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Home / Bach Never Mastered the Art of the Fugue True False

Bach Never Mastered the Art of the Fugue True False

Classical-era composer (1756–1791)

Wolfgang Amadeus Mozart [a] (27 January 1756 – five December 1791), baptised as Joannes Chrysostomus Wolfgangus Theophilus Mozart,[b] 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 nigh every genre of his time. Many of these compositions are acknowledged as pinnacles of the symphonic, concertante, chamber, operatic, and choral repertoire. Mozart is amidst the greatest composers in the history of Western music,[1] with music admired for its "melodic beauty, its formal elegance and its richness of harmony and texture".[2]

Built-in in Salzburg, 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 male parent took him on a grand bout of Europe and so three trips to Italy. At 17, Mozart was engaged as a musician at the Salzburg court simply grew restless and travelled in search of a better position.

While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in Vienna, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his all-time-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his early on death at the age of 35. The circumstances of his death are largely uncertain and have thus been much mythologized.

Life and career

Mozart's birthplace at Getreidegasse nine, Salzburg

Early on life

Family and childhood

Wolfgang Amadeus Mozart was built-in on 27 January 1756 to Leopold Mozart (1719–1787) and Anna Maria, née Pertl (1720–1778), at Getreidegasse 9 in Salzburg.[iii] Salzburg was the upper-case letter of the Archbishopric of Salzburg, an ecclesiastic principality in the Holy Roman Empire (today in Austria).[c] He was the youngest of seven children, v of whom died in infancy. His elderberry sister was Maria Anna Mozart (1751–1829), nicknamed "Nannerl". Mozart was baptised the twenty-four hour period afterwards his birth, at St. Rupert's Cathedral in Salzburg. The baptismal record gives his name in Latinized form, equally Joannes Chrysostomus Wolfgangus Theophilus Mozart. He generally called himself "Wolfgang Amadè Mozart"[four] as an adult, but his name had many variants.

Leopold Mozart, a native of Augsburg,[5] and so an Purple Free Urban center in the Holy Roman Empire, was a minor composer and an experienced teacher. In 1743, he was appointed every bit the quaternary violinist in the musical establishment of Count Leopold Anton von Firmian, the ruling Prince-Archbishop of Salzburg.[ii] 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 vii, she began keyboard lessons with her male parent, while her iii-yr-old brother looked on. Years subsequently, afterwards her brother'southward death, she reminisced:

He often spent much time at the clavier, picking out thirds, which he was e'er hitting, and his pleasure showed that it sounded skillful.... In the fourth year of his age his begetter, 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 effeminateness, and keeping exactly in time.... At the age of v, he was already composing trivial pieces, which he played to his begetter who wrote them downwardly.[seven]

The Mozart family on tour: Leopold, Wolfgang, and Nannerl. Watercolour by Carmontelle, c.1763[8]

These early pieces, K. 1–5, were recorded in the Nannerl Notenbuch. In that location is some scholarly argue near whether Mozart was four or v years onetime when he created his get-go musical compositions, though there is little dubiety that Mozart equanimous his first three pieces of music within a few weeks of each other: M. 1a, 1b, and 1c.[ix]

In his early on years, Wolfgang'due south father was his merely teacher. Along with music, he taught his children languages and bookish subjects.[10] Solomon notes that, while Leopold was a devoted instructor to his children, at that place is prove that Mozart was smashing to progress beyond what he was taught.[10] His showtime 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 unit 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 Regal 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 over again to Paris, and back habitation 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 viii years old, Mozart wrote his start symphony, most of which was probably transcribed by his begetter.[15]

The family trips were oft 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, fall 1765).[eighteen] The family again went to Vienna in belatedly 1767 and remained in that location until December 1768.

Afterward ane year in Salzburg, Leopold and Wolfgang set off for Italian republic, leaving Anna Maria and Nannerl at home. This bout lasted from December 1769 to March 1771. Every bit with before journeys, Leopold wanted to display his son's abilities equally a performer and a speedily maturing composer. Wolfgang met Josef Mysliveček and Giovanni Battista Martini in Bologna and was accustomed as a member of the famous Accademia Filarmonica. In Rome, he heard Gregorio Allegri's Miserere twice in performance, in the Sistine Chapel, and wrote information technology out from memory, thus producing the first unauthorized copy of this closely guarded property of the Vatican.[19] [20]

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 begetter twice to Milan (August–Dec 1771; Oct 1772 – March 1773) for the limerick and premieres of Ascanio in Alba (1771) and Lucio Silla (1772). Leopold hoped these visits would result in a professional person 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[d] and Leopold'south hopes were never realized.[21] Toward the end of the journey, Mozart wrote the solo motet Exsultate, jubilate, K. 165.

1773–77: Employment at the Salzburg court

Tanzmeisterhaus [de], Salzburg, Mozart family residence from 1773; reconstructed 1996

Afterwards finally returning with his male parent 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[22] and had the opportunity to work in many genres, including symphonies, sonatas, cord quartets, masses, serenades, and a few minor operas. Between April and December 1775, Mozart adult an enthusiasm for violin concertos, producing a series of five (the simply ones he ever wrote), which steadily increased in their musical sophistication. The last three—One thousand. 216, K. 218, One thousand. 219—are now staples of the repertoire. In 1776, he turned his efforts to pianoforte concertos, culminating in the E ♭ concerto Yard. 271 of early on 1777, considered by critics to be a breakthrough work.[23]

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 yr;[24] Mozart longed to compose operas, and Salzburg provided only rare occasions for these. The state of affairs worsened in 1775 when the court theatre was closed, peculiarly since the other theatre in Salzburg was primarily reserved for visiting troupes.[25]

