Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart
Painting by Barbara Krafft 1819
Born
January 27, 1756 Salzburg, Austria (then part of the Holy Roman Empire)
Died
December 5, 1791 Vienna, Austria (aged 35)

Wolfgang Amadeus Mozart (baptized as Johannes Chrysostomus Wolfgangus Theophilus Mozart; January 27, 1756 – December 5, 1791) was a prolific and highly influential composer of Classical music. His enormous output of more than six hundred compositions includes works that are widely acknowledged as pinnacles of symphony|symphonic, chamber, piano, operatic, and choral music. Mozart is among the most enduringly popular of European composers, and many of his works are part of the standard concert repertoire.

A child prodigy with immense talent, he once wrote, “I cannot possibly live like other young men. In the first place I have too much religion, in the second too much love for my fellow men and too great a sense of humor.” Towards the end of his all to brief life of just thirty-six years, he became a member of the Freemasons and it was his relationship with that organization that served as the inspiration for his opera, "The Magic Flute." The numerous letters to his father, Leopold Mozart, reveal a deep seeded faith and a decidedly devote reverence for God.

Life

Family and early years

Mozart's birthplace at Getreidegasse 9, Salzburg, Austria

Mozart was born to Leopold Mozart|Leopold and Anna Maria Pertl Mozart, in the front room of nine Getreidegasse in Salzburg, the capital of the sovereign Archbishopric of Salzburg, in what is now Austria, then part of the Holy Roman Empire. His only sibling who survived beyond infancy was an older sister: Maria Anna, nicknamed Nannerl. Mozart was baptized the day after his birth at St. Rupert's Cathedral. The baptismal record gives his name in Latinized form as Joannes Chrysostomus Wolfgangus Theophilus Mozart. Of these names, the first two refer to John Chrysostom, one of the Church Fathers, and they were names not employed in everyday life, while the fourth, meaning "beloved of God", was variously translated in Mozart's lifetime as Amadeus (Latin), Gottlieb (German), and Amadé (French). Mozart's father Leopold announced the birth of his son in a letter to the publisher Johann Jakob Lotter with the words "...the boy is called Joannes Chrysostomus, Wolfgang, Gottlieb". Mozart himself preferred the third name, and he also took a fancy to "Amadeus" over the years. (see [Mozart's name]).

Mozart's father Leopold (1719–1787) was one of Europe's leading musical teachers. His influential textbook Versuch einer gründlichen Violinschule, was published in 1756, the year of Mozart's birth (English, as "A Treatise on the Fundamental Principles of Violin Playing", transl. E.Knocker; Oxford-New York, 1948). He was deputy kapellmeister to the court orchestra of the Archbishop of Salzburg, and a prolific and successful composer of instrumental music. Leopold gave up composing when his son's outstanding musical talents became evident. They first came to light when Wolfgang was about three years old, and Leopold, proud of Wolfgang's achievements, gave him intensive musical training, including instruction in clavier, violin, and organ (music)|organ. Leopold was Wolfgang's only teacher in his earliest years. A note by Leopold in Nannerl's music book – the Nannerl Notenbuch – records that little Wolfgang had learned several of the pieces at the age of four. Mozart's first compositions, a small Andante in C for Keyboard (Mozart)|Andante (K. 1a) and Allegro in C for Keyboard|Allegro (K. 1b), were written in 1761, when he was five years old.

The years of travel

"Bologna Mozart" - Mozart age 21 in 1777, see also: face only

During his formative years, Mozart made several European journeys, beginning with an exhibition in 1762 at the Court of the Elector of Bavaria in Munich, then in the same year at the Imperial Court in Vienna and Prague. A long concert tour spanning three and a half years followed, taking him with his father to the courts of Munich, Mannheim, Paris, London (where Wolfgang Amadeus played with the famous Italian cello|cellist Giovanni Battista Cirri), The Hague, again to Paris, and back home via Zürich, Donaueschingen, and Munich. During this trip Mozart met a great number of musicians and acquainted himself with the works of other great composers. A particularly important influence was Johann Christian Bach, who befriended Mozart in London in 1764–65. Bach's work is often taken to be an inspiration for Mozart's music. They again went to Vienna in late 1767 and remained there until December 1768. On this trip Mozart contracted smallpox, and his healing was considered by Leopold as a proof of God's intentions concerning the child.

