royal Highness the Prince of Wales, to whom she has
since performed, at a grand concert at Carlton-house, to the entire
satisfaction and wonder of all who heard her.
Besides her musical talents, which are indisputable, for neatness,
precision, and expression, particularly in the great variety of
admirable pieces she executes of her master’s, Kozeluch, Mademoiselle
Paradis has been extremely well educated, and is very ingenious and
accomplished: as she is able, almost as quick as if she could write,
to express her thoughts on paper, with printing types. She understands
geography by means of maps, prepared for her use, in which she can
find and point out any province or remarkable city in the world; and
is likewise able, by means of tables, formed in the manner of draught
boards, to calculate with ease and rapidity any sums, or numbers, in
the first five rules of arithmetic. She is likewise said to distinguish
many colours and coins by the touch: plays at cards, when prepared for
her, by private marks, unknown to the company; and, in her musical
studies, her memory and quickness are wonderful; as she learns, in
general, the most difficult pieces for keyed instruments, however full
and complicated the parts, by hearing them played only on a violin:
and, since her arrival in this kingdom, she has been enabled, in
this manner, to learn to perform some of Handel’s most elaborate and
difficult organ fugues and movements, in his first book of lessons, as
well as his Coronation Anthem, and more popular compositions.