Two long expeditions in search of piece of work interrupted this long Salzburg stay. Mozart and his father visited Vienna from xiv July to 26 September 1773, and Munich from sixDecember 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.[26]

1777–78: Journeying to Paris

In August 1777, Mozart resigned his position at Salzburg[28] [e] and on 23 September ventured out again in search of employment, with visits to Augsburg, Mannheim, Paris, and Munich.[29]

Mozart became acquainted with members of the famous orchestra in Mannheim, the all-time in Europe at the time. He also fell in love with Aloysia Weber, ane of iv daughters of a musical family. In that location were prospects of employment in Mannheim, but they came to zip,[xxx] and Mozart left for Paris on 14 March 1778[31] 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 date.[32] He cruel into debt and took to pawning valuables.[33] The nadir of the visit occurred when Mozart's mother was taken ill and died on 3July 1778.[34] At that place had been delays in calling a doctor—probably, according to Halliwell, because of a lack of funds.[35] Mozart stayed with Melchior Grimm, who, every bit a personal secretary of the Knuckles d'Orléans, lived in his mansion.[36]

While Mozart was in Paris, his male parent was pursuing opportunities of employment for him in Salzburg.[37] With the back up of the local dignity, Mozart was offered a mail equally court organist and concertmaster. The almanac salary was 450 florins,[38] simply he was reluctant to accept.[39] 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 engagement outside Salzburg. In Munich, he again encountered Aloysia, now a very successful vocaliser, merely she was no longer interested in him.[40] Mozart finally returned to Salzburg on xv January 1779 and took up his new appointment, simply his discontent with Salzburg remained undiminished.[41]

Amid 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 xviii June 1778.[42] and the Concerto for Flute and Harp in C major, 1000. 299/297c.[43]

Vienna

1781: Departure

In Jan 1781, Mozart's opera Idomeneo premiered with "considerable success" in Munich.[44] The post-obit March, Mozart was summoned to Vienna, where his employer, Archbishop Colloredo, was attention the celebrations for the accretion of Joseph Ii to the Austrian throne. For Colloredo, this was just a matter of wanting his musical retainer to exist at manus (Mozart indeed was required to dine in Colloredo'south establishment with the valets and cooks).[f] However, Mozart was planning a bigger career even equally he connected in the archbishop'due south service;[46] for case, he wrote to his begetter:

My main goal right at present is to meet the emperor in some agreeable way, I am absolutely determined he should go to know me. I would be so happy if I could whip through my opera for him and then play a fugue or 2, for that'south what he likes.[47]

Mozart did indeed before long meet the Emperor, who somewhen was to support his career essentially with commissions and a part-time position.

In the same alphabetic character to his male parent just quoted, Mozart outlined his plans to participate as a soloist in the concerts of the Tonkünstler-Societät, a prominent benefit concert series;[47] this plan besides came to pass after the local nobility prevailed on Colloredo to drib his opposition.[48]

Colloredo's wish to forbid Mozart from performing outside his establishment was in other cases, however, carried through, raising the composer's acrimony; one example was a chance to perform before the Emperor at Countess Thun'southward 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 post-obit month, permission was granted, merely in a grossly insulting mode: the composer was dismissed literally "with a boot in the arse", administered by the archbishop's steward, Count Arco. Mozart decided to settle in Vienna as a freelance performer and composer.[49]

The quarrel with Colloredo was more difficult for Mozart because his father sided against him. Hoping fervently that he would obediently follow Colloredo dorsum to Salzburg, Mozart's father exchanged intense letters with his son, urging him to be reconciled with their employer. Mozart passionately dedicated his intention to pursue an contained career in Vienna. The contend ended when Mozart was dismissed by the archbishop, freeing himself both of his employer and of his father's demands to render. Solomon characterizes Mozart's resignation equally a "revolutionary stride" that significantly altered the course of his life.[l]

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,[49] and he soon "had established himself as the finest keyboard role player in Vienna".[49] 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 accomplished considerable success. The piece of work was soon being performed "throughout High german-speaking Europe",[49] 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.[51]

Marriage and children

After failing to win the paw of Aloysia Weber, who was now married to the actor and artist Joseph Lange, Mozart's involvement shifted to the 3rd daughter of the family, Constanze.

The courtship did not go entirely smoothly; surviving correspondence indicates that Mozart and Constanze briefly separated in April 1782.[52] Mozart faced a challenging task in getting his begetter's permission for the marriage.[53] The couple were finally married on ivAugust 1782 in St. Stephen's Cathedral, the solar day before his father's consenting letter arrived in the post.[53]

The couple had half dozen children, of whom only two survived infancy:[54]

  • Raimund Leopold (17 June – 19 Baronial 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 Dec 1787 – 29 June 1788)
  • Anna Maria (died soon after nascence, 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 piece of work of Johann Sebastian Bach and George Frideric Handel equally a consequence of the influence of Gottfried van Swieten, who owned many manuscripts of the Baroque masters. Mozart'due south report of these scores inspired compositions in Baroque style and later influenced his musical language, for example in fugal passages in Dice 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 sis were cordially polite to Constanze, only the visit prompted the composition of ane of Mozart's groovy liturgical pieces, the Mass in C pocket-size. Though non completed, it was premiered in Salzburg, with Constanze singing a solo office.[55]