After one year in Salzburg, three trips to Italy followed: from December 1769 to March 1771, from August to December 1771, and from October 1772 to March 1773. Mozart was commissioned to compose three operas: "Mitridate Rè di Ponto" (1770), "Ascanio in Alba" (1771), and "Lucio Silla" (1772), all three of which were performed in Milan. During the first of these trips, Mozart met Andrea Luchesi in Venice and Giovanni Battista Martini|G.B. Martini in Bologna, and was accepted as a member of the famous Philharmonic Academy of Bologna|Accademia Filarmonica. A highlight of the Italian journey, now an almost legendary tale, occurred when he heard Gregorio Allegri's Miserere (Allegri)|Miserere once in performance in the Sistine Chapel then wrote it out in its entirety from memory, only returning to correct minor errors; thus producing the first illegal copy of this closely-guarded property of the Vatican.

On September 23, 1777, accompanied by his mother, Mozart began a tour of Europe that included Munich, Mannheim, and Paris. In Mannheim he became acquainted with members of the Mannheim orchestra, the best in Europe at the time. He fell in love with Aloysia Weber, who later broke up the relationship with him. He was to marry her sister Constanze Mozart|Constanze some four years later in Vienna. During his unsuccessful visit to Paris, his mother died (1778).

[[Image:Mozart plaque.jpg|left|thumb|250px|Memorial plaque dedicated to Wolfgang Amadeus Mozart in Václavské náměstí square in Olomouc (Czech Republic). Mozart in 1767 as an 11-year-old boy was fleeing from Vienna due to a smallpox epidemic and wrote his Sixth Symphony in F Major in Olomouc.

Mozart in Vienna

In 1780, Idomeneo, widely regarded as Mozart's first great opera, premiered in Munich. The following year, he visited Vienna in the company of his employer, the harsh Hieronymus Colloredo|Prince-Archbishop Colloredo. When they returned to Salzburg, Mozart, who was then Konzertmeister, became increasingly rebellious, not wanting to follow the whims of the archbishop relating to musical affairs, and expressing these views, soon fell out of favor with him. According to Mozart's own testimony, he was dismissed – literally – "with a kick in the arse". Mozart chose to settle and develop his own freelance career in Vienna after its aristocracy began to take an interest in him.

On August 4, 1782, against his father's wishes, he married Constanze Weber (1763–1842; her name is also spelled "Costanze"); her father Fridolin was a half-brother of Carl Maria von Weber's father Franz Anton Weber. Although they had six children, only two survived infancy. Neither of these two, Karl Thomas (1784–1858) and Franz Xaver Wolfgang Mozart|Franz Xaver Wolfgang (1791–1844); later a minor composer himself), married or had children who reached adulthood. Karl did father a daughter, Constanza, who died in 1833.

The year 1782 was an auspicious one for Mozart's career: his opera Die Entführung aus dem Serail ("The Abduction from the Seraglio") was a great success and he began a series of concerts at which he premiered his own piano concertos as director of the ensemble and soloist.

During 1782–83, Mozart became closely acquainted with the work of J.S. Bach and G.F. Handel as a result of the influence of Gottfried van Swieten|Baron Gottfried van Swieten, who owned many manuscripts of works by the Baroque masters. Mozart's study of these works led first to a number of works imitating Baroque style and later had a powerful influence on his own personal musical language, for example the fugue|fugal passages in Die Zauberflöte ("The Magic Flute") and in the Symphony No. 41 (Mozart)|Symphony No. 41.

In 1783, Wolfgang and Constanze visited Leopold in Salzburg, but the visit was not a success, as his father did not open his heart to Constanze. However, the visit sparked the composition of one of Mozart's great liturgical pieces, the Große Messe|Mass in C Minor, which, though not completed, was premiered in Salzburg, and is now one of his best-known works. Wolfgang featured Constanze as the lead female solo voice at the premiere of the work, hoping to endear her to his father's affection.

