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Wolfgang Amadeus Mozart^{[n 1]} (27 January 1756 – 5 December 1791), baptised as Joannes Chrysostomus Wolfgangus Theophilus Mozart,^{[n 2]} was a prolific and influential composer of the Classical period. Despite his short life, his rapid pace of composition resulted in more than 800 works of virtually every genre of his time. Many of these compositions are acknowledged as pinnacles of the symphonic, concertante, chamber, operatic, and choral repertoire. Mozart is widely regarded as among the greatest composers in the history of Western music,^[1] with his music admired for its «melodic beauty, its formal elegance and its richness of harmony and texture».^[2]

Born in Salzburg, then in the Holy Roman Empire, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. His father took him on a grand tour of Europe and then three trips to Italy. At 17, he was a musician at the Salzburg court but grew restless and travelled in search of a better position.

While visiting Vienna in 1781, Mozart was dismissed from his Salzburg position. He stayed in Vienna, where he achieved fame but little financial security. During his final years there, he composed many of his best-known symphonies, concertos, and operas. His Requiem was largely unfinished by the time of his death at the age of 35, the circumstances of which are uncertain and much mythologized.

Life and career

Early life

Family and childhood

Wolfgang Amadeus Mozart was born on 27 January 1756 to Leopold Mozart (1719–1787) and Anna Maria, née Pertl (1720–1778), at Getreidegasse 9 in Salzburg.^[3] Salzburg was the capital of the Archbishopric of Salzburg, an ecclesiastic principality in the Holy Roman Empire (today in Austria).^{[n 3]} He was the youngest of seven children, five of whom died in infancy. His elder sister was Maria Anna Mozart (1751–1829), nicknamed «Nannerl». Mozart was baptised the day after his birth, at St. Rupert’s Cathedral in Salzburg. The baptismal record gives his name in Latinized form, as Joannes Chrysostomus Wolfgangus Theophilus Mozart. He generally called himself «Wolfgang Amadè Mozart»^[4] as an adult, but his name had many variants.

Leopold Mozart, a native of Augsburg,^[5] then an Imperial Free City in the Holy Roman Empire, was a minor composer and an experienced teacher. In 1743, he was appointed as the fourth violinist in the musical establishment of Count Leopold Anton von Firmian, the ruling Prince-Archbishop of Salzburg.^[2] Four years later, he married Anna Maria in Salzburg. Leopold became the orchestra’s deputy Kapellmeister in 1763. During the year of his son’s birth, Leopold published a violin textbook, Versuch einer gründlichen Violinschule, which achieved success.^[6]

When Nannerl was 7, she began keyboard lessons with her father, while her three-year-old brother looked on. Years later, after her brother’s death, she reminisced:

He often spent much time at the clavier, picking out thirds, which he was ever striking, and his pleasure showed that it sounded good. … In the fourth year of his age his father, for a game as it were, began to teach him a few minuets and pieces at the clavier. … He could play it faultlessly and with the greatest delicacy, and keeping exactly in time. … At the age of five, he was already composing little pieces, which he played to his father who wrote them down.^[7]

These early pieces, K. 1–5, were recorded in the Nannerl Notenbuch. There is some scholarly debate about whether Mozart was four or five years old when he created his first musical compositions, though there is little doubt that Mozart composed his first three pieces of music within a few weeks of each other: K. 1a, 1b, and 1c.^[9]

In his early years, Wolfgang’s father was his only teacher. Along with music, he taught his children languages and academic subjects.^[10] Solomon notes that, while Leopold was a devoted teacher to his children, there is evidence that Mozart was keen to progress beyond what he was taught.^[10] His first ink-spattered composition and his precocious efforts with the violin were of his initiative and came as a surprise to Leopold,^[11] who eventually gave up composing when his son’s musical talents became evident.^[12]

1762–73: Travel

While Wolfgang was young, his family made several European journeys in which he and Nannerl performed as child prodigies. These began with an exhibition in 1762 at the court of Prince-elector Maximilian III of Bavaria in Munich, and at the Imperial Courts in Vienna and Prague. A long concert tour followed, spanning three and a half years, taking the family to the courts of Munich, Mannheim, Paris, London,^[13] Dover, The Hague, Amsterdam, Utrecht, Mechelen and again to Paris, and back home via Zurich, Donaueschingen, and Munich.^[14] During this trip, Wolfgang met many musicians and acquainted himself with the works of other composers. A particularly significant influence was Johann Christian Bach, whom he visited in London in 1764 and 1765. When he was eight years old, Mozart wrote his first symphony, most of which was probably transcribed by his father.^[15]

The family trips were often challenging, and travel conditions were primitive.^[16] They had to wait for invitations and reimbursement from the nobility, and they endured long, near-fatal illnesses far from home: first Leopold (London, summer 1764),^[17] then both children (The Hague, autumn 1765).^[18] The family again went to Vienna in late 1767 and remained there until December 1768.

After one year in Salzburg, Leopold and Wolfgang set off for Italy, leaving Anna Maria and Nannerl at home. This tour lasted from December 1769 to March 1771. As with earlier journeys, Leopold wanted to display his son’s abilities as a performer and a rapidly maturing composer. Wolfgang met Josef Mysliveček and Giovanni Battista Martini in Bologna and was accepted as a member of the famous Accademia Filarmonica. There exists a myth, according to which, while in Rome, he heard Gregorio Allegri’s Miserere twice in performance in the Sistine Chapel. Allegedly, he subsequently wrote it out from memory, thus producing the «first unauthorized copy of this closely guarded property of the Vatican». However, both origin and plausibility of this account are disputed.^{[19][20][n 4][21]}

In Milan, Mozart wrote the opera Mitridate, re di Ponto (1770), which was performed with success. This led to further opera commissions. He returned with his father twice to Milan (August–December 1771; October 1772 – March 1773) for the composition and premieres of Ascanio in Alba (1771) and Lucio Silla (1772). Leopold hoped these visits would result in a professional appointment for his son, and indeed ruling Archduke Ferdinand contemplated hiring Mozart, but owing to his mother Empress Maria Theresa’s reluctance to employ «useless people», the matter was dropped^{[n 5]} and Leopold’s hopes were never realized.^[22] Toward the end of the journey, Mozart wrote the solo motet Exsultate, jubilate, K.165.

1773–77: Employment at the Salzburg court

After finally returning with his father from Italy on 13 March 1773, Mozart was employed as a court musician by the ruler of Salzburg, Prince-Archbishop Hieronymus Colloredo. The composer had many friends and admirers in Salzburg^[23] and had the opportunity to work in many genres, including symphonies, sonatas, string quartets, masses, serenades, and a few minor operas. Between April and December 1775, Mozart developed an enthusiasm for violin concertos, producing a series of five (the only ones he ever wrote), which steadily increased in their musical sophistication. The last three—K. 216, K. 218, K. 219—are now staples of the repertoire. In 1776, he turned his efforts to piano concertos, culminating in the E♭ concerto K. 271 of early 1777, considered by critics to be a breakthrough work.^[24]

Despite these artistic successes, Mozart grew increasingly discontented with Salzburg and redoubled his efforts to find a position elsewhere. One reason was his low salary, 150 florins a year;^[25] Mozart longed to compose operas, and Salzburg provided only rare occasions for these. The situation worsened in 1775 when the court theatre was closed, especially since the other theatre in Salzburg was primarily reserved for visiting troupes.^[26]