Mozart met Joseph Haydn in Vienna effectually 1784, and the two composers became friends. When Haydn visited Vienna, they sometimes played together in an impromptu string quartet. Mozart's 6 quartets dedicated to Haydn (Yard. 387, K. 421, Yard. 428, Yard. 458, K. 464, and K. 465) date from the period 1782 to 1785, and are judged to be a response to Haydn'southward Opus 33 gear up from 1781.[56] Haydn wrote, "posterity will non meet such a talent once again in 100 years"[57] and in 1785 told Mozart's father: "I tell y'all before God, and equally an honest homo, 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."[58]

From 1782 to 1785 Mozart mounted concerts with himself as a soloist, presenting three or four new piano concertos in each flavor. 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.[59] The concerts were very popular, and his concertos premiered in that location are even so firm fixtures in his repertoire. Solomon writes that during this period, Mozart created "a harmonious connection betwixt an eager composer-performer and a delighted audience, which was given the opportunity of witnessing the transformation and perfection of a major musical genre".[59]

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

On 14 December 1784, Mozart became a Freemason, admitted to the guild Zur Wohltätigkeit ("Beneficence").[65] Freemasonry played an essential function in the remainder of Mozart's life: he attended meetings, a number of his friends were Masons, and on diverse occasions, he composed Masonic music, e.thousand. the Maurerische Trauermusik.[66]

1786–87: Return to opera

Fortepiano played by Mozart in 1787, Czech Museum of Music, Prague[67]

Despite the nifty success of Die Entführung aus dem Serail, Mozart did petty 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 author of concertos. Effectually the stop of 1785, Mozart moved away from keyboard writing[68] [ page needed ] and began his famous operatic collaboration with the librettist Lorenzo Da Ponte. 1786 saw the successful premiere of The Marriage of Figaro in Vienna. Its reception in Prague later on 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.[69] 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 non witnessed by Mozart's male parent, who had died on 28 May 1787.[lxx]

In December 1787, Mozart finally obtained a steady mail under aristocratic patronage. Emperor Joseph II appointed him as his "chamber composer", a post that had fallen vacant the previous calendar month on the decease of Gluck. It was a part-time appointment, paying merely 800 florins per twelvemonth, and required Mozart just to compose dances for the annual balls in the Redoutensaal (see Mozart and trip the light fantastic toe). This pocket-sized income became important to Mozart when difficult times arrived. Court records show that Joseph aimed to keep the esteemed composer from leaving Vienna in pursuit of meliorate prospects.[71] [thousand]

In 1787, the young Ludwig van Beethoven spent several weeks in Vienna, hoping to study with Mozart.[72] No reliable records survive to indicate whether the two composers ever met.

Later years

1788–ninety

Toward the end of the decade, Mozart's circumstances worsened. Effectually 1786 he had ceased to appear ofttimes in public concerts, and his income shrank.[73] 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 elite to back up music had declined.[68]

By mid-1788, Mozart and his family had moved from fundamental Vienna to the suburb of Alsergrund.[73] Although it has been suggested that Mozart aimed to reduce his rental expenses by moving to a suburb, every bit he wrote in his letter of the alphabet to Michael von Puchberg, Mozart had not reduced his expenses just merely increased the housing space at his disposal.[74] Mozart began to borrow coin, nigh ofttimes from his friend and fellow bricklayer Puchberg; "a pitiful sequence of messages pleading for loans" survives.[75] Maynard Solomon and others have suggested that Mozart was suffering from depression, and it seems his musical output slowed.[76] Major works of the menstruation include the concluding iii symphonies (Nos. 39, 40, and 41, all from 1788), and the last of the three Da Ponte operas, Così fan tutte, premiered in 1790.

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

1791

Mozart's last year was, until his concluding disease struck, a time of high productivity—and by some accounts, 1 of personal recovery.[77] [h] He composed a great deal, including some of his most admired works: the opera The Magic Flute; the final piano concerto (M. 595 in B ♭ ); the Clarinet Concerto Chiliad. 622; the last in his series of string quintets (K. 614 in Eastward ♭ ); the motet Ave verum corpus K. 618; and the unfinished Requiem Thousand. 626.

Mozart'southward financial situation, a source of anxiety in 1790, finally began to improve. Although the prove is inconclusive,[78] it appears that wealthy patrons in Hungary and Amsterdam pledged annuities to Mozart in return for the occasional composition. He is idea to have benefited from the sale of trip the light fantastic toe music written in his office equally Imperial chamber composer.[78] Mozart no longer borrowed big sums from Puchberg and began to pay off his debts.[78]

He experienced great satisfaction in the public success of some of his works, notably The Magic Flute (which was performed several times in the brusk period betwixt its premiere and Mozart'due south expiry)[79] and the Little Masonic Cantata K. 623, premiered on 17 November 1791.[80]

Terminal affliction and death

Mozart savage ill while in Prague for the premiere, on 6September 1791, of his opera La clemenza di Tito, which was written in that same year on committee for Emperor Leopold II'due south coronation festivities.[81] He connected his professional functions for some fourth dimension 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 airsickness.[82]

Mozart was nursed in his final days by his wife and her youngest sis, and was attended by the family unit doctor, Thomas Franz Closset. He was mentally occupied with the task of finishing his Requiem, only the evidence that he dictated passages to his educatee Franz Xaver Süssmayr is minimal.[83]

Mozart died in his home on 5 December 1791(1791-12-05) (aged 35) at 12:55 am.[84] The New Grove describes his funeral:

Mozart was interred in a common grave, in accord with contemporary Viennese custom, at the St. Marx Cemetery exterior the metropolis on 7December. If, as later reports say, no mourners attended, that too is consistent with Viennese burial community at the time; subsequently Otto Jahn (1856) wrote that Salieri, Süssmayr, van Swieten and two other musicians were present. The tale of a storm and snowfall is false; the twenty-four hour period was at-home and mild.[85]