In his early Vienna years, Mozart met Joseph Haydn and the two composers became friends. When Haydn visited Vienna, they sometimes played in an impromptu string quartet. Mozart's six quartets dedicated to Haydn date from 1782–85, and are often judged to be his response to Haydn's List of string quartets by Joseph Haydn#Opus 33 .281781.29|Opus 33 set from 1781. Haydn was soon in awe of Mozart, and when he first heard the last three of Mozart's series he told Leopold, "Before God and as an honest man I tell you that your son is the greatest composer known to me either in person or by name: He has taste, and, furthermore, the most profound knowledge of composition."

Unfinished portrait of Mozart, 1782

During the years 1782–1785, Mozart put on a series of concerts in which he appeared as soloist in his piano concertos, widely considered among his greatest works. These concerts were financially successful. After 1785 Mozart performed far less and wrote only a few concertos. Maynard Solomon conjectures that he may have suffered from hand injuries Template:Citeneeded; another possibility is that the fickle public ceased to attend the concerts in the same numbers.

Mozart was influenced by the ideas of the eighteenth century The Age of Enlightenment|European Enlightenment as an adult, and became a Freemason (1784). His lodge was a specifically Catholic, rather than a deistic one, and he worked fervently and successfully to convert his father before the latter's death in 1787. Die Zauberflöte, his second last opera, includes Masonic themes and allegory. He was in the same Masonic Lodge as Haydn.

Mozart's life was occasionally fraught with financial difficulty. Though the extent of this difficulty has often been romanticized and exaggerated, he nonetheless did resort to borrowing money from close friends, some debts remaining unpaid even to his death. During the years 1784-1787 he lived in a lavish, seven-room apartment, which may be visited today at Domgasse 5, behind St Stephen's Cathedral; it was here, in 1786, that Mozart composed the opera Le nozze di Figaro.

Mozart and Prague

Mozart had a special relationship with the city of Prague and its people. The audience there celebrated the The Marriage of Figaro|Figaro with the much-deserved reverence he was missing in his hometown Vienna. His quotation "Meine Prager verstehen mich" (My Praguers understand me) became very famous in the Czech Republic|Bohemian lands. Many tourists follow his tracks in Prague and visit the Mozart Museum of the Villa Bertramka where they can enjoy a chamber concert. In the later years of his life, Prague provided Mozart with many financial resources from commissions ^{[citation needed]}. In Prague, Don Giovanni premiered on October 29, 1787 at the Theatre of the Estates. Mozart wrote La clemenza di Tito for the festivities accompanying Leopold II, Holy Roman Emperor|Leopold II's coronation in November 1790; Mozart obtained this commission after Antonio Salieri had allegedly rejected it.

Final illness and death

Mozart's final illness and death are difficult topics for scholars, obscured by romantic legends and replete with conflicting theories. Scholars disagree about the course of decline in Mozart's health – particularly at what point (or if at all) Mozart became aware of his impending death and whether this awareness influenced his final works. The romantic view holds that Mozart declined gradually and that his outlook and compositions paralleled this decline. In opposition to this, some present-day scholars point out correspondence from Mozart's final year indicating that he was in good cheer, as well as evidence that Mozart's death was sudden and a shock to his family and friends. Mozart's attributed last words: "The taste of death is upon my lips...I feel something, that is not of this earth". The actual cause of Mozart's death is also a matter of conjecture. His death record listed "hitziges Frieselfieber" ("severe miliary fever," referring to a rash that looks like millet-seeds), a description that does not suffice to identify the cause as it would be diagnosed in modern medicine. Dozens of theories have been proposed, including trichinosis, Mercury (element)|mercury poisoning, and rheumatic fever. The practice, common at that time, of bloodletting|bleeding medical patients is also cited as a contributing cause.

Mozart died around 1 a.m. on December 5, 1791 in Vienna. Some days earlier, with the onset of his illness, he had largely ceased work on his final composition, the Requiem (Mozart)|Requiem. Popular legend has it that Mozart was thinking of his own impending death while writing this piece, and even that a messenger from the afterworld commissioned it. However, documentary evidence has established that the anonymous commission came from one Count Walsegg-Stuppach|Count Franz Walsegg of Schloss Stuppach, and that most if not all of the music had been written while Mozart was still in good health. A younger composer, and Mozart's pupil at the time, Franz Xaver Süssmayr, was engaged by Constanze Mozart|Constanze to complete the Requiem. However, he was not the first composer asked to finish the Requiem, as the widow had first approached another Mozart student, Joseph Eybler, who began work directly on the empty staves of Mozart's manuscript but then abandoned it.

