But just 19 years later in Norwich a musician was born who made Mozart look like a late developer. William Crotch, the son of Michael, a carpenter, was born in Colegate in 1775. By the age of two, entirely self-taught, he could play, by ear, the National Anthem. By the age of three he was touring to give concerts and, at the age of just three-and-a-half he was performing for royalty.

Mozart, who like William Crotch was a child musical prodigy. Photo: Getty Images He had the opportunity to do so because his father, who was an enthusiastic amateur musician, had used his trade skills to build a small pipe organ for his own amusement. Mozart’s father was also a musician, but of a rather different stamp. He was a professional musician in the service of the Prince Archbishop of Saltzburg, and a renowned teacher of music. He had all the connections that Michael Crotch did not – yet it was the Norwich boy who gained acclaim at the younger age.

It was not William’s father, but his mother who was the driving force behind the speed at which he gained fame. Whether she was just a proud mum anxious to show off the talents of her remarkable son, or an opportunist intent on profiting from those talents herself it is difficult to say. I suspect that she started as the proud mum but became more interested in the commercial use of his talents as time went on.

Charles Burney, who took an interest in young William Crotch's musial talent. Photo: Getty Images Initially neither parent talked about William's talent outside the family circle, but it wasn’t long before word of his skill began to spread. Among those to take an interest in the child was Charles Burney, father of Fanny Burney and one time organist at St Margaret’s, Kings Lynn. By now back in London, Charles Burney was an important and influential member of society, recognised as an outstanding musician and tutor. Such was his interest in William Crotch that he wrote about him to the Royal Society, and in the Gentleman’s Magazine describing him as ‘totally untutored’ and comparing his compositions to the ‘native notes of a lark or a blackbird’.

But these comments were written less as a criticism of William and more in the belief that with care and a proper education he would be even better. He was doing well enough, commercially at least. His mother had taken him first on a tour in 1778 to various locations which were fairly local, mainly in Suffolk, but within months he was playing in London, where he was introduced to........

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