The expression "common grave" refers to neither a communal grave nor a pauper's grave, but an individual grave for a fellow member of the common people (i.due east., not the aristocracy). Common graves were subject field to excavation after ten years; the graves of aristocrats were not.[86]

The cause of Mozart's decease 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 take suggested more than than a hundred causes of death, including acute rheumatic fever,[87] [88] streptococcal infection,[89] [ninety] trichinosis,[91] [92] flu, mercury poisoning, and a rare kidney ailment.[87]

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"[93] for his work; biographies were written beginning by Schlichtegroll, Niemetschek, and Nissen, and publishers vied to produce complete editions of his works.[93]

Appearance and graphic symbol

Detail of portrait of Mozart by his brother-in-law Joseph Lange; for discussion of the portrait, come across Joseph Lange

Mozart's concrete appearance was described by tenor Michael Kelly in his Reminiscences: "a remarkably pocket-size man, very thin and stake, 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 big intense eyes, gave no signs of his genius." His facial complexion was pitted, a reminder of his childhood case of smallpox.[94] Of his phonation, his wife later wrote that information technology "was a tenor, rather soft in speaking and delicate in singing, but when anything excited him, or information technology became necessary to exert it, it was both powerful and energetic."[95]

He loved elegant wearable. Kelly remembered him at a rehearsal: "[He] was on the stage with his crimson pelisse and gold-laced cocked lid, giving the time of the music to the orchestra." Based on pictures that researchers were able to notice of Mozart, he seemed to vesture 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.[94]

Mozart ordinarily worked long and hard, finishing compositions at a tremendous step as deadlines approached. He often made sketches and drafts; different Beethoven'due south, these are mostly not preserved, every bit his married woman sought to destroy them after his death.[96]

Mozart lived at the center of the Viennese musical earth, and knew a significant number and variety of people: beau musicians, theatrical performers, swain Salzburgers, and aristocrats, including some associate with Emperor Joseph II. Solomon considers his iii 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 role player Joseph Leutgeb. Leutgeb and Mozart carried on a curious kind of friendly mockery, often with Leutgeb as the butt of Mozart'south practical jokes.[97]

He enjoyed billiards, dancing, and kept pets, including a canary, a starling, a dog, and a horse for recreational riding.[98] He had a startling fondness for scatological sense of 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 sis and parents.[99] Mozart also wrote scatological music, a series of canons that he sang with his friends.[100] Mozart was raised a Catholic and remained a devout member of the Church building throughout his life.[101] [102]

Works, musical mode, and innovations

Style

Mozart's music, like Haydn'south, stands as an archetype of the Classical way. At the time he began composing, European music was dominated by the style galant, a reaction confronting the highly evolved intricacy of the Bizarre. Progressively, and in large function at the hands of Mozart himself, the contrapuntal complexities of the late Baroque emerged once again, chastened 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 cord quintet, and the pianoforte sonata. These forms were not new, but Mozart advanced their technical composure and emotional reach. He near single-handedly developed and popularized the Classical pianoforte concerto. He wrote a neat deal of religious music, including big-scale masses, every bit well as dances, divertimenti, serenades, and other forms of light entertainment.[103]

The central traits of the Classical style are all present in Mozart'due south music. Clarity, balance, and transparency are the hallmarks of his work, merely simplistic notions of its effeminateness mask the infrequent power of his finest masterpieces, such as the Piano Concerto No. 24 in C small-scale, K. 491; the Symphony No. 40 in K minor, K. 550; and the opera Don Giovanni. Charles Rosen makes the betoken forcefully:

It is just through recognizing the violence and sensuality at the eye of Mozart's piece of work that we can make a offset 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 united states of america to see Mozart'south daemon more steadily. In all of Mozart's supreme expressions of suffering and terror, there is something shockingly voluptuous.[104]

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 piece of work'southward nickname, the "Noise" quartet.

Mozart had a gift for arresting and adapting the valuable features of others' music. His travels helped in the forging of a unique compositional linguistic communication.[105] 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, equally well as the avant-garde capabilities of the Mannheim orchestra. In Italy, he encountered the Italian overture and opera buffa, both of which securely affected the evolution of his practice. In London and Italy, the galant style was in the ascendent: uncomplicated, light music with a mania for cadencing; an emphasis on tonic, dominant, and subdominant to the exclusion of other harmonies; symmetrical phrases; and conspicuously articulated partitions in the overall grade of movements.[106] Some of Mozart's early symphonies are Italian overtures, with three movements running into each other; many are homotonal (all three movements having the aforementioned key signature, with the slow middle move 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 adjusted from the Baroque. For example, the Symphony No. 29 in A major K. 201 has a contrapuntal primary 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 twenty fix. The influence of the Sturm und Drang ("Storm and Stress") period in music, with its cursory foreshadowing of the Romantic era, is evident in the music of both composers at that fourth dimension. Mozart's Symphony No. 25 in G pocket-sized 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 on 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 afterward not-operatic compositions.[107]

Köchel catalogue

For unambiguous identification of works past Mozart, a Köchel catalogue number is used. This is a unique number assigned, in regular chronological order, to every i of his known works. A piece of work is referenced by the abbreviation "K." or "KV" followed by this number. The first edition of the catalogue was completed in 1862 past Ludwig von Köchel. It has since been repeatedly updated, equally scholarly research improves knowledge of the dates and authenticity of private works.[108]