Because he was buried in an unmarked grave, it has been popularly assumed that Mozart was penniless and forgotten when he died. In fact, though he was no longer as fashionable in Vienna as before, he continued to have a well-paid job at court and receive substantial commissions from more distant parts of Europe, Prague in particular ^{[citation needed]}. He earned about 10,000 florins per year, equivalent to at least 42,000 US dollars in 2006, which places him within the top 5% of late 18th century wage earners, but he could not manage his own wealth. His mother wrote, "When Wolfgang makes new acquaintances, he immediately wants to give his life and property to them." His impulsive largesse and spending often put him in the position of having to ask others for loans. Many of his begging letters survive but they are evidence not so much of poverty as of his habit of spending more than he earned. He was not buried in a "mass grave" but in a regular communal grave according to the 1784 laws in Austria.

Though the original grave in the St. Marx cemetery was lost, memorial gravestones (or cenotaphs) have been placed there and in the Zentralfriedhof. In 2005, new DNA testing was performed by Austria's University of Innsbruck and the US Armed Forces DNA Identification Laboratory in Rockville, Maryland, to determine if a skull in an Austrian Museum was actually his, using DNA samples from the marked graves of his grandmother and Mozart's niece. However, test results were inconclusive, suggesting that none of the DNA samples were related to each other.

In 1809, Constanze married Denmark|Danish diplomat Georg Nikolaus von Nissen (1761–1826). Being a fanatical admirer of Mozart, he (and Constanze?) edited vulgar passages out of many of the composer's letters and wrote a Mozart biography. Nissen did not live to see his biography printed, and Constanze finished it.

Works, musical style, and innovations

Style

Mozart's music, like Haydn's, stands as an archetypal example of the Classical style. His works spanned the period during which that style transformed from one exemplified by the galant|style galant to one that began to incorporate some of the counterpoint|contrapuntal complexities of the late Baroque music|Baroque, complexities against which the galant style had been a reaction. Mozart's own stylistic development closely paralleled the development of the classical style as a whole. In addition, he was a versatile composer and wrote in almost every major genre, including symphony, opera, the solo concerto, chamber music including string quartet and string quintet, and the piano sonata. While none of these genres were new, the piano concerto was almost single-handedly developed and popularized by Mozart. He also wrote a great deal of religious music, including mass (music)|masses; and he composed many dances, divertimento|divertimenti, serenades, and other forms of light entertainment.

The central traits of the classical style can all be identified in Mozart's music. Clarity, balance, and transparency are hallmarks, though a simplistic notion of the delicacy of his music obscures for us the exceptional and even demonic power of some of his finest masterpieces, such as the Piano Concerto in C minor, K. 491, the Symphony in G minor, K. 550, and the opera Don Giovanni. The famed writer on music Charles Rosen has written (in The Classical Style): "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." Especially during his last decade, Mozart explored Chromatic chord|chromatic harmony to a degree rare at the time. The slow introduction to the "Dissonant" Quartet, K. 465, a work that Haydn greatly admired, rapidly explodes a shallow understanding of Mozart's style as light and pleasant.

From his earliest years Mozart had a gift for imitating the music he heard; since he travelled widely, he acquired a rare collection of experiences from which to create his unique compositional language. When he went to London as a child, he met J.C. Bach and heard his music; when he went to Paris, Mannheim, and Vienna, he heard the work of composers active there, as well as the spectacular Mannheim orchestra; when he went to Italy, he encountered the Italian overture and the opera buffa, both of which were to be hugely influential on his development. Both in London and Italy, the galant style was all the rage: simple, light music, with a mania for cadence|cadencing, an emphasis on tonic, dominant, and subdominant to the exclusion of other chords, symmetrical phrases, and clearly articulated structures. This style, out of which the classical style evolved, was a reaction against the complexity of late Baroque music. Some of Mozart's early symphonies are Italian overtures, with three movements running into each other; many are "homotonal" (each movement in the same key, with the slow movement in the tonic minor). Others mimic the works of J.C. Bach, and others show the simple binary form|rounded binary forms commonly being written by composers in Vienna.

