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sonorities and golden tone, while both traditional and Secessionist critics marveled at her luminously refined technique, her uncalculated emotion and spontaneity. Agents and concert managers came seething; after interviewing numerous candidates, Leo and Hermine settled on the well-known agent Sigi Kornblau, who appears to have been the kind of dry, hustling administrator that every genius needs, although Anna reportedly told her cousins that visits with Herr Kornblau were “not much fun,” and “rather like going to the dentist.” Within weeks the young virtuoso and her entourage—her mother, her French governess, a servant girl named Bertha, and Herr Puchel, who carried along a dummy keyboard for practice on the train—had embarked on her first European tour, and for the next three years she alternated between prolonged seasons of close-packed concert dates, and equally demanding, if more solitary, periods of study and practice.

Many have speculated as to the brutalizing effect of such a life on someone who was, after all, a mere child. Regulating Anna’s program would seem to have been within the power of her parents, but it appears that Leo and Hermine were no less susceptible than their fellow bourgeois to validation by the aristocracy. Through Anna they might cross, for brief moments at least, the glacis separating them from the remote nobility. Their daughter’s labors brought them acceptance, and whatever the cost to Anna in personal terms, the strain seemed not to diminish—perhaps even enhanced?—the remarkable message of her playing. Like all virtuosos, she had exemplary technique: critics wrote of her fluent, almost chaste clarity, the pinpoint accuracy of her wide skips and galloping chords, the instinctive integrity of her rubato, and her broad dynamic range, from shadowlike pianissimo to artillery-grade forte. But more than that there was the singularity of her sound, the “golden sound” that the critics never tired of describing, along with a tenderness of expression that ravished her listeners. This was not yet another robotic prodigy pumping out notes like a power sewing machine; there was, rather, a quality of innocence in her playing, an effusion of trust and vulnerability all the more remarkable for being conveyed through supreme artistry.

“The child,” wrote Othmar Wieck, a critic not known for charity, “is a veritable angel come down to Earth.” And in Vienna, a city that more than cherished art, that craved it as an escape from the gloom and pessimism that had settled over the Empire in the century’s final years, it was perhaps only natural that people would project their fears and longings onto the young virtuoso. Haut bourgeois concertgoers openly wept at her performances, while for others she became an object of obsession, her name turning up with arcane frequency in suicide notes or the vertiginous ramblings of the mentally disturbed. But even those of sturdier, less enervated natures would lapse into deep melancholy after one of her concerts, as if they had sensed within their grasp some piece of information crucial to existence, only to feel it slip away as the last note was played.

Her first “phase,” as the family neatly termed such episodes, seems to have occurred in the autumn of her thirteenth year. Engagements in Brussels, Paris, and Berlin were abruptly canceled, due to “temporary illness,” according to the notice released by Herr Kornblau’s office, though even then there were rumors of a nervous attack. Some said that Anna was under the care of the famous Professor Meynert; others, that she was in residence at the luxurious psychiatric retreat of Professor Leidesdorf, where doctors in white gloves and silk top hats administered the latest in electric and water-immersion therapies. In any event, the young virtuoso’s reemergence several weeks later marks the first known instance in which she kept her right hand purposely concealed. Anna, along with her parents and a number of family friends, attended the opening of the Kunstlerhaus exhibition in late October; she was observed wearing a tailored suit