Instruments

Although some of Mozart'due south early on pieces were written for harpsichord, he besides 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 of the alphabet to his father.[109] On 22 October 1777, Mozart had premiered his triple-piano concerto, G. 242, on instruments provided by Stein. The Augsburg Cathedral organist Demmler was playing the offset, Mozart the 2d and Stein the third office.[110] In 1783 when living in Vienna he purchased an instrument by Walter.[111] Leopold Mozart confirmed the attachment which Mozart had with his Walter fortepiano: "It is incommunicable to depict 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."[112]

Influence

His well-nigh famous pupil, whom the Mozarts took into their Vienna domicile for ii years as a child, was probably Johann Nepomuk Hummel, a transitional figure between the Classical and Romantic eras.[113] More than important is the influence Mozart had on composers of later generations. Ever since the surge in his reputation after his expiry, studying his scores has been a standard part of classical musicians' training.[114]

Ludwig van Beethoven, Mozart's junior by 15 years, was securely influenced past his work, with which he was acquainted as a teenager.[115] He is thought to have performed Mozart's operas while playing in the court orchestra at Bonn[116] and travelled to Vienna in 1787 hoping to study with the older composer. Some of Beethoven's works take direct models in comparable works by Mozart, and he wrote cadenzas (WoO 58) to Mozart's D minor pianoforte concerto M. 466.[117] [i]

Composers have paid homage to Mozart by writing sets of variations on his themes. Beethoven wrote 4 such sets (Op. 66, WoO 28, WoO 40, WoO 46).[118] Others include Fernando Sor's Introduction and Variations on a Theme past Mozart (1821), Mikhail Glinka's Variations on a Theme from Mozart's Opera The Magic Flute (1822), Frédéric Chopin'south 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.[119] Pyotr Ilyich Tchaikovsky, who revered Mozart, wrote his Orchestral Suite No. iv in G, Mozartiana (1887), as a tribute to Mozart.[120]

Notes

  1. ^ Sources vary in how Mozart's name should exist pronounced in English. Fradkin 1996, a guide for radio announcers, strongly recommends [ts] for letter of the alphabet z (thus WUULF-gang AM-ə-Mean solar day-əs MOHT-sart), but otherwise considers English-like pronunciation fully acceptable. The High german one is [ˈvɔlfɡaŋ ʔamaˈdeːʊs ˈmoːtsaʁt] ( heed ).
  2. ^ Mozart'due south exact proper name involved many complications; for details, run across Mozart's name.
  3. ^ Source: Wilson 1999, p. 2. The many changes of European political borders since Mozart'southward time go far difficult to assign him an unambiguous nationality; for discussion, run across Mozart's nationality.
  4. ^ Eisen & Keefe 2006, p. 268: "You ask me to have the immature Salzburger into your service. I do not know why not assertive that you take need for a composer or of useless people.... What I say is intended but to forestall you from burdening yourself with useless people and giving titles to people of that sort. In addition, if they are at your service, it degrades that service when these people go nigh the world like beggars."
  5. ^ Archbishop Colloredo responded to the request by dismissing both Mozart and his father, though the dismissal of the latter was not actually carried out.
  6. ^ Mozart complains of this in a alphabetic character to his father, dated 24 March 1781.[45]
  7. ^ A more contempo view, Wolff 2012, is that Mozart'south position was a more substantial ane than is traditionally maintained, and that some of Mozart's chamber music from this time was written every bit role of his regal duties.
  8. ^ More than recently, Wolff 2012 has forcefully advocated a view of Mozart's career at the finish of his life every bit being on the rise, interrupted by his sudden death.
  9. ^ For further details, meet Beethoven and Mozart.