As Mozart matured, he began to incorporate some features of Baroque styles into his music. For example, the Symphony No. 29 (Mozart)|Symphony No. 29 in A Major K. 201 uses 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 just published his opus 20 set. The influence of the Sturm und Drang ("Storm and Stress") period in German literature, with its brief foreshadowing of the Romantic era to come, is evident in some of the music of both composers at that time.

Over the course of his working life Mozart switched his focus from instrumental music to operas, and back again. He wrote operas in each of the styles current in Europe: opera buffa, such as The Marriage of Figaro, Don Giovanni, or Così fan tutte, and opera seria, such as Idomeneo; and Singspiel, of which Die Zauberflöte is probably the most famous example by any composer. In his later operas, he developed the use of subtle changes in instrumentation, orchestration, and tone colour to express or highlight psychological or emotional states and dramatic shifts. Here his advances in opera and instrumental composing interacted. His increasingly sophisticated use of the orchestra in the symphonies and concerti served as a resource in his operatic orchestration, and his developing subtlety in using the orchestra to psychological effect in his operas was reflected in his later non-operatic compositions.

Influence

Mozart's legacy to subsequent generations of composers (in all genres) is immense.

Many important composers since Mozart's time have expressed profound appreciation of Mozart. Rossini averred, "He is the only musician who had as much knowledge as genius, and as much genius as knowledge." Ludwig van Beethoven's admiration for Mozart is also quite clear. Beethoven used Mozart as a model a number of times: for example, Beethoven's Piano Concerto No. 4 in G major demonstrates a debt to Mozart's Piano Concerto No. 25 (Mozart)|Piano Concerto in C major, K. 503. A plausible story – not corroborated – regards one of Beethoven's students who looked through a pile of music in Beethoven's apartment. When the student pulled out Mozart's A major Quartet, K. 464, Beethoven exclaimed "Ah, that piece. That's Mozart saying 'here's what I could do, if only you had ears to hear!' "; Beethoven's own Piano Concerto No. 3 (Beethoven)|Piano Concerto No. 3 in C minor is an obvious tribute to Mozart's Piano Concerto No. 24 (Mozart)|Piano Concerto No. 24 in C minor, and yet another plausible – if unconfirmed – story concerns Beethoven at a concert with his sometime-student Ferdinand Ries. As they listened to Mozart's Piano Concerto No. 24 (Mozart)|Piano Concerto No. 24, the orchestra reached the quite unusual coda of the last movement, and Beethoven whispered to Ries: "We'll never think of anything like that!" Beethoven's Quintet for Piano and Winds is another obvious tribute to Mozart, similar to Mozart's own quintet for the same ensemble. Beethoven also paid homage to Mozart by writing sets of theme and variations|variations on several of his themes: for example, the two sets of variations for cello and piano on themes from Mozart's The Magic Flute|Magic Flute, and cadenzas to several of Mozart's piano concertos, most notably the Piano Concerto No. 20 (Mozart)|Piano Concerto No. 20 K. 466. A famous legend asserts that, after the only meeting between the two composers, Mozart noted that Beethoven would "give the world something to talk about." However, it is not certain that the two ever met. Tchaikovsky wrote his Mozartiana in praise of Mozart; and Mahler's final word was alleged to have been simply "Mozart". The theme of the opening movement of the Piano Sonata No. 11 (Mozart)|Piano Sonata in A major K. 331 (itself a set of variations on that theme) was used by Max Reger for his Variations and Fugue on a Theme of Mozart, written in 1914 and among Reger's best-known works.

In addition, Mozart received outstanding praise from several fellow composers including Frédéric Chopin, Franz Schubert, Peter Ilich Tchaikovsky, Robert Schumann, and many more.

Mozart has remained an influence in popular contemporary music in varying genres ranging from Jazz to modern Rock and Heavy metal. An example of this influence is the jazz pianist Chick Corea, who has performed piano concertos of Mozart and was inspired by them to write a concerto of his own.