Two long expeditions in search of work interrupted this long Salzburg stay. Mozart and his father visited Vienna from 14 July to 26 September 1773, and Munich from 6 December 1774 to March 1775. Neither visit was successful, though the Munich journey resulted in a popular success with the premiere of Mozart’s opera La finta giardiniera.^[27]

1777–78: Journey to Paris

In August 1777, Mozart resigned his position at Salzburg^{[29][n 6]} and on 23 September ventured out once more in search of employment, with visits to Augsburg, Mannheim, Paris, and Munich.^[30]

Mozart became acquainted with members of the famous orchestra in Mannheim, the best in Europe at the time. He also fell in love with Aloysia Weber, one of four daughters of a musical family. There were prospects of employment in Mannheim, but they came to nothing,^[31] and Mozart left for Paris on 14 March 1778^[32] to continue his search. One of his letters from Paris hints at a possible post as an organist at Versailles, but Mozart was not interested in such an appointment.^[33] He fell into debt and took to pawning valuables.^[34] The nadir of the visit occurred when Mozart’s mother was taken ill and died on 3 July 1778.^[35] There had been delays in calling a doctor—probably, according to Halliwell, because of a lack of funds.^[36] Mozart stayed with Melchior Grimm at Marquise d’Épinay’s residence, 5 rue de la Chaussée-d’Antin.^[37]

While Mozart was in Paris, his father was pursuing opportunities of employment for him in Salzburg.^[38] With the support of the local nobility, Mozart was offered a post as court organist and concertmaster. The annual salary was 450 florins,^[39] but he was reluctant to accept.^[40] By that time, relations between Grimm and Mozart had cooled, and Mozart moved out. After leaving Paris in September 1778 for Strasbourg, he lingered in Mannheim and Munich, still hoping to obtain an appointment outside Salzburg. In Munich, he again encountered Aloysia, now a very successful singer, but she was no longer interested in him.^[41] Mozart finally returned to Salzburg on 15 January 1779 and took up his new appointment, but his discontent with Salzburg remained undiminished.^[42]

Among the better-known works which Mozart wrote on the Paris journey are the A minor piano sonata, K. 310/300d, the «Paris» Symphony (No. 31), which were performed in Paris on 12 and 18 June 1778;^[43] and the Concerto for Flute and Harp in C major, K. 299/297c.^[44]

Vienna

1781: Departure

In January 1781, Mozart’s opera Idomeneo premiered with «considerable success» in Munich.^[45] The following March, Mozart was summoned to Vienna, where his employer, Archbishop Colloredo, was attending the celebrations for the accession of Joseph II to the Austrian throne. For Colloredo, this was simply a matter of wanting his musical servant to be at hand (Mozart indeed was required to dine in Colloredo’s establishment with the valets and cooks).^{[n 7]} He planned a bigger career as he continued in the archbishop’s service;^[47] for example, he wrote to his father:

My main goal right now is to meet the emperor in some agreeable fashion, I am absolutely determined he should get to know me. I would be so happy if I could whip through my opera for him and then play a fugue or two, for that’s what he likes.^[48]

Mozart did indeed soon meet the Emperor, who eventually was to support his career substantially with commissions and a part-time position.

In the same letter to his father just quoted, Mozart outlined his plans to participate as a soloist in the concerts of the Tonkünstler-Societät, a prominent benefit concert series;^[48] this plan as well came to pass after the local nobility prevailed on Colloredo to drop his opposition.^[49]

Colloredo’s wish to prevent Mozart from performing outside his establishment was in other cases carried through, raising the composer’s anger; one example was a chance to perform before the Emperor at Countess Thun’s for a fee equal to half of his yearly Salzburg salary.

The quarrel with the archbishop came to a head in May: Mozart attempted to resign and was refused. The following month, permission was granted, but in a grossly insulting way: the composer was dismissed literally «with a kick in the arse», administered by the archbishop’s steward, Count Arco. Mozart decided to settle in Vienna as a freelance performer and composer.^[50]

The quarrel with Colloredo was more difficult for Mozart because his father sided against him. Hoping fervently that he would obediently follow Colloredo back to Salzburg, Mozart’s father exchanged intense letters with his son, urging him to be reconciled with their employer. Mozart passionately defended his intention to pursue an independent career in Vienna. The debate ended when Mozart was dismissed by the archbishop, freeing himself both of his employer and of his father’s demands to return. Solomon characterizes Mozart’s resignation as a «revolutionary step» that significantly altered the course of his life.^[51]

Early years

Mozart’s new career in Vienna began well. He often performed as a pianist, notably in a competition before the Emperor with Muzio Clementi on 24 December 1781,^[50] and he soon «had established himself as the finest keyboard player in Vienna».^[50] He also prospered as a composer, and in 1782 completed the opera Die Entführung aus dem Serail («The Abduction from the Seraglio»), which premiered on 16 July 1782 and achieved considerable success. The work was soon being performed «throughout German-speaking Europe»,^[50] and thoroughly established Mozart’s reputation as a composer.

Near the height of his quarrels with Colloredo, Mozart moved in with the Weber family, who had moved to Vienna from Mannheim. The family’s father, Fridolin, had died, and the Webers were now taking in lodgers to make ends meet.^[52]

Marriage and children

After failing to win the hand of Aloysia Weber, who was now married to the actor and artist Joseph Lange, Mozart’s interest shifted to the third daughter of the family, Constanze.

The courtship did not go entirely smoothly; surviving correspondence indicates that Mozart and Constanze briefly separated in April 1782.^[53] Mozart faced a challenging task in getting his father’s permission for the marriage.^[54] The couple were finally married on 4 August 1782 in St. Stephen’s Cathedral, the day before his father’s consenting letter arrived in the mail.^[54]

The couple had six children, of whom only two survived infancy:^[55]

• Raimund Leopold (17 June – 19 August 1783)
• Karl Thomas Mozart (21 September 1784 – 31 October 1858)
• Johann Thomas Leopold (18 October – 15 November 1786)
• Theresia Constanzia Adelheid Friedericke Maria Anna (27 December 1787 – 29 June 1788)
• Anna Maria (died soon after birth, 16 November 1789)
• Franz Xaver Wolfgang Mozart (26 July 1791 – 29 July 1844)

1782–87

In 1782 and 1783, Mozart became intimately acquainted with the work of Johann Sebastian Bach and George Frideric Handel as a result of the influence of Gottfried van Swieten, who owned many manuscripts of the Baroque masters. Mozart’s study of these scores inspired compositions in Baroque style and later influenced his musical language, for example in fugal passages in Die Zauberflöte («The Magic Flute») and the finale of Symphony No. 41.^[2]

In 1783, Mozart and his wife visited his family in Salzburg. His father and sister were cordially polite to Constanze, but the visit prompted the composition of one of Mozart’s great liturgical pieces, the Mass in C minor. Though not completed, it was premiered in Salzburg, with Constanze singing a solo part.^[56]

Mozart met Joseph Haydn in Vienna around 1784, and the two composers became friends. When Haydn visited Vienna, they sometimes played together in an impromptu string quartet. Mozart’s six quartets dedicated to Haydn (K. 387, K. 421, K. 428, K. 458, K. 464, and K. 465) date from the period 1782 to 1785, and are judged to be a response to Haydn’s Opus 33 set from 1781.^[57] Haydn wrote, «posterity will not see such a talent again in 100 years»^[58] and in 1785 told Mozart’s father: «I tell you before God, and as an honest man, your son is the greatest composer known to me by person and repute, he has taste and what is more the greatest skill in composition.»^[59]