References

Citations

  1. ^ Buch 2017, "Introduction".
  2. ^ a b c Eisen & Sadie 2001.
  3. ^ Arnold, Rosemarie; Taylor, Robert; Eisenschmid, Rainer (2009). Austria. Baedeker. ISBN978-three-8297-6613-5. OCLC 416424772.
  4. ^ Deutsch 1965, p. nine.
  5. ^ Solomon 1995, p. 21.
  6. ^ Solomon 1995, p. 32.
  7. ^ Deutsch 1965, p. 455.
  8. ^ Solomon 1995, p. 44.
  9. ^ Andante in C major, Grand. 1a, Allegro in C major, K. 1b, Allegro in F major, Thou.1c: Scores at the International Music Score Library Projection
  10. ^ a b Solomon 1995, pp. 39–40
  11. ^ Deutsch 1965, p. 453.
  12. ^ Solomon 1995, p. 33.
  13. ^ "Wolfgang Amadeus Mozart | Composer | Blue Plaques". English Heritage . Retrieved 25 September 2020.
  14. ^ Grove 1954, p. 926.
  15. ^ Meerdter, Joe (2009). "Mozart Biography". midiworld.com . Retrieved 20 December 2014.
  16. ^ Halliwell 1998, pp. 51, 53.
  17. ^ Halliwell 1998, pp. 82–83.
  18. ^ Halliwell 1998, pp. 99–102.
  19. ^ Gutman 2000, p. 271. For details of the story, see Miserere (Allegri) and Mozart's compositional method.
  20. ^ Chrissochoidis, Ilias (Summertime 2010). "London Mozartiana: Wolfgang's disputed historic period & early performances of Allegri's Miserere". The Musical Times. Vol. 151, no. 1911. pp. 83–89. Provides new data on this episode.
  21. ^ Halliwell 1998, pp. 172, 183–185.
  22. ^ Solomon 1995, p. 106.
  23. ^ Solomon 1995, p. 103.
  24. ^ Solomon 1995, p. 98.
  25. ^ Solomon 1995, p. 107.
  26. ^ Solomon 1995, p. 109.
  27. ^ Vatican 1770.
  28. ^ Halliwell 1998, p. 225.
  29. ^ Sadie 1998.
  30. ^ Drebes, Gerald (1992). Die 'Mannheimer Schule'—ein Zentrum der vorklassischen Musik und Mozart. Heidelberg. Archived from the original on 7 February 2015.
  31. ^ Deutsch 1965, p. 174.
  32. ^ Solomon 1995, p. 149.
  33. ^ Halliwell 1998, pp. 304–305.
  34. ^ Abert 2007, p. 509.
  35. ^ Halliwell 1998, p. 305.
  36. ^ Piotr Napierała. "Bizarre Composers". baroquecomposers.blogspot.nl. Archived from the original on 14 January 2015. Retrieved 29 January 2015.
  37. ^ Halliwell 1998, chs. xviii–19.
  38. ^ Solomon 1995, p. 157.
  39. ^ Halliwell 1998, p. 322.
  40. ^ Sadie 1998, §3
  41. ^ Jean Massin; Brigitte Massin, eds. (1983). Histoire de la musique occidentale. Paris: Fayard. p. 613. He wrote during that period that, whenever he or someone else played ane of his compositions, it was as if the table and chairs were the only listeners.
  42. ^ Deutsch 1965, p. 176.
  43. ^ Einstein 1965, pp. 276–277.
  44. ^ Sadie 1980, vol. 12, p. 700.
  45. ^ Spaethling 2000, p. 235.
  46. ^ Spaethling 2000, p. 238.
  47. ^ a b Spaethling 2000, p. 237; the letter of the alphabet dates from 24 March 1781.
  48. ^ Spaethling 2000, pp. 238–239.
  49. ^ a b c d Sadie 1998, §4
  50. ^ Solomon 1995, p. 247.
  51. ^ Solomon 1995, p. 253.
  52. ^ Solomon 1995, p. 259.
  53. ^ a b Solomon 1995, p. 258
  54. ^ Solomon 1995, pp. 265–266.
  55. ^ Solomon 1995, p. 270.
  56. ^ Come across Barry 2000 for detailed discussion of the influence of Opus 33 on the "Haydn" quartets.
  57. ^ Landon 1990, p. 171.
  58. ^ Mozart & Mozart 1966, p. 1331. Leopold's letter to his girl Nannerl, 14–16 May 1785.
  59. ^ a b Solomon 1995, p. 293
  60. ^ a b Solomon 1995, p. 298
  61. ^ Solomon 1995, p. 430.
  62. ^ Solomon 1995, p. 578.
  63. ^ Solomon 1995, §27.
  64. ^ Solomon 1995, p. 431.
  65. ^ Solomon 1995, p. 321.
  66. ^ Rushton, Julian (2005). Mozart: An Extraordinary Life. Associated Board of the Royal Schoolhouse of Music. p. 67.
  67. ^ "Czech Museum of Music to brandish "Mozart" piano". Radio Praha. 31 Jan 2007. Retrieved 14 December 2018.
  68. ^ a b Solomon 1995
  69. ^ Freeman 2021, pp. 131–168.
  70. ^ Palmer, Willard (2006). W.A. Mozart: An Introduction to His Keyboard Works. Alfred Music Publishing. p. 4. ISBN978-0-7390-3875-8.
  71. ^ Solomon 1995, pp. 423–424