The Köchel catalogue

In the decades after Mozart's death there were several attempts to catalogue his compositions, but it was not until 1862 that Ludwig von Köchel succeeded in this enterprise. Many of his famous works are referred to by their Köchel catalogue number; for example, the Piano Concerto in A major (Piano Concerto No. 23 (Mozart)|Piano Concerto No. 23) is often referred to simply as "K. 488" or "KV. 488". The catalogue has undergone six revisions, labeling the works from K. 1 to K. 626.

Myths and controversies

Mozart is unusual among composers for being the subject of an abundance of legend, partly because none of his early biographers knew him personally. They often resorted to fiction in order to produce a work. Many myths began soon after Mozart died, but few have any basis in fact. An example is the story that Mozart composed his Requiem (Mozart)|Requiem with the belief it was for himself. Sorting out fabrications from real events is a vexing and continuous task for Mozart scholars mainly because of the prevalence of legend in scholarship. Dramatists and screenwriters, free from responsibilities of scholarship, have found excellent material among these legends.

An especially popular case is the supposed rivalry between Mozart and Antonio Salieri, and, in some versions, the tale that it was poison received from the latter that caused Mozart's death; this is the subject of Aleksandr Pushkin's play Mozart and Salieri, Nicolai Rimsky-Korsakov's opera Mozart and Salieri, and Peter Shaffer's play Amadeus. The last of these has been made into a Amadeus (film)|feature-length film of the same name. Shaffer's play attracted criticism for portraying Mozart as vulgar and loutish, a characterization felt by many to be unfairly exaggerated, but in fact frequently confirmed by the composer's letters and other memorabilia. For example, Mozart humorously wrote Canon_(music)|canons on the words "Leck mich im Arsch" as party pieces for his friends. The Köchel numbers of these canons are 231 and 233.

Another debate involves Mozart's alleged status as a kind of superhuman prodigy, from childhood right up until his death. While some have criticised his earlier works as simplistic or forgettable, others revere even Mozart's juvenilia. In any case, several of his early compositions remain very popular. The motet Exultate, jubilate (K. 165), for example, composed when Mozart was seventeen years old, is among the most frequently recorded of his vocal compositions. It is also mentioned that around the time when he was five or six years old, he could play the piano blindfolded and with his hands crossed over one another. Template:Citeneeded

Benjamin Simkin, a medical doctor, argues in his book Medical and Musical Byways of Mozartiana that Mozart had Tourette syndrome. However, no Tourette syndrome expert, organization, psychiatrist or neurologist have stated that there were sociological and cultural aspects of Tourette syndrom since there was speculation about notable individuals|credible evidence that Mozart had this syndrome. Several have stated now that they do not believe there is enough evidence to substantiate the claim.

Amadeus (1984)

Milos Forman’s 1984 motion picture Amadeus, based on the play by Peter Shaffer, won eight Academy Awards and was one of the year’s most popular films. While the film did a great deal to popularize Mozart’s work with the general public, it has been criticized for its historical inaccuracies, and in particular for its portrayal of Antonio Salieri’s intrigues against Mozart, for which little historical evidence can be found. On the contrary, it is likely that Mozart and Antonio Salieri|Salieri regarded each other as friends and colleagues. It is well documented, for instance, that Antonio Salieri|Salieri frequently lent Mozart musical scores from the court library, that he often chose compositions by Mozart for performance at state occasions, and Salieri taught Mozart's son, Franz Xaver Wolfgang Mozart|Franz Xaver.

The idea that he never revised his compositions, dramatized in the film, is easily exploded by even a cursory examination of the autograph manuscripts, which contain many revisions. Mozart was a studiously hard worker, and by his own admission his extensive knowledge and abilities developed out of many years' close study of the European musical tradition. In fairness, Schaffer and Forman never claimed that Amadeus was intended to be an accurate biographical portrait of Mozart. Rather, as Shaffer reveals on the DVD release of the film, the dramatic narrative was inspired by the biblical story of Cain and Abel — one brother loved by God, and the other scorned.