From 1782 to 1785 Mozart mounted concerts with himself as a soloist, presenting three or four new piano concertos in each season. Since space in the theatres was scarce, he booked unconventional venues: a large room in the Trattnerhof apartment building, and the ballroom of the Mehlgrube restaurant.^[60] The concerts were very popular, and his concertos premiered there are still firm fixtures in his repertoire. Solomon writes that during this period, Mozart created «a harmonious connection between an eager composer-performer and a delighted audience, which was given the opportunity of witnessing the transformation and perfection of a major musical genre».^[60]

With substantial returns from his concerts and elsewhere, Mozart and his wife adopted a more luxurious lifestyle. They moved to an expensive apartment, with a yearly rent of 460 florins.^[61] Mozart bought a fine fortepiano from Anton Walter for about 900 florins, and a billiard table for about 300.^[61] The Mozarts sent their son Karl Thomas to an expensive boarding school^[62][63] and kept servants. During this period Mozart saved little of his income.^[64][65]

On 14 December 1784, Mozart became a Freemason, admitted to the lodge Zur Wohltätigkeit («Beneficence»).^[66] Freemasonry played an essential role in the remainder of Mozart’s life: he attended meetings, a number of his friends were Masons, and on various occasions, he composed Masonic music, e.g. the Maurerische Trauermusik.^[67]

1786–87: Return to opera

Despite the great success of Die Entführung aus dem Serail, Mozart did little operatic writing for the next four years, producing only two unfinished works and the one-act Der Schauspieldirektor. He focused instead on his career as a piano soloist and writer of concertos. Around the end of 1785, Mozart moved away from keyboard writing^{[69][page needed]} and began his famous operatic collaboration with the librettist Lorenzo Da Ponte. The year 1786 saw the successful premiere of The Marriage of Figaro in Vienna. Its reception in Prague later in the year was even warmer, and this led to a second collaboration with Da Ponte: the opera Don Giovanni, which premiered in October 1787 to acclaim in Prague, but less success in Vienna during 1788.^[70] The two are among Mozart’s most famous works and are mainstays of operatic repertoire today, though at their premieres their musical complexity caused difficulty both for listeners and for performers. These developments were not witnessed by Mozart’s father, who had died on 28 May 1787.^[71]

In December 1787, Mozart finally obtained a steady post under aristocratic patronage. Emperor Joseph II appointed him as his «chamber composer», a post that had fallen vacant the previous month on the death of Gluck. It was a part-time appointment, paying just 800 florins per year, and required Mozart only to compose dances for the annual balls in the Redoutensaal (see Mozart and dance). This modest income became important to Mozart when hard times arrived. Court records show that Joseph aimed to keep the esteemed composer from leaving Vienna in pursuit of better prospects.^{[72][n 8]}

In 1787, the young Ludwig van Beethoven spent several weeks in Vienna, hoping to study with Mozart.^[73] No reliable records survive to indicate whether the two composers ever met.

Later years

1788–90

Toward the end of the decade, Mozart’s circumstances worsened. Around 1786 he had ceased to appear frequently in public concerts, and his income shrank.^[74] This was a difficult time for musicians in Vienna because of the Austro-Turkish War: both the general level of prosperity and the ability of the aristocracy to support music had declined. In 1788, Mozart saw a 66% decline in his income compared to his best years in 1781.^[75]

By mid-1788, Mozart and his family had moved from central Vienna to the suburb of Alsergrund.^[74] Although it has been suggested that Mozart aimed to reduce his rental expenses by moving to a suburb, as he wrote in his letter to Michael von Puchberg, Mozart had not reduced his expenses but merely increased the housing space at his disposal.^[76] Mozart began to borrow money, most often from his friend and fellow mason Puchberg; «a pitiful sequence of letters pleading for loans» survives.^[77] Maynard Solomon and others have suggested that Mozart was suffering from depression, and it seems his musical output slowed.^[78] Major works of the period include the last three symphonies (Nos. 39, 40, and 41, all from 1788), and the last of the three Da Ponte operas, Così fan tutte, premiered in 1790.

Around this time, Mozart made some long journeys hoping to improve his fortunes, visiting Leipzig, Dresden, and Berlin in the spring of 1789, and Frankfurt, Mannheim, and other German cities in 1790.

1791

Mozart’s last year was, until his final illness struck, a time of high productivity—and by some accounts, one of personal recovery.^{[79][n 9]} He composed a great deal, including some of his most admired works: the opera The Magic Flute; the final piano concerto (K. 595 in B♭); the Clarinet Concerto K. 622; the last in his series of string quintets (K. 614 in E♭); the motet Ave verum corpus K. 618; and the unfinished Requiem K. 626.

Mozart’s financial situation, a source of anxiety in 1790, finally began to improve. Although the evidence is inconclusive,^[80] it appears that wealthy patrons in Hungary and Amsterdam pledged annuities to Mozart in return for the occasional composition. He is thought to have benefited from the sale of dance music written in his role as Imperial chamber composer.^[80] Mozart no longer borrowed large sums from Puchberg and began to pay off his debts.^[80]

He experienced great satisfaction in the public success of some of his works, notably The Magic Flute (which was performed several times in the short period between its premiere and Mozart’s death)^[81] and the Little Masonic Cantata K. 623, premiered on 17 November 1791.^[82]

Final illness and death

Mozart fell ill while in Prague for the premiere, on 6 September 1791, of his opera La clemenza di Tito, which was written in that same year on commission for Emperor Leopold II’s coronation festivities.^[83] He continued his professional functions for some time and conducted the premiere of The Magic Flute on 30 September. His health deteriorated on 20 November, at which point he became bedridden, suffering from swelling, pain, and vomiting.^[84]

Mozart was nursed in his final days by his wife and her youngest sister, and was attended by the family doctor, Thomas Franz Closset. He was mentally occupied with the task of finishing his Requiem, but the evidence that he dictated passages to his student Franz Xaver Süssmayr is minimal.^[85]

Mozart died in his home on 5 December 1791 (aged 35) at 12:55 am.^[86] The New Grove describes his funeral:

Mozart was interred in a common grave, in accordance with contemporary Viennese custom, at the St. Marx Cemetery outside the city on 7 December. If, as later reports say, no mourners attended, that too is consistent with Viennese burial customs at the time; later Otto Jahn (1856) wrote that Salieri, Süssmayr, van Swieten and two other musicians were present. The tale of a storm and snow is false; the day was calm and mild.^[87]

The expression «common grave» refers to neither a communal grave nor a pauper’s grave, but an individual grave for a member of the common people (i.e., not the aristocracy). Common graves were subject to excavation after ten years; the graves of aristocrats were not.^[88]

The cause of Mozart’s death is not known with certainty. The official record of hitziges Frieselfieber («severe miliary fever», referring to a rash that looks like millet seeds) is more a symptomatic description than a diagnosis. Researchers have suggested more than a hundred causes of death, including acute rheumatic fever,^[89][90] streptococcal infection,^[91][92] trichinosis,^[93][94] influenza, mercury poisoning, and a rare kidney ailment.^[89]

Mozart’s modest funeral did not reflect his standing with the public as a composer; memorial services and concerts in Vienna and Prague were well-attended. Indeed, in the period immediately after his death, his reputation rose substantially. Solomon describes an «unprecedented wave of enthusiasm»^[95] for his work; biographies were written first by Schlichtegroll, Niemetschek, and Nissen, and publishers vied to produce complete editions of his works.^[95]