  72. ^ Haberl 2006, pp. 215–255.
  73. ^ a b Sadie 1998, §six
  74. ^ Lorenz 2010.
  75. ^ Sadie 1980, vol. 12, p. 710.
  76. ^ Steptoe 1990, p. 208.
  77. ^ Solomon 1995, §30.
  78. ^ a b c Solomon 1995, p. 477
  79. ^ Solomon 1995, p. 487.
  80. ^ And not as previously stated on 15 November; see Abert 2007, p. 1307, fn 9
  81. ^ Freeman 2021, pp. 193–230.
  82. ^ Solomon 1995, p. 491.
  83. ^ Solomon 1995, pp. 493, 588.
  84. ^ "Mozart's final yr and decease—1791". Classic FM (Uk).
  85. ^ Sadie 1980, vol. 12, p. 716.
  86. ^ Walther Brauneis. Dies irae, dies illa—Day of wrath, solar day of wailing: Notes on the commissioning, origin and completion of Mozart's Requiem (KV 626) (PDF). Archived from the original (PDF) on seven April 2014.
  87. ^ a b Wakin 2010
  88. ^ Crawford, Franklin (xiv February 2000). "Foul play ruled out in death of Wolfgang Amadeus Mozart". EurekAlert!. American Association for the Advancement of Scientific discipline. Archived from the original on 26 Apr 2014. Retrieved 26 April 2014.
  89. ^ Becker, Sander (xx August 2009). "Voorlopig is Mozart bezweken aan streptokok" [For the time being Mozart succumbed to streptococcus]. Trouw . Retrieved 25 April 2014. .
  90. ^ Bakalar, Nicholas (17 August 2009). "What Really Killed Mozart? Perhaps Strep". The New York Times . Retrieved 24 April 2014.
  91. ^ Hirschmann, January V. (11 June 2001). "Special Commodity: What Actually Killed Mozart?". JAMA Internal Medicine. 161 (11): 1381–1389. doi:ten.1001/archinte.161.11.1381. PMID 11386887.
  92. ^ Dupouy-Camet, Jean (22 April 2002). "Editor's Correspondence: Trichinellosis Is Unlikely to Exist Responsible for Mozart'south Decease". JAMA Internal Medicine (Critical comment and respond). 162 (8): 946, author reply 946–947. doi:10.1001/archinte.162.eight.946. PMID 11966352.
  93. ^ a b Solomon 1995, p. 499
  94. ^ a b "Discovered, new Mozart portrait that shows musician without his wig". The Telegraph. 11 January 2013. Archived from the original on 10 Jan 2022. Retrieved seven May 2018.
  95. ^ Solomon 1995, p. 308.
  96. ^ Solomon 1995, p. 310.
  97. ^ Solomon 1995, §20.
  98. ^ Solomon 1995, p. 319.
  99. ^ Solomon 1995, p. 169.
  100. ^ A list of the canons may be establish at Mozart and scatology#In music.
  101. ^ Goldstein, Jack (2013). 101 Amazing Mozart Facts. Andrews UK Limited.
  102. ^ Abert 2007, p. 743.
  103. ^ Grove 1954, pp. 958–982.
  104. ^ Rosen 1998, p. 324.
  105. ^ Solomon 1995, ch. 8. Discussion of the sources of style as well as his early imitative ability.
  106. ^ Heartz 2003.
  107. ^ Einstein 1965, p.[ page needed ].
  108. ^ Zaslaw & Cowdery 1990, pp. 331–332.
  109. ^ "The Messages of Wolfgang Amadeus Mozart. (1769–1791), past Wolfgang Amadeus Mozart". www.gutenberg.org . Retrieved 5 Feb 2021.
  110. ^ Layer, Adolf; Ullrich, Hermann (2001). Demmler [Demler, Dümmler], Johann Michael. Oxford Music Online. Oxford University Press. doi:x.1093/gmo/9781561592630.article.07542.
  111. ^ Latcham, Michael (1997). "Mozart and the pianos of Gabriel Anton Walter". Early on Music. XXV (3): 383–400. doi:x.1093/earlyj/XXV.3.383.
  112. ^ Bauer, Wilhelm (1963). Mozart: Briefe und Aufzeichnungen (PDF).
  113. ^ Solomon 1995, p. 574.
  114. ^ Run into, for example: Temperley, Nicholas. "Mozart's Influence on English Music". Music & Messages 42.4 (1961): 307–318.
  115. ^ Jahn, Otto; Townsend, Pauline D.; Grove, George (1882). Life of Mozart. London, Novello, Ewer & Co.
  116. ^ Raptus Association for Music Appreciation.
  117. ^ Churgin 1987, pp. 457–458.
  118. ^ Churgin 1987, p. 458.
  119. ^ March, Greenfield & Layton 2005.
  120. ^ Wiley, Roland John (2001). "Tchaikovsky, Pyotr Il′yich". Grove Music Online. Oxford: Oxford University Press. doi:x.1093/gmo/9781561592630.commodity.51766. (subscription or UK public library membership required)