Trivia

• Musicologist Alfred Einstein, the biographer of Mozart and 20th century editor of the Köchel Catalog, is quoted as saying, "Mozart is the greatest composer of all. Beethoven created his music, but the music of Mozart is of such purity and beauty that one feels he merely found it — that it has always existed as part of the inner beauty of the universe waiting to be revealed."^{[citation needed]}
• In his travels, Mozart acquired some competence in many languages: as many as fifteen, by some reports.
• In 1770 Mozart was awarded the Cross of the Order of the Golden Spur by Pope Clement XIV.
• Mozart was much taken by the sound of Benjamin Franklin's glass armonica, and composed two works for it: an Adagio in C (K. 617a [K. 356]) and an Adagio and Rondo for armonica, flute, oboe, viola, and cello (K. 617), both composed in 1791 after he heard the instrument played by the virtuoso Marianne Kirchgaessner. He started a third piece, of which only the first few bars were completed.
• Recordings of Mozart's music have sold more copies than any other composer.[1]
• 2006 marks the 250th anniversary of Mozart's birth. Worldwide celebrations included performances of all of Mozart's operas in Salzburg and Prague.
• A brown "blue plaque" stands on the house on Mozart Terrace in Ebury Street, in London, where he stayed in 1764, and composed his first symphony.

• Brown plaque Mozart.jpg

  Blue plaque on Ebury Street, London

• 

  Statue of Mozart on Ebury Street, London

Media

Orchestral K550 (file info) Mozart's Symphony No. 40 (Mozart) K550 (file info) Mozart's Symphony No. 40 (Mozart) K550 (file info) Mozart's Symphony No. 40 (Mozart) K550 (file info) Mozart's Symphony No. 40 (Mozart) K527 (file info) Overture to Don Giovanni K525 (file info) Eine kleine Nachtmusik, 4th movement K364 (file info) Sinfonia Concertante in E flat, 3rd movement (Presto) K314 (file info) Concerto in D for Flute K622 (file info) Clarinet Concerto in A major, 1st movement K622 (file info) Clarinet Concerto in A major, 2nd movement K622 (file info) Clarinet Concerto in A major, 3rd movement Vocal Der Hölle Rache (file info) Der Hölle Rache, from Die Zauberflöte K321, 1st movement (file info) Vesperae de dominica - dixit dominus K321, 2nd movement (file info) Vesperae de dominica - confitebor K321, 3rd movement (file info) Vesperae de dominica - beatus vir K321, 4th movement (file info) Vesperae de dominica - laudate pueri K321, 5th movement (file info) Vesperae de dominica - laudate dominum K321, 6th movement (file info) Vesperae de dominica - magnificat Piano Rondo Alla Turka from K331 (file info) Piano Sonata No. 11 in A major, 3rd movement K545 (file info) Piano Sonata in C major, 1st movement K545 (file info) Piano Sonata in C major, 2nd movement K545 (file info) Piano Sonata in C major, 3rd movement K378/K317d (file info) Piano/Violin Sonata in B Flat (arranged for flute) K466 (file info) Piano Concerto No.20 in D minor, 1st movement Problems listening to the files? See media help.

See also

• List of compositions by Wolfgang Amadeus Mozart
• :Category:Compositions by Wolfgang Amadeus Mozart
• Mozart's name
• Luchesi authorship controversy, about the possible actual writer of various Mozart's works
• Mozartkugel, a confectionery named in his honor.
• Mozart effect, a disputed theory that certain kinds of music enhance performance on certain mental tasks; the researchers who coined the term used a piece by Mozart in their first study.
• Rock Me Amadeus, a 1985 in music|1985 song by Falco (musician)|Falco, based on Forman's film
• The Vermont Mozart Festival, an annual classical music festival named in the composer's honor; since 1974, it has performed 278 of Mozart's 626 works—possibly more than any other festival or concert series in the United States.

Further reading

• Braunbehrens, Volkmar: Mozart in Vienna: 1781-1791, Timothy Bell Trans, HarperPerennial, 1986 ISBN 0-06-0997405-2
• Deutsch, Otto Erich: Mozart: A Documentary Biography, Eric Blom et al. Trans, Stanford University Press, 1965
• Aloys Greither: Wolfgang Amadé Mozart, Rowohlt Taschenbuch Verlag GmbH, 1962
• Robert W. Gutman: Mozart: A Cultural Biography, Random, 2001 ISBN 015100482X
• H. C. Robbins Landon: 1791: Mozart's Last Year, Thames & Hudson, 1988 ISBN 0500281076
• Massimo Mila: Lettura delle Nozze di Figaro, Einaudi, 1979 ISBN 8806189379
• Mark Rayner: The Amadeus Net, ENC, 2005 ISBN 0975254014
• Stanley Sadie, ed.: Mozart and his Operas, St. Martin's, 2000 ISBN 031224410X
• Maynard Solomon: Mozart: a life, Harper, 1996 ISBN 0060926929
• Hershel Jick: A Listener's Guide to Mozart's Music, Vantage, 1997 ISBN 0553123089
• Marcia Davenport: Mozart, The Chautauqua Press, 1932
• Wilhelm Otto Deutsch, Mozart und die Religion (2005)
• Nicholas Till: Mozart and the Enlightenment,Faber,Norton, 1992 ISBN 0571161693
• Gregory Allen Robbins, Mozart & Salieri, Cain & Abel: A Cinematic Transformation of Genesis 4
• The Mozart Project
• Cliff Eisen and Simon P. Keefe, Editors: The Cambridge Mozart Encyclopedia, Cambridge University Press, 2006 ISBN 0521856590

External links

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General reference

• The Mozart Project – the life, times and music of Wolfgang Amadeus Mozart
• Mozart - Vida e Obra,'Portuguese' - the Brazilian site of Mozart by the coloratura soprano Camila Argolo
• Mozartones.com - compact biography of Wolfgang Amadeus Mozart
• A Profile of Amadeus Mozart from Aaron Green, guide to Classical Music at About.com.
• WAMozartFan.com The Wolfgang Amadeus Mozart Educational Fanpage - resource for students, teachers and music lovers.
• The Music of Wolfgang Amadeus Mozart
• Wolfgang Amadeus Mozart, from Classical Music Pages
• Mozart Forum Exploring the world of Classical-Era Music (1770-1827), encompassing the music, personalities and accomplishments of Mozart and his contemporaries.
• Mozart Archive
• Année Mozart(French) blog about W.A. Mozart and his family

Scores

• IMSLP - International Music Score Library Project's Mozart page.
• Template:ChoralWiki
• Works by Mozart. Project Gutenberg
• Free scores by Wolfgang Amadeus Mozart in the Werner Icking Music Archive
• Mozart's Scores by Mutopia Project
• Mozart Melody Index at Tunespotting.com
• Mozart melodies at Musipedia
• Mozart scores in PDF for the piano

Recordings

• Listen to a free recording of Ave verum corpus, KV 618 from Coro Nostro, a mixed chamber choir based in Leicester, UK.
• Mozart at Piano Society - Biography and various free recordings in MP3 format.
• Mozart cylinder recordings, from the Cylinder Preservation and Digitization Project at the University of California, Santa Barbara Library.
• Mozart's Piano sonatas (midi)
• Mozart at archive.org
• Mozart Video's - Free Selection of Mozart Video Performances

Specific topics

• A free walking tour of Mozart in Prague via podcast
• The "Mozart Catalogue" digitised by the British Library - Go to "Turning the Pages"
• Cadenzas from the A Clarinet Concerto - Clariperu Many trancriptions from artists like Sabine Meyer, John McCaw, Charles Neidich, etc.
• Mozart's Thematic Catalogue - turn the pages of Mozart's musical diary online (requires Shockwave plugin)
• gallica.bnf.fr, picture of Mozart, his mother, his father, his wife, and his family (bnf = French National Library).
• Mozart and pauses
• The "Jenamy Concerto" The proper name of Mozart's piano concerto K. 271 revealed
• Mozart und die Religion (2005), Wilhelm Otto Deutsch
• Born between Salzburg and Braunau am Inn
• Information about Mozart, Salzburg and the city's musical heritage
• Mozart's 250th Birthday, from NPR
• The alleged last portrait painting of Mozart
• Mozart and Freemasonry

Credits

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• Wolfgang Amadeus Mozart  ^history

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• History of "Wolfgang Amadeus Mozart"

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