Appearance and character

Mozart’s physical appearance was described by tenor Michael Kelly in his Reminiscences: «a remarkably small man, very thin and pale, with a profusion of fine, fair hair of which he was rather vain». His early biographer Niemetschek wrote, «there was nothing special about [his] physique. … He was small and his countenance, except for his large intense eyes, gave no signs of his genius.» His facial complexion was pitted, a reminder of his childhood case of smallpox.^[96] Of his voice, his wife later wrote that it «was a tenor, rather soft in speaking and delicate in singing, but when anything excited him, or it became necessary to exert it, it was both powerful and energetic.»^[97]

He loved elegant clothing. Kelly remembered him at a rehearsal: «[He] was on the stage with his crimson pelisse and gold-laced cocked hat, giving the time of the music to the orchestra.» Based on pictures that researchers were able to find of Mozart, he seemed to wear a white wig for most of his formal occasions—researchers of the Salzburg Mozarteum declared that only one of his fourteen portraits they had found showed him without his wig.^[96]

Mozart usually worked long and hard, finishing compositions at a tremendous pace as deadlines approached. He often made sketches and drafts; unlike Beethoven’s, these are mostly not preserved, as his wife sought to destroy them after his death.^[98]

Mozart lived at the center of the Viennese musical world, and knew a significant number and variety of people: fellow musicians, theatrical performers, fellow Salzburgers, and aristocrats, including some acquaintance with Emperor Joseph II. Solomon considers his three closest friends to have been Gottfried von Jacquin, Count August Hatzfeld, and Sigmund Barisani; others included his elder colleague Joseph Haydn, singers Franz Xaver Gerl and Benedikt Schack, and the horn player Joseph Leutgeb. Leutgeb and Mozart carried on a curious kind of friendly mockery, often with Leutgeb as the butt of Mozart’s practical jokes.^[99]

He enjoyed billiards, dancing, and kept pets, including a canary, a starling, a dog, and a horse for recreational riding.^[100] He had a startling fondness for scatological humour, which is preserved in his surviving letters, notably those written to his cousin Maria Anna Thekla Mozart around 1777–1778, and in his correspondence with his sister and parents.^[101] Mozart also wrote scatological music, a series of canons that he sang with his friends.^[102] Mozart was raised a Catholic and remained a devout member of the Church throughout his life.^[103][104]

Works, musical style, and innovations

Style

Mozart’s music, like Haydn’s, stands as an archetype of the Classical style. At the time he began composing, European music was dominated by the style galant, a reaction against the highly evolved intricacy of the Baroque. Progressively, and in large part at the hands of Mozart himself, the contrapuntal complexities of the late Baroque emerged once more, moderated and disciplined by new forms, and adapted to a new aesthetic and social milieu. Mozart was a versatile composer, and wrote in every major genre, including symphony, opera, the solo concerto, chamber music including string quartet and string quintet, and the piano sonata. These forms were not new, but Mozart advanced their technical sophistication and emotional reach. He almost single-handedly developed and popularized the Classical piano concerto. He wrote a great deal of religious music, including large-scale masses, as well as dances, divertimenti, serenades, and other forms of light entertainment.^[105]

The central traits of the Classical style are all present in Mozart’s music. Clarity, balance, and transparency are the hallmarks of his work, but simplistic notions of its delicacy mask the exceptional power of his finest masterpieces, such as the Piano Concerto No. 24 in C minor, K. 491; the Symphony No. 40 in G minor, K. 550; and the opera Don Giovanni. Charles Rosen makes the point forcefully:

It is only through recognizing the violence and sensuality at the center of Mozart’s work that we can make a start towards a comprehension of his structures and an insight into his magnificence. In a paradoxical way, Schumann’s superficial characterization of the G minor Symphony can help us to see Mozart’s daemon more steadily. In all of Mozart’s supreme expressions of suffering and terror, there is something shockingly voluptuous.^[106]

During his last decade, Mozart frequently exploited chromatic harmony. A notable instance is his String Quartet in C major, K. 465 (1785), whose introduction abounds in chromatic suspensions, giving rise to the work’s nickname, the «Dissonance» quartet.

Mozart had a gift for absorbing and adapting the valuable features of others’ music. His travels helped in the forging of a unique compositional language.^[107] In London as a child, he met J. C. Bach and heard his music. In Paris, Mannheim, and Vienna he met with other compositional influences, as well as the avant-garde capabilities of the Mannheim orchestra. In Italy, he encountered the Italian overture and opera buffa, both of which deeply affected the evolution of his practice. In London and Italy, the galant style was in the ascendent: simple, light music with a mania for cadencing; an emphasis on tonic, dominant, and subdominant to the exclusion of other harmonies; symmetrical phrases; and clearly articulated partitions in the overall form of movements.^[108] Some of Mozart’s early symphonies are Italian overtures, with three movements running into each other; many are homotonal (all three movements having the same key signature, with the slow middle movement being in the relative minor). Others mimic the works of J. C. Bach, and others show the simple rounded binary forms turned out by Viennese composers.

As Mozart matured, he progressively incorporated more features adapted from the Baroque. For example, the Symphony No. 29 in A major K. 201 has a contrapuntal main theme in its first movement, and experimentation with irregular phrase lengths. Some of his quartets from 1773 have fugal finales, probably influenced by Haydn, who had included three such finales in his recently published Opus 20 set. The influence of the Sturm und Drang («Storm and Stress») period in music, with its brief foreshadowing of the Romantic era, is evident in the music of both composers at that time. Mozart’s Symphony No. 25 in G minor K. 183 is another excellent example.

Mozart would sometimes switch his focus between operas and instrumental music. He produced operas in each of the prevailing styles: opera buffa, such as The Marriage of Figaro, Don Giovanni, and Così fan tutte; opera seria, such as Idomeneo; and Singspiel, of which Die Zauberflöte is the most famous example by any composer. In his later operas, he employed subtle changes in instrumentation, orchestral texture, and tone colour, for emotional depth and to mark dramatic shifts. Here his advances in opera and instrumental composing interacted: his increasingly sophisticated use of the orchestra in the symphonies and concertos influenced his operatic orchestration, and his developing subtlety in using the orchestra to psychological effect in his operas was in turn reflected in his later non-operatic compositions.^[109]

Köchel catalogue

For unambiguous identification of works by Mozart, a Köchel catalogue number is used. This is a unique number assigned, in regular chronological order, to every one of his known works. A work is referenced by the abbreviation «K.» or «KV» followed by this number. The first edition of the catalogue was completed in 1862 by Ludwig von Köchel. It has since been repeatedly updated, as scholarly research improves knowledge of the dates and authenticity of individual works.^[110]

Instruments

Although some of Mozart’s early pieces were written for harpsichord, he also became acquainted in his early years with pianos made by Regensburg builder Franz Jakob Späth [de]. Later when Mozart was visiting Augsburg, he was impressed by Stein pianos and shared this in a letter to his father.^[111] On 22 October 1777, Mozart had premiered his triple-piano concerto, K. 242, on instruments provided by Stein. The Augsburg Cathedral organist Demmler was playing the first, Mozart the second and Stein the third part.^[112] In 1783 when living in Vienna he purchased an instrument by Walter.^[113] Leopold Mozart confirmed the attachment which Mozart had with his Walter fortepiano: «It is impossible to describe the hustle and bustle. Your brother’s pianoforte has been moved at least twelve times from his house to the theatre or to someone else’s house.»^[114]

Influence

His most famous pupil, whom the Mozarts took into their Vienna home for two years as a child, was probably Johann Nepomuk Hummel, a transitional figure between the Classical and Romantic eras.^[115] More important is the influence Mozart had on composers of later generations. Ever since the surge in his reputation after his death, studying his scores has been a standard part of classical musicians’ training.^[116]

Ludwig van Beethoven, Mozart’s junior by fifteen years, was deeply influenced by his work, with which he was acquainted as a teenager.^[117] He is thought to have performed Mozart’s operas while playing in the court orchestra at Bonn^[118] and travelled to Vienna in 1787 hoping to study with the older composer. Some of Beethoven’s works have direct models in comparable works by Mozart, and he wrote cadenzas (WoO 58) to Mozart’s D minor piano concerto K. 466.^{[119][n 10]}

Composers have paid homage to Mozart by writing sets of variations on his themes. Beethoven wrote four such sets (Op. 66, WoO 28, WoO 40, WoO 46).^[120] Others include Fernando Sor’s Introduction and Variations on a Theme by Mozart (1821), Mikhail Glinka’s Variations on a Theme from Mozart’s Opera The Magic Flute (1822), Frédéric Chopin’s Variations on «Là ci darem la mano» from Don Giovanni (1827), and Max Reger’s Variations and Fugue on a Theme by Mozart (1914), based on the variation theme in the piano sonata K. 331.^[121] Pyotr Ilyich Tchaikovsky, who revered Mozart, wrote his Orchestral Suite No. 4 in G, Mozartiana (1887), as a tribute to him.^[122]

References

Notes

Citations

Sources

Further reading

See Buch 2017 for an extensive bibliography

External links

• Homepage for the Salzburg Mozarteum Foundation
• «Discovering Mozart». BBC Radio 3.
• Wolfgang Amadeus Mozart at IMDb

Digitized documents

• Works by Wolfgang Amadeus Mozart at Project Gutenberg
• Works by or about Wolfgang Amadeus Mozart at Internet Archive
• Works by Wolfgang Amadeus Mozart at LibriVox (public domain audiobooks)
• «Mozart» Titles; Mozart as author at Google Books
• Digital Mozart Edition Archived 18 February 2017 at the Wayback Machine (Internationale Stiftung Mozarteum)
• «Mozart» titles from Gallica (in French)
• From the British Library
  • Mozart’s Thematic Catalogue
  • Mozart’s Musical Diary
  • Background information on Mozart and the Thematic Catalogue
• Letters of Leopold Mozart und Wolfgang Amadeus Mozart (in German) (Baden State Library)

Sheet music

• Complete sheet music (scores) from the Neue Mozart-Ausgabe (Internationale Stiftung Mozarteum)
• Mozart scores from the Munich Digitization Center (MDZ)
• Mozart titles from the University of Rochester
• Free scores by Wolfgang Amadeus Mozart at the International Music Score Library Project (IMSLP)
• Free scores by Wolfgang Amadeus Mozart in the Choral Public Domain Library (ChoralWiki)
• Free typeset sheet music of Mozart’s works from Cantorion.org
• The Mutopia Project has compositions by Wolfgang Amadeus Mozart
• Wolfgang Amadeus Mozart at the Musopen project

Перевод «моцарт» на английский

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<>

Моцарт

м.р.
имя собственное

Склонение

Mozart

Моцарт, Элла Фитцжеральд и Stones.

Mozart, Ella Fitzgerald and the Stones.

Контексты

Моцарт, Элла Фитцжеральд и Stones.
Mozart, Ella Fitzgerald and the Stones.

Религиозная музыка — хорошо. Моцарт — хорошо.
Devotional music, good — Mozart, good.

В подобных помещениях писал музыку Моцарт.
This is the kind of rooms that Mozart wrote in.

Это будет Моцарт, как я, Рикардо Мути, его понимаю».
It’s Mozart as I, Riccardo Muti, understand it.»

Только ты не Моцарт, и что шлюха Синтия жена ничей, дорогая.
Only you’re no Mozart, and that slut Cynthia is nobody’s wife, darling.

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Морфемный разбор слова:

Однокоренные слова к слову:

моцарт

1 Моцарт

2 Моцарт

См. также в других словарях:

Моцарт — навсегда pour rêver Mozart Жанр драма Режиссёр Жан Люк Годар Продюсер Ален Сард Рут Вальдбюргер … Википедия

МОЦАРТ — центральный персонаж трагедии А.С.Пушкина «Моцарт и Сальери» (1830). Пушкинский М. столь же далек от реального Вольфганга Амадея Моцарта (1756 1791), сколь и весь сюжет трагедии, основанный на легенде (ныне опровергнутой), будто Моцарт был… … Литературные герои

Моцарт — (неправильно Моцарт) … Словарь трудностей произношения и ударения в современном русском языке

Моцарт — (Johaun Chrisostomus Wolfgang Amadeus Mozart) знаменитыйнемецкий композитор, род. в Зальцбурге 27 янв. 1756 г., ум. 5 дек. 1791г. в Вене. Уже в раннем детстве М. поражал феноменальным музыкальнымразвитием; трех лет от роду он играл на клавесине,… … Энциклопедия Брокгауза и Ефрона

Моцарт В. — Вольфганг Амадей Моцарт Wolfgang Amadeus Mozart Полное имя Йоганн Хризостом Вольфганг Теофил Моцарт Дата рождения 27 января 1756 Место рождения Зальцбург … Википедия

Моцарт В. А. — Вольфганг Амадей Моцарт Wolfgang Amadeus Mozart Полное имя Йоганн Хризостом Вольфганг Теофил Моцарт Дата рождения 27 января 1756 Место рождения Зальцбург … Википедия

Моцарт В. А. — (Mozart) Вольфганг Амадей (Иоанн Хризостом Вольфганг Теофиль; лат. имя греч. происхождения Theophilus и позднее лат. Amadeus, или Amade) (27 I 1756, Зальцбург 5 XII 1791, Вена) австр. композитор. Большое влияние на муз. развитие М … Музыкальная энциклопедия

Моцарт — (Mozart) Вольфганг Амадей (27.1.1756, Зальцбург, 5.12.1791, Вена), австрийский композитор. Среди величайших мастеров музыки М. выделяется ранним расцветом мощного и всестороннего дарования, необычностью жизненной судьбы от триумфов… … Большая советская энциклопедия

МОЦАРТ — (Вольфганг Амадей М. (1756 1791) великий австрийский композитор) Палатка. Разбросаны карты. Гадалка, смуглее июльского дня, Бормочет, монетой звеня, Слова слаще звуков Моцарта. Цит. АБ905 (II,66); Ах, звуков Моцарта светлы лобзанья, Как дали… … Собственное имя в русской поэзии XX века: словарь личных имён

Моцарт А. — Анна Мария Моцарт. Автор неизвестен,1775? Анна Мария Вальбурга Моцарт (нем. Anna Maria Walburga Mozart, в девичестве Пертль; 1720 1778) мать Вольфганга Амадея Моцарта, родилась в Санкт Гилгене (Австрия) у Евы Розины и Николауса Пертля, префекта… … Википедия

Моцарт А. М. — Анна Мария Моцарт. Автор неизвестен,1775? Анна Мария Вальбурга Моцарт (нем. Anna Maria Walburga Mozart, в девичестве Пертль; 1720 1778) мать Вольфганга Амадея Моцарта, родилась в Санкт Гилгене (Австрия) у Евы Розины и Николауса Пертля, префекта… … Википедия

Источник

МОЦАРТ

1 Mozart

См. также в других словарях:

Моцарт — навсегда pour rêver Mozart Жанр драма Режиссёр Жан Люк Годар Продюсер Ален Сард Рут Вальдбюргер … Википедия

МОЦАРТ — центральный персонаж трагедии А.С.Пушкина «Моцарт и Сальери» (1830). Пушкинский М. столь же далек от реального Вольфганга Амадея Моцарта (1756 1791), сколь и весь сюжет трагедии, основанный на легенде (ныне опровергнутой), будто Моцарт был… … Литературные герои

Моцарт — (неправильно Моцарт) … Словарь трудностей произношения и ударения в современном русском языке

Моцарт — (Johaun Chrisostomus Wolfgang Amadeus Mozart) знаменитыйнемецкий композитор, род. в Зальцбурге 27 янв. 1756 г., ум. 5 дек. 1791г. в Вене. Уже в раннем детстве М. поражал феноменальным музыкальнымразвитием; трех лет от роду он играл на клавесине,… … Энциклопедия Брокгауза и Ефрона

Моцарт В. — Вольфганг Амадей Моцарт Wolfgang Amadeus Mozart Полное имя Йоганн Хризостом Вольфганг Теофил Моцарт Дата рождения 27 января 1756 Место рождения Зальцбург … Википедия

Моцарт В. А. — Вольфганг Амадей Моцарт Wolfgang Amadeus Mozart Полное имя Йоганн Хризостом Вольфганг Теофил Моцарт Дата рождения 27 января 1756 Место рождения Зальцбург … Википедия

Моцарт В. А. — (Mozart) Вольфганг Амадей (Иоанн Хризостом Вольфганг Теофиль; лат. имя греч. происхождения Theophilus и позднее лат. Amadeus, или Amade) (27 I 1756, Зальцбург 5 XII 1791, Вена) австр. композитор. Большое влияние на муз. развитие М … Музыкальная энциклопедия

Моцарт — (Mozart) Вольфганг Амадей (27.1.1756, Зальцбург, 5.12.1791, Вена), австрийский композитор. Среди величайших мастеров музыки М. выделяется ранним расцветом мощного и всестороннего дарования, необычностью жизненной судьбы от триумфов… … Большая советская энциклопедия

МОЦАРТ — (Вольфганг Амадей М. (1756 1791) великий австрийский композитор) Палатка. Разбросаны карты. Гадалка, смуглее июльского дня, Бормочет, монетой звеня, Слова слаще звуков Моцарта. Цит. АБ905 (II,66); Ах, звуков Моцарта светлы лобзанья, Как дали… … Собственное имя в русской поэзии XX века: словарь личных имён

Моцарт А. — Анна Мария Моцарт. Автор неизвестен,1775? Анна Мария Вальбурга Моцарт (нем. Anna Maria Walburga Mozart, в девичестве Пертль; 1720 1778) мать Вольфганга Амадея Моцарта, родилась в Санкт Гилгене (Австрия) у Евы Розины и Николауса Пертля, префекта… … Википедия

Моцарт А. М. — Анна Мария Моцарт. Автор неизвестен,1775? Анна Мария Вальбурга Моцарт (нем. Anna Maria Walburga Mozart, в девичестве Пертль; 1720 1778) мать Вольфганга Амадея Моцарта, родилась в Санкт Гилгене (Австрия) у Евы Розины и Николауса Пертля, префекта… … Википедия

Источник

Wolfgang Amadeus Mozart

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Wolfgang Amadeus Mozart (1756–91) was an Austrian composer. Mozart composed music in several genres, including opera and symphony. His most famous compositions included the motet Exsultate, Jubilate, K 165 (1773), the operas The Marriage of Figaro (1786) and Don Giovanni (1787), and the Jupiter Symphony (1788). In all, Mozart composed more than 600 pieces of music. Today he is widely considered one of the greatest composers in the history of Western music.

Mozart was a child prodigy. His father—a talented violinist—taught him basic notes on the harpsichord. Mozart composed his first piece of music in 1761, at age five; by age six, he had performed before two imperial courts. In 1763 Mozart and his sister, Maria Anna (”Nannerl”), went on tour. For three years the siblings toured western Europe, performing in major cities such as Munich, Augsburg, Paris, and London. In Paris Mozart published his first piece of music, and in London he composed his first symphony. After the tour concluded in 1766, Mozart went to Vienna, where he composed a German singspiel (Bastien und Bastienne) and an Italian opera buffa (La finta semplice). In 1769, 13-year-old Mozart was appointed honorary Konzertmeister at the Salzburg court.

Mozart wrote in all the popular genres of his time, and he excelled in every one. He wrote several successful operas, including The Marriage of Figaro (1786), Don Giovanni (1787), and The Magic Flute (1791). Mozart also composed a number of symphonies and sonatas. His last symphony—the Jupiter Symphony—is perhaps his most famous. Mozart completed the Jupiter Symphony in 1788, just three years before his death. At his death, Mozart left incomplete his Requiem in D Minor, K 626. The requiem was later completed by Mozart’s student, Franz Xaver Süssmayr.

Mozart was not a revolutionary musician. He rarely experimented with musical form, and he often recycled successful structural formulations in his work. In short, Mozart did not innovate. He mastered. He perfected existing forms and, in so doing, raised the symphony, sonata, and opera to new heights. His later compositions, especially, highlight his versatility and dexterity as a musician. They also showcase his ability to convey feeling through music. Mozart’s immediate successor, Ludwig van Beethoven, expanded on his work. Beethoven, unlike Mozart, did not resist experimenting with form.

Wolfgang Amadeus Mozart, in full Johann Chrysostom Wolfgang Amadeus Mozart, baptized as Johannes Chrysostomus Wolfgangus Theophilus Mozart, (born January 27, 1756, Salzburg, archbishopric of Salzburg [Austria]—died December 5, 1791, Vienna), Austrian composer, widely recognized as one of the greatest composers in the history of Western music. With Haydn and Beethoven he brought to its height the achievement of the Viennese Classical school. Unlike any other composer in musical history, he wrote in all the musical genres of his day and excelled in every one. His taste, his command of form, and his range of expression have made him seem the most universal of all composers; yet, it may also be said that his music was written to accommodate the specific tastes of particular audiences.

Early life and works

Mozart most commonly called himself Wolfgang Amadé or Wolfgang Gottlieb. His father, Leopold, came from a family of good standing (from which he was estranged), which included architects and bookbinders. Leopold was the author of a famous violin-playing manual, which was published in the very year of Mozart’s birth. His mother, Anna Maria Pertl, was born of a middle-class family active in local administration. Mozart and his sister Maria Anna (“Nannerl”) were the only two of their seven children to survive.

The boy’s early talent for music was remarkable. At three he was picking out chords on the harpsichord, at four playing short pieces, at five composing. There are anecdotes about his precise memory of pitch, about his scribbling a concerto at the age of five, and about his gentleness and sensitivity (he was afraid of the trumpet). Just before he was six, his father took him and Nannerl, also highly talented, to Munich to play at the Bavarian court, and a few months later they went to Vienna and were heard at the imperial court and in noble houses.

“The miracle which God let be born in Salzburg” was Leopold’s description of his son, and he was keenly conscious of his duty to God, as he saw it, to draw the miracle to the notice of the world (and incidentally to profit from doing so). In mid-1763 he obtained a leave of absence from his position as deputy Kapellmeister at the prince-archbishop’s court at Salzburg, and the family set out on a prolonged tour. They went to what were all the main musical centres of western Europe—Munich, Augsburg, Stuttgart, Mannheim, Mainz, Frankfurt, Brussels, and Paris (where they remained for the winter), then London (where they spent 15 months), returning through The Hague, Amsterdam, Paris, Lyon, and Switzerland, and arriving back in Salzburg in November 1766. In most of these cities Mozart, and often his sister, played and improvised, sometimes at court, sometimes in public or in a church. Leopold’s surviving letters to friends in Salzburg tell of the universal admiration that his son’s achievements aroused. In Paris they met several German composers, and Mozart’s first music was published (sonatas for keyboard and violin, dedicated to a royal princess); in London they met, among others, Johann Christian Bach, Johann Sebastian Bach’s youngest son and a leading figure in the city’s musical life, and under his influence Mozart composed his first symphonies—three survive (K 16, K 19, and K 19a—K signifying the work’s place in the catalog of Ludwig von Köchel). Two more followed during a stay in The Hague on the return journey (K 22 and K 45a).

After little more than nine months in Salzburg the Mozarts set out for Vienna in September 1767, where (apart from a 10-week break during a smallpox epidemic) they spent 15 months. Mozart wrote a one-act German singspiel, Bastien und Bastienne, which was given privately. Greater hopes were attached to his prospect of having an Italian opera buffa, La finta semplice (“The Feigned Simpleton”), done at the court theatre—hopes that were, however, frustrated, much to Leopold’s indignation. But a substantial, festal mass setting (probably K 139/47a) was successfully given before the court at the dedication of the Orphanage Church. La finta semplice was given the following year, 1769, in the archbishop’s palace in Salzburg. In October Mozart was appointed an honorary Konzertmeister at the Salzburg court.

Still only 13, Mozart had by now acquired considerable fluency in the musical language of his time, and he was especially adept at imitating the musical equivalent of local dialects. The early Paris and London sonatas, the autographs of which include Leopold’s helping hand, show a childlike pleasure in patterns of notes and textures. But the London and The Hague symphonies attest to his quick and inventive response to the music he had encountered, as, with their enrichment of texture and fuller development, do those he produced in Vienna (such as K 43 and, especially, K 48). And his first Italian opera shows a ready grasp of the buffo style.

Источник

МОЦАРТ

1 Mozart

См. также в других словарях:

Моцарт — навсегда pour rêver Mozart Жанр драма Режиссёр Жан Люк Годар Продюсер Ален Сард Рут Вальдбюргер … Википедия

МОЦАРТ — центральный персонаж трагедии А.С.Пушкина «Моцарт и Сальери» (1830). Пушкинский М. столь же далек от реального Вольфганга Амадея Моцарта (1756 1791), сколь и весь сюжет трагедии, основанный на легенде (ныне опровергнутой), будто Моцарт был… … Литературные герои

Моцарт — (неправильно Моцарт) … Словарь трудностей произношения и ударения в современном русском языке

Моцарт — (Johaun Chrisostomus Wolfgang Amadeus Mozart) знаменитыйнемецкий композитор, род. в Зальцбурге 27 янв. 1756 г., ум. 5 дек. 1791г. в Вене. Уже в раннем детстве М. поражал феноменальным музыкальнымразвитием; трех лет от роду он играл на клавесине,… … Энциклопедия Брокгауза и Ефрона

Моцарт В. — Вольфганг Амадей Моцарт Wolfgang Amadeus Mozart Полное имя Йоганн Хризостом Вольфганг Теофил Моцарт Дата рождения 27 января 1756 Место рождения Зальцбург … Википедия

Моцарт В. А. — Вольфганг Амадей Моцарт Wolfgang Amadeus Mozart Полное имя Йоганн Хризостом Вольфганг Теофил Моцарт Дата рождения 27 января 1756 Место рождения Зальцбург … Википедия

Моцарт В. А. — (Mozart) Вольфганг Амадей (Иоанн Хризостом Вольфганг Теофиль; лат. имя греч. происхождения Theophilus и позднее лат. Amadeus, или Amade) (27 I 1756, Зальцбург 5 XII 1791, Вена) австр. композитор. Большое влияние на муз. развитие М … Музыкальная энциклопедия

Моцарт — (Mozart) Вольфганг Амадей (27.1.1756, Зальцбург, 5.12.1791, Вена), австрийский композитор. Среди величайших мастеров музыки М. выделяется ранним расцветом мощного и всестороннего дарования, необычностью жизненной судьбы от триумфов… … Большая советская энциклопедия

МОЦАРТ — (Вольфганг Амадей М. (1756 1791) великий австрийский композитор) Палатка. Разбросаны карты. Гадалка, смуглее июльского дня, Бормочет, монетой звеня, Слова слаще звуков Моцарта. Цит. АБ905 (II,66); Ах, звуков Моцарта светлы лобзанья, Как дали… … Собственное имя в русской поэзии XX века: словарь личных имён

Моцарт А. — Анна Мария Моцарт. Автор неизвестен,1775? Анна Мария Вальбурга Моцарт (нем. Anna Maria Walburga Mozart, в девичестве Пертль; 1720 1778) мать Вольфганга Амадея Моцарта, родилась в Санкт Гилгене (Австрия) у Евы Розины и Николауса Пертля, префекта… … Википедия

Моцарт А. М. — Анна Мария Моцарт. Автор неизвестен,1775? Анна Мария Вальбурга Моцарт (нем. Anna Maria Walburga Mozart, в девичестве Пертль; 1720 1778) мать Вольфганга Амадея Моцарта, родилась в Санкт Гилгене (Австрия) у Евы Розины и Николауса Пертля, префекта… … Википедия

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Biography Online

Mozart Biography

Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was one of the most influential, popular and prolific composers of the classical period. A child prodigy, from an early age he began composing over 600 works, including some of the most famous pieces of symphonic, chamber, operatic, and choral music.

“Music is my life and my life is music. Anyone who does not understand this is not worthy of God.”

– Wolfgang Amadeus Mozart.

Short Biography of Mozart

Mozart was born in Salzburg to a musical family. From an early age, the young Mozart showed all the signs of a prodigious musical talent. By the age of five, he could read and write music, and he would entertain people with his talents on the keyboard. By the age of six, he was writing his first compositions, and by the age of eight had composed his first symphony. Mozart was generally considered to be a rare musical genius, although he was also diligent in studying other great composers such as Haydn and Bach.

His father Leopold, who was also a musician, was quick to see the talent of his young son and became a formidable publicist in showing off his son’s capacities. During his childhood, Mozart was a frequent guest at various palaces around Europe, playing for distinguished guests. In addition to being feted by aristocrats across, Europe, Leopold raised his children as strict Catholics. This included attendance at mass, frequent confession and the veneration of saints. Mozart remained a committed Catholic throughout his life.

Mozart family on tour

Dressed in the finest clothes, the child-genius Mozart left an indelible impression on everyone he met. One of the pre-eminent composers of the day Johann Hasse remarked: “He has done things which for such as age are really incomprehensible; they would be astonishing in an adult.”

Aged 17, he accepted a post as a court musician in Salzburg; although this did not suit him very well. He chaffed at the lack of independence from his patron Prince-Archbishop Hieronymus Colloredo (the ruler of Salzburg). Mozart was also indignant at his meagre salary (150 florins a year) which left Mozart feeling unappreciated. Yet, despite dissatisfaction and getting involved in rows, the next few years were a time of prolific composition. In 1777, he grew tired of the demands placed on him by his patron and negotiated the release from his contract. He left Salzburg and after travelling to Paris and Germany, he moved permanently to Vienna, Austria where he lived for the remainder of his life.

Initially, Mozart worked for Archbishop Colloredo, but again Mozart felt constrained by the unreasonable demands and limitations placed on him by the Archbishop. For example, the Archbishop sought to prevent Mozart from playing in public concerts. Mozart became angry at these restrictions and confronted the archbishop. Eventually, he was released from his contact with a ‘literal kick up the backside.’ It was a difficult decision because his father sided with the archbishop and felt his son should seek to reconcile with the archbishop. Some biographers see this as an important moment in Mozart’s life as – in a very clear way – Mozart asserted his musical independence even at the cost of his relationship with his father and his financial security.

In Vienna, he became well known and was often in demand as a composer and performer. His dazzling and innovative new compositions were generally admired, although, like many genii, he was ahead of his time. Some criticised his symphonies for being too complicated, however, he received the very sincere praise of all the great composers of the era. Schubert said of Mozart:

“O Mozart! immortal Mozart! What countless impressions of a brighter, better life hast thou stamped upon our souls!”

On a personal level, his strained relationship with his domineering father left Mozart often seeking outer recognition. However, in the realm of music, Mozart was in his own world, he was not constrained by the petty misunderstandings and expectations of society.

“I pay no attention whatever to anybody’s praise or blame. I simply follow my own feelings.”

Drawing of Mozart by Dora Stock, Dresden, April 1789

However, despite his relative fame, he struggled to manage his finances and moved between periods of poverty and prosperity. A trait of Mozart’s character was that he could be frivolous with money; he enjoyed spending on fancy clothes – as soon as he received money he could spend it and he was frequently in debt. Another aspect of Mozart’s character was a playfulness and high-spirits, which could also appear like childishness. He enjoyed pranks and a rough sense of humour, and his care-free attitude could get him into difficulties with the more serious-minded court officials. Yet, Mozart was a man of great contrast and counterpoint. The one moment he could be making a crude joke, the next he could be composing the most sublime and divine music.

Personal life

In 1782, he married Constanze – against the wishes of his father. He remained very close to her for the rest of his life and was very much in love. They had six children but only two survived infancy. Whilst he got closer to Constanze, his relationship with his father deteriorated. His father had been domineering since his childhood, and Mozart increasingly resented his presence.

Early fortepiano played by Mozart

His financial difficulties were enhanced in 1786 when Austria was involved in a war which led to lower demand for musicians. Mozart wrote many letters begging for support from patrons, friends and fellow freemasons. He received only scattered support and supplemented his income by teaching and performing his works.

Death and requiem

In the last year of his life, he began composing one of his greatest works – The Requiem. Mozart died before he could finish. Reasons for his death are not clear. The most likely is a sudden illness – possibly the plague or possibly a combination of rheumatoid arthritis and pneumonia. One legend is that he was poisoned by a jealous rival composer Salieri, but this theory is discredited..

His last major work the Requiem was commissioned by Count Franz von Walsegg for his wife who past away. Walsegg may have tried to pass it off as his own work, but a public benefit concert for Constanze frustrated his aim. Many took the Requiem to be autobiographical and written by Mozart for his own life.

Mozart was near bankrupt when he died and he was given a modest burial of a citizen. It was not a pauper’s grave as sometimes claimed. But, in those days, 10 years after burial a citizens grave could be dug up and re-used.

The music of Mozart

The work of Mozart is epic in scope and proportion. There were few branches of music Mozart did not touch. He composed operas, symphonies, concertos, and solo pieces for the piano. His work spanned from joyful light-hearted pieces to powerful, challenging compositions which touched the emotions. At the beginning of his career, Mozart had a powerful ability to learn and remember from the music he heard from others. He was able to incorporate the style and music of people such as Haydn and J.S. Bach. As he matured, he developed his very own style and interpretations. In turn, the music of Mozart very much influenced the early Beethoven.

Mozart was brought up a Roman Catholic and remained a member of the church throughout his life.

“I know myself, and I have such a sense of religion that I shall never do anything which I would not do before the whole world.”

Some of his greatest works are religious in nature such as Ave Verum Corpus and the final Requiem.

Mozart was very productive until his untimely death in 1791, aged 35.

“I never lie down at night without reflecting that young as I am —I may not live to see another day.”

In the last year of his life, he composed the opera The Magic Flute, the final piano concerto (K. 595 in B-flat), the Clarinet Concerto K. 622, a string quintet (K. 614 in E-flat), the famous motet Ave Verum Corpus K. 618, and the unfinished Requiem K. 626.

Mozart – 100 Classical Masterpieces

Mozart: A Life

Related pages

Famous Composers – A list of famous and influential composers throughout history, including the greatest composers, such as Bach, Mozart, and Beethoven.

Famous Austrians. Famous Austrians, including Marie Antoinette, Sigmund Freud and musicians, such as Mozart, Franz Liszt, Schubert. Also Austrian political figures.

People who changed the world – Famous people who changed the course of history including Socrates, Newton, Jesus Christ, Muhammad, Queen Victoria, Catherine the Great, Einstein and Gandhi.

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Mozart — перевод на русский

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Предложения

Какие оперы написал моцарт? 5 самых известных опер

What operas did Mozart write? 5 most famous operas

Когда слушаешь отточенные моцарт вещи или Вивальди, то понимаешь, что даже об этом знали.

And you listen to some of that meticulous Mozart stuff and Vivaldi and you realize that they knew that too.

моника беллуччи в сериале «моцарт в джунглях»

Monica Bellucci in «Mozart in the Jungle»

завтрак: подается в баре «золотая луна» рядом с отелем «моцарт» с 07.30 до 10.30.

Breakfast: the rich breakfast buffet is served in the elegance breakfast room of the hotel Mozart from 7.30am to 10.30am.

моцарт где родился в какой стране

Mozart was born in which city?

Первым представлением оперы дирижировал сам Моцарт.

At the first opera’s premiere, Mozart conducted the orchestra himself.

Умирая, Моцарт говорил, что его отравили.

Prior to his death Mozart believed he was being poisoned.

К трехлетнему возрасту Моцарт научился играть на клавире, старинном струнном инструменте с клавишами.

By the age of 3, Mozart had learned to play a clavier, which was an old-fashioned stringed instrument that had a keyboard.

Посещение дома, где родился Моцарт.

Visit to the house, where Mozart was born.

Моцарт был первым, кто сочинил музыку для такого состава инструментов.

Mozart was the first major composer to write for this combination of instruments.

Один из самых популярных классических композиторов, Моцарт оказал большое влияние на мировую культуру.

One of the most popular classical composers, Mozart had a great influence on the world musical culture.

«Моцарт баскетбола» не сыграл множества мелодий.

«Mozart of basketball» hasn’t played a lot of melodies.

Конечно, сняв кольцо, Моцарт продолжал играть так же хорошо.

Of course, clearing the ring, Mozart continued to play as well.

Он — современный Моцарт, талант растущей сцены транса.

He’s the modern-day Mozart, today’s leading talent in the ever-growing trance scene.

В подобных помещениях писал музыку Моцарт.

This is the kind of rooms that Mozart wrote in.

И опера облагораживает нас, Моцарт.

Opera is here to ennoble us, Mozart.

Вы очень страстный, Моцарт… но вы неубедительны.

You are passionate, Mozart… but you do not persuade.

Кстати, о вкусе победы, Моцарт творит чудеса.

Speaking of bittersweet success, the Mozart worked like a charm.

Впервые в своих симфониях Моцарт вводит обязательную партию альтов.

For the first time in a symphony, Mozart uses two obligatory viola parts.

Хорошего рабочего дня, мой маленький Моцарт.

Have a nice day at work, my little Mozart.

Ничего не найдено для этого значения.

Результатов: 1983. Точных совпадений: 1983. Затраченное время: 66 мс

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