Sources

  • Abert, Hermann (2007). Due west.A. Mozart. Translated by Spencer, Stewart. Cliff Eisen (ed.). New Haven: Yale University Printing. ISBN978-0-300-07223-5. OCLC 70401564.
  • Barry, Barbara R. (2000). The Philosopher's Stone: Essays in the Transformation of Musical Structure. Hillsdale, New York: Pendragon Printing. ISBN978-1-57647-010-7. OCLC 466918491.
  • Buch, David (2017). "Wolfgang Amadeus Mozart". Oxford Bibliographies: Music. Oxford: Oxford University Printing. doi:x.1093/OBO/9780199757824-0193. (subscription required)
  • Churgin, Bathia (Fall 1987). "Beethoven and Mozart's Requiem: A New Connection" (PDF). The Periodical of Musicology. 5 (iv): 457–477. doi:10.2307/763840. JSTOR 763840.
  • Deutsch, Otto Erich (1965). Mozart: A Documentary Biography. Peter Branscombe, Eric Blom, Jeremy Noble (trans.). Stanford: Stanford Academy Press. ISBN978-0-8047-0233-i. OCLC 8991008.
  • Einstein, Alfred (1965). Mozart: His Character, His Work. Galaxy Book 162. Arthur Mendel, Nathan Broder (trans.) (6th ed.). New York Urban center: Oxford University Press. ISBN978-0-304-92483-vii. OCLC 456644858.
  • Eisen, Cliff; Keefe, Simon P., eds. (2006). The Cambridge Mozart Encyclopedia. Cambridge: Cambridge University Press. ISBN978-0-521-85659-i.
  • Eisen, Cliff; Sadie, Stanley (2001). "Mozart, Wolfgang Amadeus". Grove Music Online. Oxford: Oxford University Press. doi:10.1093/gmo/9781561592630.commodity.6002278233. (subscription or UK public library membership required)
  • Fradkin, Robert A (1996). The Well-Tempered Announcer: A Pronunciation Guide to Classical Music. Bloomington: Indiana University Press. ISBN978-0-253-21064-7.
  • Freeman, Daniel Eastward. (2021). Mozart in Prague. Minneapolis: Calumet Editions. ISBN978-1-950743-50-vi.
  • Grove's Dictionary of Music and Musicians (5th ed.). New York: Macmillam Press. 1954.
  • Gutman, Robert (2000). Mozart: A Cultural Biography. London: Harcourt Brace. ISBN978-0-15-601171-6. OCLC 45485135.
  • Halliwell, Ruth (1998). The Mozart Family: Four Lives in a Social Context. New York City: Clarendon Press. ISBN978-0-19-816371-8. OCLC 36423516.
  • Haberl, Dieter (2006). "Beethovens erste Reise nach Wien: die Datierung seiner Schülerreise zu Westward.A. Mozart". Neues Musikwissenschaftliches Jahrbuch (in German language) (14). OCLC 634798176.
  • Heartz, Daniel (2003). Music in European Capitals: The Galant Style, 1720–1780 (1st ed.). New York Urban center: W. W. Norton & Company. ISBN978-0-393-05080-six. OCLC 50693068.
  • Landon, Howard Chandler Robbins (1990). 1791: Mozart'due south Last Year. London: Flamingo. ISBN978-0-00-654324-4. OCLC 20932333.
  • Lorenz, Michael (ix August 2010). "Mozart's Apartment on the Alsergrund". Retrieved 27 September 2010.
  • March, Ivan; Greenfield, Edward; Layton, Robert (2005). Czajkowski, Paul (ed.). Penguin Guide to Compact Discs And DVDs, 2005–2006 (30th ed.). London: Penguin. ISBN978-0-xiv-102262-viii. OCLC 416204627.
  • Mozart, Wolfgang; Mozart, Leopold (1966). Anderson, Emily (ed.). The Messages of Mozart and his Family unit (2nd ed.). London: Macmillan. ISBN978-0-393-02248-3. OCLC 594813.
  • Mozart'southward Letters, Mozart'southward Life: Selected Messages. Translated by Robert Spaethling. W.Westward. Norton. 2000.
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  • Rosen, Charles (1998). The Classical Style: Haydn, Mozart, Beethoven (2nd ed.). New York City: W. W. Norton & Company. ISBN978-0-393-31712-i. OCLC 246977555.
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  • Sadie, Stanley, ed. (1980). The New Grove Dictionary of Music and Musicians (6th ed.). London: Macmillan. ISBN978-0-333-23111-1. OCLC 5676891.
  • Solomon, Maynard (1995). Mozart: A Life (1st ed.). New York City: HarperCollins. ISBN978-0-06-019046-0. OCLC 31435799.
  • Steptoe, Andrew (1990). The Mozart–Da Ponte Operas: The Cultural and Musical Background to Le nozze di Figaro, Don Giovanni, and Così fan tutte . Oxford: Clarendon Press. ISBN978-0-xix-816221-6. OCLC 22895166.
  • "Award of the Papal Equestrian Order of the "Aureate Spur" to Wolfgang Amadeus Mozart". Vatican Secret Archives. 4 July 1770. Archived from the original on 18 September 2010. Retrieved 27 September 2010.
  • Wakin, Daniel J. (24 August 2010). "After Mozart's Death, an Endless Coda". The New York Times. ISSN 0362-4331.
  • Wilson, Peter Hamish (1999). The Holy Roman Empire, 1495–1806. London: MacMillan.
  • Wolff, Christoph (2012). Mozart at the Gateway to His Fortune: Serving the Emperor, 1788–1791. New York: Norton. ISBN978-0-393-05070-7.
  • Zaslaw, Neal; Cowdery, William, eds. (1990). The Compleat Mozart: A Guide to the Musical Works of Wolfgang Amadeus Mozart. New York and London: W. W. Norton & Visitor. ISBN978-0-393-02886-7.

Further reading

See Buch 2017 for an extensive bibliography

  • Braunbehrens, Volkmar (1990). Mozart: Lebensbilder. G. Lubbe. ISBN978-three-7857-0580-iii.
  • Cairns, David (2006). Mozart and His Operas. Berkeley, California: Academy of California Press. ISBN978-0-520-22898-6. OCLC 62290645.
  • Holmes, Edward (2005). The Life of Mozart. New York: Cosimo Classics. ISBN978-1-59605-147-8. OCLC 62790104.
  • Kallen, Stuart A. (2000). Great Composers. San Diego: Lucent. ISBN978-1-56006-669-9.
  • Mozart, Wolfgang (1972). Mersmann, Hans (ed.). Letters of Wolfgang Amadeus Mozart. New York: Dover Publications. ISBN978-0-486-22859-four. OCLC 753483.
  • Swafford, Jan (2020). Mozart – The Reign of Beloved. New York: Harper. ISBN978-0-06-243357-2. OCLC 1242102319.
  • Till, Nicholas (1995). Mozart and the Enlightenment: Truth, Virtue and Beauty in Mozart's Operas. New York City: Due west. W. Norton & Company. ISBN978-0-393-31395-6. OCLC 469628809.

External links

  • Homepage for the Salzburg Mozarteum Foundation
  • "Discovering Mozart". BBC Radio 3.
  • Wolfgang Amadeus Mozart at IMDb
Digitized documents
  • Works past Wolfgang Amadeus Mozart at Projection Gutenberg
  • Works past or near Wolfgang Amadeus Mozart at Internet Archive
  • Works past Wolfgang Amadeus Mozart at LibriVox (public domain audiobooks)
  • "Mozart" Titles; Mozart as author at Google Books
  • Digital Mozart Edition Archived eighteen February 2017 at the Wayback Machine (Internationale Stiftung Mozarteum)
  • "Mozart" titles from Gallica (in French)
  • From the British Library
    • Mozart's Thematic Catalogue
    • Mozart'due south Musical Diary
    • Background information on Mozart and the Thematic Catalogue
  • Letters of Leopold Mozart und Wolfgang Amadeus Mozart (in German) (Baden State Library)
Canvas music
  • Complete sheet music (scores) from the Neue Mozart-Ausgabe (Internationale Stiftung Mozarteum)
  • Mozart titles 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)
  • Gratuitous typeset sheet music of Mozart'due south works from Cantorion.org
  • The Mutopia Project has compositions by Wolfgang Amadeus Mozart
  • Wolfgang Amadeus Mozart at the Musopen project

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Source: https://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart