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Mozartc.1780,detailfromportraitbyJohannNepomukdellaCroce

WolfgangAmadeusMozartFromWikipedia,thefreeencyclopedia

WolfgangAmadeusMozart(German:[vlfaamadesmotsat],Englishseefn.[1]27January17565December1791),baptisedasJohannesChrysostomusWolfgangusTheophilusMozart,[2]wasaprolificandinfluentialcomposeroftheClassicalera.

Mozartshowedprodigiousabilityfromhisearliestchildhood.Alreadycompetentonkeyboardandviolin,hecomposedfromtheageoffiveandperformedbeforeEuropeanroyalty.At17,hewasengagedasacourtmusicianinSalzburg,butgrewrestlessandtravelledinsearchofabetterposition,alwayscomposingabundantly.WhilevisitingViennain1781,hewasdismissedfromhisSalzburgposition.Hechosetostayinthecapital,whereheachievedfamebutlittlefinancialsecurity.DuringhisfinalyearsinVienna,hecomposedmanyofhisbestknownsymphonies,concertos,andoperas,andportionsoftheRequiem,whichwaslargelyunfinishedatthetimeofhisdeath.Thecircumstancesofhisearlydeathhavebeenmuchmythologized.HewassurvivedbyhiswifeConstanzeandtwosons.

Hecomposedover600works,manyacknowledgedaspinnaclesofsymphonic,concertante,chamber,operatic,andchoralmusic.Heisamongthemostenduringlypopularofclassicalcomposers,andhisinfluenceonsubsequentWesternartmusicisprofoundLudwigvanBeethovencomposedhisownearlyworksintheshadowofMozart,andJosephHaydnwrotethat"posteritywillnotseesuchatalentagainin100years."[3]

Contents

1Biography1.1Earlylife

1.1.1Familyandchildhood1.1.2176273:Travel

1.2177377:EmploymentattheSalzburgcourt1.3177778:JourneytoParis1.4Vienna1.51781:Departure

1.5.1Earlyyears1.5.2178687:Returntoopera

1.6Lateryearsanddeath1.6.11788901.6.217911.6.3Finalillnessanddeath

2Appearanceandcharacter



AnonymousportraitofthechildMozart,possiblybyPietroAntonioLorenzonipaintedin1763oncommissionfromLeopoldMozart

2Appearanceandcharacter3Works,musicalstyle,andinnovations

3.1Style3.2Influence3.3Kchelcatalogue

4Seealso5Notes6References7Furtherreading8Externallinks

8.1Digitizeddocuments8.1.1Sheetmusic

Biography

Earlylife

Familyandchildhood

WolfgangAmadeusMozartwasbornon27January1756toLeopoldMozart(17191787)andAnnaMaria,nePertl(17201778),at9GetreidegasseinSalzburg.ThiswasthecapitaloftheArchbishopricofSalzburg,anecclesiasticprincipalityinwhatisnowAustria,thenpartoftheHolyRomanEmpire.[4]Hewastheyoungestofsevenchildren,fiveofwhomdiedininfancy.[5]HiseldersisterwasMariaAnna(17511829),nicknamed"Nannerl".MozartwasbaptizedthedayafterhisbirthatSt.Rupert'sCathedral.ThebaptismalrecordgiveshisnameinLatinizedformasJoannesChrysostomusWolfgangusTheophilusMozart.Hegenerallycalledhimself"WolfgangAmadMozart"[6]asanadult,buthisnamehadmanyvariants.

LeopoldMozart,anativeofAugsburg,[7]wasaminorcomposerandanexperiencedteacher.In1743,hewasappointedasfourthviolinistinthemusicalestablishmentofCountLeopoldAntonvonFirmian,therulingPrinceArchbishopofSalzburg.[8]Fouryearslater,hemarriedAnnaMariainSalzburg.Leopoldbecametheorchestra'sdeputyKapellmeisterin1763.Duringtheyearofhisson'sbirth,Leopoldpublishedaviolintextbook,VersucheinergrndlichenViolinschule,whichachievedsuccess.[9]

WhenNannerlwasseven,shebegankeyboardlessonswithherfatherwhileherthreeyearoldbrotherlookedon.Yearslater,afterherbrother'sdeath,shereminisced:

Heoftenspentmuchtimeattheclavier,pickingoutthirds,whichhewaseverstriking,andhispleasureshowedthatitsoundedgood....Inthefourthyearofhisagehisfather,foragameasitwere,begantoteachhimafewminuetsandpiecesattheclavier....Hecouldplay



Mozart'sbirthplaceatGetreidegasse9,Salzburg

itfaultlesslyandwiththegreatestdelicacy,andkeepingexactlyintime....Attheageoffive,hewasalreadycomposinglittlepieces,whichheplayedtohisfatherwhowrotethemdown.[10]

Theseearlypieces,K.15,wererecordedintheNannerlNotenbuch.

ThereissomescholarlydebateofwhetherMozartwasfourorfiveyearsoldwhenhecreatedhisfirstmusicalcompositions,thoughthereislittledoubtthatMozartcomposedhisfirstthreepiecesofmusicwithinafewweeksofeachother:KVs1a,[11]

1b[12]and1c[13]

BiographerMaynardSolomon[14]notesthat,whileLeopoldwasadevotedteachertohischildren,thereisevidencethatMozartwaskeentoprogressbeyondwhathewastaught.Hisfirstinkspatteredcompositionandhisprecociouseffortswiththeviolinwereofhisowninitiativeandcameasasurprisetohisfather.[15]Leopoldeventuallygaveupcomposingwhenhisson'smusicaltalentsbecameevident.[16]Inhisearlyyears,Mozart'sfatherwashisonlyteacher.Alongwithmusic,hetaughthischildrenlanguagesandacademicsubjects.[14]

176273:Travel

DuringMozart'syouth,hisfamilymadeseveralEuropeanjourneysinwhichheandNannerlperformedaschildprodigies.Thesebeganwithanexhibition,in1762,atthecourtofthePrinceelectorMaximilianIIIofBavariainMunich,andattheImperialCourtinViennaandPrague.Alongconcerttourspanningthreeandahalfyearsfollowed,takingthefamilytothecourtsofMunich,Mannheim,Paris,London,[17]TheHague,againtoParis,andbackhomeviaZurich,Donaueschingen,andMunich.

Mozartwrotehisfirstsymphonywhenhewaseightyearsold.Itisprobablethathisfathertranscribedmostofitforhim.[18]

Duringthistrip,Mozartmetanumberofmusiciansandacquaintedhimselfwiththeworksofothercomposers.AparticularlyimportantinfluencewasJohannChristianBach,whomMozartvisitedinLondonin1764and1765.ThefamilyagainwenttoViennainlate1767andremainedthereuntilDecember1768.

Thesetripswereoftendifficultandtravelconditionswereprimitive.[20]Thefamilyhadtowaitforinvitationsandreimbursementfromthenobilityandtheyenduredlong,nearfatalillnessesfarfromhome:firstLeopold(London,summer1764)[21]thenbothchildren(TheHague,autumn1765).[22]

AfteroneyearinSalzburg,LeopoldandMozartsetoffforItaly,leavingMozart'smotherandsisterathome.ThistravellastedfromDecember1769toMarch1771.Aswithearlierjourneys,Leopoldwantedtodisplayhisson'sabilitiesasaperformerandarapidlymaturingcomposer.MozartmetJosefMysliveekandGiovanniBattistaMartiniinBolognaandwasacceptedasamemberofthefamousAccademiaFilarmonica.InRome,heheardGregorioAllegri'sMisereretwiceinperformanceintheSistineChapelandwroteitoutfrommemory,thusproducingthefirstunauthorizedcopyofthiscloselyguardedpropertyoftheVatican.[23][24]



TheMozartfamilyontour:Leopold,Wolfgang,andNannerl.WatercolorbyCarmontelle,ca.1763[19]

InMilan,MozartwrotetheoperaMitridate,rediPonto(1770),whichwasperformedwithsuccess.Thisledtofurtheroperacommissions.HereturnedwithhisfatherlatertwicetoMilan(AugustDecember1771October1772March1773)forthecompositionandpremieresofAscanioinAlba(1771)andLucioSilla(1772).LeopoldhopedthesevisitswouldresultinaprofessionalappointmentforhissoninItaly,butthesehopeswereneverrealized.[25]

TowardtheendofthefinalItalianjourney,Mozartwrotethefirstofhisworkstobestillwidelyperformedtoday,thesolomotetExsultate,jubilate,K.165.

177377:EmploymentattheSalzburgcourt

AfterfinallyreturningwithhisfatherfromItalyon13March1773,MozartwasemployedasacourtmusicianbytherulerofSalzburg,PrinceArchbishopHieronymusColloredo.ThecomposerhadagreatnumberoffriendsandadmirersinSalzburg[26]andhadtheopportunitytoworkinmanygenres,includingsymphonies,sonatas,stringquartets,masses,serenades,andafewminoroperas.BetweenApriland

December1775,Mozartdevelopedanenthusiasmforviolinconcertos,producingaseriesoffive(theonlyonesheeverwrote),whichsteadilyincreasedintheirmusicalsophistication.ThelastthreeK.216,K.218,K.219arenowstaplesoftherepertoire.In1776heturnedhiseffortstopianoconcertos,culminatingintheEflatconcertoK.271ofearly1777,consideredbycriticstobeabreakthroughwork.[27]

Despitetheseartisticsuccesses,MozartgrewincreasinglydiscontentedwithSalzburgandredoubledhiseffortstofindapositionelsewhere.Onereasonwashislowsalary,150florinsayear[28]Mozartlongedtocomposeoperas,andSalzburgprovidedonlyrareoccasionsforthese.Thesituationworsenedin1775whenthecourttheaterwasclosed,especiallysincetheothertheaterinSalzburgwaslargelyreservedforvisitingtroupes.[29]

TwolongexpeditionsinsearchofworkinterruptedthislongSalzburgstay:MozartandhisfathervisitedViennafrom14Julyto26September1773,andMunichfrom6December1774toMarch1775.Neithervisitwassuccessful,thoughtheMunichjourneyresultedinapopularsuccesswiththepremiereofMozart'soperaLafintagiardiniera.[30]

177778:JourneytoParis

InAugust1777,MozartresignedhispositionatSalzburg[32]andon23Septemberventuredoutoncemoreinsearchofemployment,withvisitstoAugsburg,Mannheim,Paris,andMunich.[33]

MozartbecameacquaintedwithmembersofthefamousorchestrainMannheim,thebestinEuropeatthetime.HealsofellinlovewithAloysiaWeber,oneoffourdaughtersofamusicalfamily.TherewereprospectsofemploymentinMannheim,buttheycametonothing,[34]andMozartleftforParison14March1778[35]tocontinuehissearch.OneofhislettersfromParishintsatapossiblepostasanorganistatVersailles,butMozartwasnotinterestedinsuchanappointment.[36]Hefellintodebtandtooktopawningvaluables.[37]ThenadirofthevisitoccurredwhenMozart'smotherwastakenillanddiedon3



PortraitofMozartwearingtheOrderoftheGoldenSpur,receivedin1770fromPopeClementXIVinRome,c.1777[31]

TheMozartfamilyc.1780.TheportraitonthewallisofMozart'smother.

July1778.[38]Therehadbeendelaysincallingadoctorprobably,accordingtoHalliwell,becauseofalackoffunds.[39]MozartstayedwithMelchiorGrimm,who,aspersonalsecretaryoftheDuked'Orlans,livedinhismansion.[40]

WhileMozartwasinParishisfatherwaspursuingopportunitiesofemploymentforhiminSalzburg.[41]Withthesupportofthelocalnobility,Mozartwasofferedapostascourtorganistandconcertmaster.Theannualsalarywas450florins,[42]buthewasreluctanttoaccept.[43]BythattimerelationsbetweenGrimmandMozarthadcooled,andMozartmovedout.AfterleavingParisinSeptember1778forStrasbourg,helingeredinMannheimandMunich,stillhopingtoobtainanappointmentoutsideSalzburg.InMunichheagainencounteredAloysia,nowaverysuccessfulsinger,butshewasnolongerinterestedinhim.[44]MozartfinallyreturnedtoSalzburgon15January1779andtookuphisnewappointment,buthisdiscontentwithSalzburgremainedundiminished.[45]

AmongthebetterknownworkswhichMozartwroteontheParisjourneyaretheAminorpianosonata,K.310/300dandthe"Paris"Symphony(No.31),whichwereperformedinParison12and18June1778.[46]

Vienna

1781:Departure

InJanuary1781,Mozart'soperaIdomeneopremieredwith"considerablesuccess"inMunich.[47]ThefollowingMarch,MozartwassummonedtoVienna,wherehisemployer,ArchbishopColloredo,wasattendingthecelebrationsfortheaccessionofJosephIItotheAustrianthrone.FreshfromtheadulationhehadearnedinMunich,MozartwasoffendedwhenColloredotreatedhimasamereservantandparticularlywhenthearchbishopforbadehimtoperformbeforetheEmperoratCountessThun'sforafeeequaltohalfofhisyearlySalzburgsalary.TheresultingquarrelcametoaheadinMay:Mozartattemptedtoresignandwasrefused.Thefollowingmonth,permissionwasgrantedbutinagrosslyinsultingway:the

composerwasdismissedliterally"withakickinthearse",administeredbythearchbishop'ssteward,CountArco.MozartdecidedtosettleinViennaasafreelanceperformerandcomposer.[48]

ThequarrelwiththearchbishopwentharderforMozartbecausehisfathersidedagainsthim.HopingferventlythathewouldobedientlyfollowColloredobacktoSalzburg,Mozart'sfatherexchangedintenseletterswithhisson,urginghimtobereconciledwiththeiremployer.MozartpassionatelydefendedhisintentiontopursueanindependentcareerinVienna.ThedebateendedwhenMozartwasdismissedbythearchbishop,freeinghimselfbothofhisemployerandhisfather'sdemandstoreturn.SolomoncharacterizesMozart'sresignationasa"revolutionarystep",anditgreatlyalteredthecourseofhislife.[49]



1782portraitofConstanzeMozartbyherbrotherinlawJosephLange

Earlyyears

Mozart'snewcareerinViennabeganwell.Heperformedoftenasapianist,notablyinacompetitionbeforetheEmperorwithMuzioClemention24December1781,[48]andhesoon"hadestablishedhimselfasthefinestkeyboardplayerinVienna".[48]Healsoprosperedasacomposer,andin1782completedtheoperaDieEntfhrungausdemSerail("TheAbductionfromtheSeraglio"),whichpremieredon16July1782andachievedahugesuccess.Theworkwassoonbeingperformed"throughoutGermanspeakingEurope",[48]andfullyestablishedMozart'sreputationasacomposer.

NeartheheightofhisquarrelswithColloredo,MozartmovedinwiththeWeberfamily,whohadmovedtoViennafromMannheim.Thefather,Fridolin,haddied,andtheWeberswerenowtakinginlodgerstomakeendsmeet.[50]Aloysia,whohadearlierrejectedMozart'ssuit,wasnowmarriedtotheactorandartistJosephLange.Mozart'sinterestshiftedtothethirdWeberdaughter,Constanze.ThecourtshipdidnotgoentirelysmoothlysurvivingcorrespondenceindicatesthatMozartandConstanzebrieflyseparatedinApril1782.[51]Mozartfacedaverydifficulttaskingettinghisfather'spermissionforthemarriage.[52]Thecouplewerefinallymarriedon4August1782inSt.Stephen'sCathedral,thedaybeforehisfather'sconsentarrivedinthemail.[52]

Thecouplehadsixchildren,ofwhomonlytwosurvivedinfancy:

RaimundLeopold(17June19August1783)KarlThomasMozart(21September178431October1858)JohannThomasLeopold(18October15November1786)TheresiaConstanziaAdelheidFriederickeMariaAnna(27December178729June1788)AnnaMaria(diedsoonafterbirth,16November1789)[53]FranzXaverWolfgangMozart(26July179129July1844)

Inthecourseof1782and1783,MozartbecameintimatelyacquaintedwiththeworkofJohannSebastianBachandGeorgeFridericHandelasaresultoftheinfluenceofGottfriedvanSwieten,whoownedmanymanuscriptsoftheBaroquemasters.Mozart'sstudyofthesescoresinspiredcompositionsinBaroquestyle,andlaterinfluencedhispersonalmusicallanguage,forexampleinfugalpassagesinDieZauberflte("TheMagicFlute")andthefinaleofSymphonyNo.41.[8]

In1783,MozartandhiswifevisitedhisfamilyinSalzburg.HisfatherandsisterwerecordiallypolitetoConstanze,butthevisitpromptedthecompositionofoneofMozart'sgreatliturgicalpieces,theMassinCminor.Thoughnotcompleted,itwaspremieredinSalzburg,withConstanzesingingasolopart.[54]

MozartmetJosephHaydninViennaaround1784,andthetwocomposersbecamefriends.WhenHaydnvisitedVienna,theysometimesplayedtogetherinanimpromptustringquartet.Mozart'ssixquartetsdedicatedtoHaydn(K.387,K.421,K.428,K.458,K.464,andK.465)datefromtheperiod1782to1785,andarejudgedtobearesponsetoHaydn'sOpus33setfrom1781.[55]Haydnin1785toldMozart'sfather:"ItellyoubeforeGod,andasanhonestman,yoursonisthegreatestcomposerknowntomebypersonandrepute,hehastasteandwhatismorethegreatestskillincomposition."[56]

From1782to1785Mozartmountedconcertswithhimselfassoloist,presentingthreeorfournewpianoconcertosineachseason.Sincespaceinthetheaterswasscarce,hebookedunconventionalvenues:alargeroomintheTrattnerhof(anapartmentbuilding),andtheballroomoftheMehlgrube(a



restaurant).[57]Theconcertswereverypopular,andtheconcertoshepremieredatthemarestillfirmfixturesintherepertoire.SolomonwritesthatduringthisperiodMozartcreated"aharmoniousconnectionbetweenaneagercomposerperformerandadelightedaudience,whichwasgiventheopportunityofwitnessingthetransformationandperfectionofamajormusicalgenre".[57]

Withsubstantialreturnsfromhisconcertsandelsewhere,Mozartandhiswifeadoptedaratherplushlifestyle.Theymovedtoanexpensiveapartment,withayearlyrentof460florins.[58]MozartboughtafinefortepianofromAntonWalterforabout900florins,andabilliardtableforabout300.[58]TheMozartssenttheirsonKarlThomastoanexpensiveboardingschool,[59][60]andkeptservants.Savingwasthereforeimpossible,andtheshortperiodoffinancialsuccessdidnothingtosoftenthehardshiptheMozartswerelatertoexperience.[61][62]

On14December1784,MozartbecameaFreemason,admittedtothelodgeZurWohlttigkeit("Beneficence").[63]FreemasonryplayedanimportantroleintheremainderofMozart'slife:heattendedmeetings,anumberofhisfriendswereMasons,andonvariousoccasionshecomposedMasonicmusic,e.g.theMaurerischeTrauermusik.

178687:Returntoopera

DespitethegreatsuccessofDieEntfhrungausdemSerail,Mozartdidlittleoperaticwritingforthenextfouryears,producingonlytwounfinishedworksandtheoneactDerSchauspieldirektor.Hefocusedinsteadonhiscareerasapianosoloistandwriterofconcertos.Aroundtheendof1785,Mozartmovedawayfromkeyboardwriting[64]andbeganhisfamousoperaticcollaborationwiththelibrettistLorenzoDaPonte.1786sawthesuccessfulpremiereofTheMarriageofFigaroinVienna.ItsreceptioninPraguelaterintheyearwasevenwarmer,andthisledtoasecondcollaborationwithDaPonte:theoperaDonGiovanni,whichpremieredinOctober1787toacclaiminPrague,butlesssuccessinViennain1788.[65]ThetwoareamongMozart'smostimportantworksandaremainstaysoftheoperaticrepertoiretoday,thoughattheirpremierestheirmusicalcomplexitycauseddifficultyforbothlistenersandperformers.ThesedevelopmentswerenotwitnessedbyMozart'sfather,whohaddiedon28May1787.

InDecember1787,Mozartfinallyobtainedasteadypostunderaristocraticpatronage.EmperorJosephIIappointedhimashis"chambercomposer",apostthathadfallenvacantthepreviousmonthonthedeathofGluck.Itwasaparttimeappointment,payingjust800florinsperyear,andrequiredMozartonlytocomposedancesfortheannualballsintheRedoutensaal.ThismodestincomebecameimportanttoMozartwhenhardtimesarrived.CourtrecordsshowthatJoseph'saimwastokeeptheesteemedcomposerfromleavingViennainpursuitofbetterprospects.[66]

In1787theyoungLudwigvanBeethovenspentseveralweeksinVienna,hopingtostudywithMozart.[67]Noreliablerecordssurvivetoindicatewhetherthetwocomposersevermet.

Lateryearsanddeath

178890

Towardtheendofthedecade,Mozart'scircumstancesworsened.Around1786hehadceasedtoappearfrequentlyinpublicconcerts,andhisincomeshrank.[68]ThiswasadifficulttimeformusiciansinViennabecauseoftheAustroTurkishWar,andboththegenerallevelofprosperityandtheabilityofthe



DrawingofMozartinsilverpoint,madebyDoraStockduringMozart'svisittoDresden,April1789

aristocracytosupportmusichaddeclined.[64]

Bymid1788,MozartandhisfamilyhadmovedfromcentralViennatothesuburbofAlsergrund.[68]AlthoughithasbeenthoughtthatMozartreducedhisrentalexpenses,researchshowsthatbymovingtothesuburb,Mozarthadnotreducedhisexpenses(asclaimedinhislettertoPuchberg),butmerelyincreasedthehousingspaceathisdisposal.[69]Mozartbegantoborrowmoney,mostoftenfromhisfriendandfellowMasonMichaelPuchberg"apitifulsequenceofletterspleadingforloans"survives.[70]MaynardSolomonandothershavesuggestedthatMozartwassufferingfromdepression,anditseemsthathisoutputslowed.[71]Majorworksoftheperiodincludethelastthreesymphonies(Nos.39,40,and41,allfrom1788),andthelastofthethreeDaPonteoperas,Cosfantutte,premieredin1790.

Aroundthistime,Mozartmadelongjourneyshopingtoimprovehisfortunes:toLeipzig,Dresden,andBerlininthespringof1789,andtoFrankfurt,Mannheim,andotherGermancitiesin1790.Thetripsproducedonlyisolatedsuccessanddidnotrelievethefamily'sfinancialdistress.

1791

Mozart'slastyearwas,untilhisfinalillnessstruck,atimeofgreatproductivityandbysomeaccounts,oneofpersonalrecovery.[72]Hecomposedagreatdeal,includingsomeofhismostadmiredworks:theoperaTheMagicFlutethefinalpianoconcerto(K.595inBflat)theClarinetConcertoK.622thelastinhisgreatseriesofstringquintets(K.614inEflat)themotetAveverumcorpusK.618andtheunfinishedRequiemK.626.

Mozart'sfinancialsituation,asourceofextremeanxietyin1790,finallybegantoimprove.Althoughtheevidenceisinconclusive,[73]itappearsthatwealthypatronsinHungaryandAmsterdampledgedannuitiestoMozartinreturnfortheoccasionalcomposition.HeisthoughttohavebenefitedfromthesaleofdancemusicwritteninhisroleasImperialchambercomposer.[73]MozartnolongerborrowedlargesumsfromPuchberg,andmadeastartonpayingoffhisdebts.[73]

Heexperiencedgreatsatisfactioninthepublicsuccessofsomeofhisworks,notablyTheMagicFlute(whichwasperformedseveraltimesintheshortperiodbetweenitspremiereandMozart'sdeath)[74]andtheLittleMasonicCantataK.623,premieredon15November1791.[75]

Finalillnessanddeath

MozartfellillwhileinPragueforthe6September1791premiereofhisoperaLaclemenzadiTito,writteninthatsameyearoncommissionfortheEmperor'scoronationfestivities.[76]Hecontinuedhisprofessionalfunctionsforsometime,andconductedthepremiereofTheMagicFluteon30September.Hishealthdeterioratedon20November,atwhichpointhebecamebedridden,sufferingfromswelling,pain,andvomiting.[77]



PosthumouspaintingbyBarbaraKrafftin1819

Mozartwasnursedinhisfinalillnessbyhiswifeandheryoungestsister,andwasattendedbythefamilydoctor,ThomasFranzClosset.HewasmentallyoccupiedwiththetaskoffinishinghisRequiem,buttheevidencethatheactuallydictatedpassagestohisstudentFranzXaverSssmayrisminimal.[78][79]

Mozartdiedinhishomeon5December1791(aged35)at1:00am.TheNewGrovedescribeshisfuneral:

Mozartwasinterredinacommongrave,inaccordancewithcontemporaryViennesecustom,attheSt.MarxCemeteryoutsidethecityon7December.If,aslaterreportssay,nomournersattended,thattooisconsistentwithVienneseburialcustomsatthetimelaterJahn(1856)wrotethatSalieri,Sssmayr,vanSwietenandtwoothermusicianswerepresent.Thetaleofastormandsnowisfalsethedaywascalmandmild.[80]

Theexpression"commongrave"referstoneitheracommunalgravenorapauper'sgrave,buttoanindividualgraveforamemberofthecommonpeople(i.e.,notthearistocracy).Commongravesweresubjecttoexcavationaftertenyearsthegravesofaristocratswerenot.[81]

ThecauseofMozart'sdeathcannotbeknownwithcertainty.Theofficialrecordhasitas"hitzigesFrieselfieber"("severemiliaryfever",referringtoarashthatlookslikemilletseeds),moreadescriptionofthesymptomsthanadiagnosis.Researchershavepositedatleast118causesofdeath,includingacuterheumaticfever,[82][83]streptococcalinfection,[84][85]trichinosis,influenza,mercurypoisoning,andararekidneyailment.[82]

Mozart'smodestfuneraldidnotreflecthisstandingwiththepublicasacomposer:memorialservicesandconcertsinViennaandPraguewerewellattended.Indeed,intheperiodimmediatelyafterhisdeath,hisreputationrosesubstantially:Solomondescribesan"unprecedentedwaveofenthusiasm"[86]forhisworkbiographieswerewritten(firstbySchlichtegroll,Niemetschek,andNissen)andpublishersviedtoproducecompleteeditionsofhisworks.[86]

Appearanceandcharacter



Incompletelyenlarged[87]portraitofMozartbyhisbrotherinlawJosephLange

SymphonieNr.40gmoll,K.550.Movement:1.Moltoallegro

OverturetoDonGiovanni

BothperformedbytheFuldaSymphonicOrchestra,Conductor:SimonSchindler

Mozart'sphysicalappearancewasdescribedbytenorMichaelKelly,inhisReminiscences:"aremarkablysmallman,verythinandpale,withaprofusionoffine,fairhairofwhichhewasrathervain".AshisearlybiographerNiemetschekwrote,"therewasnothingspecialabout[his]physique.[...]Hewassmallandhiscountenance,exceptforhislargeintenseeyes,gavenosignsofhisgenius."Hisfacialcomplexionwaspitted,areminderofhischildhoodcaseofsmallpox.ThereisaphotofitofMozart,createdfromfourcontemporaryportraits.[88]Helovedelegantclothing.Kellyrememberedhimatarehearsal:"[He]wasonthestagewithhiscrimsonpelisseandgoldlacedcockedhat,givingthetimeofthemusictotheorchestra."Ofhisvoicehiswifelaterwrotethatit"wasatenor,rathersoftinspeakinganddelicateinsinging,butwhenanythingexcitedhim,oritbecamenecessarytoexertit,itwasbothpowerfulandenergetic".[89]

Mozartusuallyworkedlongandhard,finishingcompositionsatatremendouspaceasdeadlinesapproached.HeoftenmadesketchesanddraftsunlikeBeethoven'sthesearemostlynotpreserved,ashiswifesoughttodestroythemafterhisdeath.[90]

HewasraisedaCatholicandremainedaloyalmemberoftheChurchthroughouthislife.[91]

MozartlivedatthecenteroftheViennesemusicalworld,andknewagreatnumberandvarietyofpeople:fellowmusicians,theatricalperformers,fellowSalzburgers,andaristocrats,includingsomeacquaintancewiththeEmperorJosephII.SolomonconsidershisthreeclosestfriendstohavebeenGottfriedvonJacquin,CountAugustHatzfeld,andSigmundBarisaniothersincludedhisoldercolleagueJosephHaydn,singersFranzXaverGerlandBenediktSchack,andthehornplayerJosephLeutgeb.LeutgebandMozartcarriedonacuriouskindoffriendlymockery,oftenwithLeutgebasthebuttofMozart'spracticaljokes.[92]

Heenjoyedbilliardsanddancing,andkeptpets:acanary,astarling,adog,andahorseforrecreationalriding.[93]Hehadastartlingfondnessforscatologicalhumor,whichispreservedinhissurvivingletters,notablythosewrittentohiscousinMariaAnnaTheklaMozartaround17771778,andinhiscorrespondencewithhissisterandparents.[94]Mozartalsowrotescatologicalmusic,aseriesofcanonsthathesangwithhisfriends.

Works,musicalstyle,andinnovations

Style

Mozart'smusic,likeHaydn's,standsasanarchetypeoftheClassicalstyle.Atthetimehebegancomposing,Europeanmusicwasdominatedbythestylegalant,areactionagainstthehighlyevolvedintricacyoftheBaroque.Progressively,andinlargepartatthehandsofMozarthimself,thecontrapuntalcomplexitiesofthelateBaroqueemergedoncemore,moderatedanddisciplinedbynewforms,andadaptedtoanewaestheticandsocialmilieu.Mozartwasaversatilecomposer,andwroteineverymajor

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AfacsimilesheetofmusicfromtheDiesIraemovementoftheRequiemMassinDminor(K.626)inMozart'sownhandwriting.ItislocatedattheMozarthausinVienna.

genre,includingsymphony,opera,thesoloconcerto,chambermusicincludingstringquartetandstringquintet,andthepianosonata.Theseformswerenotnew,butMozartadvancedtheirtechnicalsophisticationandemotionalreach.HealmostsinglehandedlydevelopedandpopularizedtheClassicalpianoconcerto.Hewroteagreatdealofreligiousmusic,includinglargescalemasses,aswellasdances,divertimenti,serenades,andotherformsoflightentertainment.

ThecentraltraitsoftheClassicalstyleareallpresentinMozart'smusic.Clarity,balance,andtransparencyarethehallmarksofhiswork,butsimplisticnotionsofitsdelicacymasktheexceptionalpowerofhisfinestmasterpieces,suchasthePianoConcertoNo.24inCminor,K.491theSymphonyNo.40inGminor,K.550andtheoperaDonGiovanni.CharlesRosenmakesthepointforcefully:

ItisonlythroughrecognizingtheviolenceandsensualityatthecenterofMozart'sworkthatwecanmakeastarttowardsacomprehensionofhisstructuresandaninsightintohismagnificence.Inaparadoxicalway,Schumann'ssuperficialcharacterizationoftheGminorSymphonycanhelpustoseeMozart'sdaemonmoresteadily.InallofMozart'ssupremeexpressionsofsufferingandterror,thereissomethingshockinglyvoluptuous.[95]

Especiallyduringhislastdecade,Mozartexploitedchromaticharmonytoadegreerareatthetime,withremarkableassuranceandtogreatartisticeffect.

Mozartalwayshadagiftforabsorbingandadaptingvaluablefeaturesofothers'music.Histravelshelpedintheforgingofauniquecompositionallanguage.[96]InLondonasachild,hemetJ.C.Bachandheardhismusic.InParis,Mannheim,andViennahemetwithothercompositionalinfluences,aswellastheavantgardecapabilitiesoftheMannheimorchestra.InItalyheencounteredtheItalianovertureandoperabuffa,bothofwhichdeeplyaffectedtheevolutionofhisownpractice.InLondonandItaly,thegalantstylewasintheascendent:simple,lightmusicwithamaniaforcadencinganemphasisontonic,dominant,andsubdominanttotheexclusionofotherharmoniessymmetricalphrasesandclearlyarticulatedpartitionsintheoverallformofmovements.[97]SomeofMozart'searlysymphoniesareItalianovertures,withthreemovementsrunningintoeachothermanyarehomotonal(allthreemovementshavingthesamekeysignature,withtheslowmiddlemovementbeingintherelativeminor).OthersmimictheworksofJ.C.Bach,andothersshowthesimpleroundedbinaryformsturnedoutbyViennesecomposers.

AsMozartmatured,heprogressivelyincorporatedmorefeaturesadaptedfromtheBaroque.Forexample,theSymphonyNo.29inAmajorK.201hasacontrapuntalmainthemeinitsfirstmovement,andexperimentationwithirregularphraselengths.Someofhisquartetsfrom1773havefugalfinales,probablyinfluencedbyHaydn,whohadincludedthreesuchfinalesinhisrecentlypublishedOpus20set.TheinfluenceoftheSturmundDrang("StormandStress")periodinmusic,withitsbriefforeshadowingoftheRomanticera,isevidentinthemusicofbothcomposersatthattime.Mozart'sSymphonyNo.25inGminorK.183isanotherexcellentexample.

Mozartwouldsometimesswitchhisfocusbetweenoperasandinstrumentalmusic.Heproducedoperasineachoftheprevailingstyles:operabuffa,suchasTheMarriageofFigaro,DonGiovanni,andCosfantutteoperaseria,suchasIdomeneoand



Singspiel,ofwhichDieZauberflteisthemostfamousexamplebyanycomposer.Inhislateroperasheemployedsubtlechangesininstrumentation,orchestraltexture,andtonecolor,foremotionaldepthandtomarkdramaticshifts.Herehisadvancesinoperaandinstrumentalcomposinginteracted:hisincreasinglysophisticateduseoftheorchestrainthesymphoniesandconcertosinfluencedhisoperaticorchestration,andhisdevelopingsubtletyinusingtheorchestratopsychologicaleffectinhisoperaswasinturnreflectedinhislaternonoperaticcompositions.[98]

Influence

Mozart'smostfamouspupil,whomtheMozartstookintotheirViennahomefortwoyearsasachild,wasprobablyJohannNepomukHummel,atransitionalfigurebetweenClassicalandRomanticeras.[99]MoreimportantistheinfluenceMozarthadoncomposersoflatergenerations.Eversincethesurgeinhisreputationafterhisdeath,studyinghisscoreshasbeenastandardpartofthetrainingofclassicalmusicians.

LudwigvanBeethoven,Mozart'sjuniorbyfifteenyears,wasdeeplyinfluencedbyhiswork,withwhichhewasacquaintedasateenager.HeisthoughttohaveperformedMozart'soperaswhileplayinginthecourtorchestraatBonn,[100]andhetraveledtoViennain1787hopingtostudywiththeoldercomposer.SomeofBeethoven'sworkshavedirectmodelsincomparableworksbyMozart,andhewrotecadenzas(WoO58)toMozart'sDminorpianoconcertoK.466.ForfurtherdetailsseeMozartandBeethoven.

GioachinoRossiniwasobsessedwithMozart'smusicasapupil,claimingthathelearnedmorefromhisstudiesofHaydnandMozartthanhisteacherPadreMatteiattheLiceoMusicaleinBologna.OftenaccusedofbeingtooGermanicinhisorchestralwriting,Rossiniwasnicknamed'Iltedeschino,'(thelittleGerman)byhisteachers.Inoldage,RossinidescribedMozartas'theadmirationofmyyouth,thedesperationofmymatureyears,andtheconsolationofmyoldage.'[101]

AnumberofcomposershavepaidhomagetoMozartbywritingsetsofvariationsonhisthemes.Beethovenwrotefoursuchsets(Op.66,WoO28,WoO40,WoO46).OthersincludeFernandoSor'sIntroductionandVariationsonaThemebyMozart(1821),MikhailGlinka'sVariationsonaThemefromMozart'sOperaDieZauberflte(1822),FrdricChopin'sVariationson"Lcidaremlamano"fromDonGiovanni(1827),andMaxReger'sVariationsandFugueonaThemebyMozart(1914),basedonthevariationthemeinthepianosonataK.331[102]

PyotrIlyichTchaikovskywrotehisOrchestralSuiteNo.4inG,"Mozartiana"(1887),asatributetoMozart.

Kchelcatalogue

ForunambiguousidentificationofworksbyMozart,aKchelcataloguenumberisused.Thisisauniquenumberassigned,inregularchronologicalorder,toeveryoneofhisknownworks.Aworkisreferencedbytheabbreviation"K."or"KV"followedbythisnumber.Thefirsteditionofthecataloguewascompletedin1862byLudwigvonKchel.Ithassincebeenrepeatedlyupdated,asscholarlyresearchimprovesknowledgeofthedatesandauthenticityofindividualworks.

Seealso

MozartfamilyMozartinfictionMozarteum



MozarthausViennaSociologicalandculturalaspectsofTourettesyndromefordiscussionofthediscreditedviewthatMozarthadTourettesyndrome

Notes

1. SourcesvaryinhowMozart'snameshouldbepronouncedinEnglish.Fradkin(1996),aguideforradioannouncers,stronglyrecommends[ts]forletterz,butotherwiseconsidersEnglishlikepronunciationfullyacceptablethus/wlfmdesmotsrt/.

2. Mozart'sexactnameinvolvedmanycomplicationsfordetailsseeMozart'sname.3. Landon1990,p.1714. Source:Wilson(1999,2).ThemanychangesofEuropeanpoliticalborderssinceMozart'stimemakeit

difficulttoassignhimanunambiguousnationalityfordiscussionseeMozart'snationality.5. "MariaAnnaPertl"(http://roglo.eu/roglo?lang=eni=2063090),GenealogicaldatabasebyDanielde

Rauglaudre.(retrieved14June2012)6. Deutsch1965,p.97. Solomon1995,p.218. Eisen9. Solomon(1995,32)

10. Deutsch1965,p.45511. "AndanteinCmajor,K.1a(Mozart,WolfgangAmadeus)"

(http://imslp.org/wiki/Andante_in_C_major,_K.1a_%28Mozart,_Wolfgang_Amadeus%29).IMSLP.imslp.org.21April2014.Retrieved20December2014.

12. "AllegroinCmajor,K.1b(Mozart,WolfgangAmadeus)"(http://imslp.org/wiki/Allegro_in_C_major,_K.1b_%28Mozart,_Wolfgang_Amadeus%29).IMSLP.imslp.org.23May2012.Retrieved20December2014.

13. "AllegroinFmajor,K.1c(Mozart,WolfgangAmadeus)"(http://imslp.org/wiki/Allegro_in_F_major,_K.1c_%28Mozart,_Wolfgang_Amadeus%29).IMSLP.imslp.org.15January2014.Retrieved20December2014.

14. Solomon1995,pp.394015. Deutsch1965,p.45316. Solomon1995,p.3317. "MOZART,WolfgangAmadeus(17561791)"(https://www.englishheritage.org.uk/discover/blue

plaques/search/mozartwolfgangamadeus17561791).englishheritage.org.uk.Retrieved29January2015.18. Meerdter,Joe(2009)."MozartBiography"(http://midiworld.com/mozart1.htm).MIDIWorld.midiworld.com.

Retrieved20December2014.19. Solomon1995,p.4420. Halliwell1998,pp.51,5321. Halliwell1998,pp.828322. Halliwell1998,pp.9910223. Gutman(2000:271).FordetailsofthestoryseeMiserere(Allegri)andMozart'scompositionalmethod.24. Fornewinformationonthisepisode,seeIliasChrissochoidis,"LondonMozartiana:Wolfgang'sdisputedage

&earlyperformancesofAllegri'sMiserere",TheMusicalTimes,vol.151,no.1911(Summer2010),8389.25. Halliwell1998,pp.172,18318526. Solomon1995,p.10627. Solomon1995,p.10328. Solomon1995,p.9829. Solomon1995,p.10730. Solomon1995,p.10931. Vatican177032. Halliwell1998,p.225.ArchbishopColloredorespondedtotherequestbydismissingbothMozartandhis

father,thoughthedismissalofthelatterwasnotactuallycarriedout.33. Sadie199834. SeeGeraldDrebes,Die"MannheimerSchule"einZentrumdervorklassischenMusikundMozart,

Heidelberg1992,online[1](http://www.geralddrebes.ch/page8.html)35. Deutsch1965,p.174



35. Deutsch1965,p.17436. Solomon1995,p.14937. Halliwell1998,pp.30430538. Abert2007,p.50939. Halliwell1998,p.30540. PiotrNapieraa."BAROQUECOMPOSERS(PiotrNapieraa)"

(http://baroquecomposers.blogspot.nl/2011/02/17781779mozartlettersfromparis.html).baroquecomposers.blogspot.nl.Retrieved29January2015.

41. Halliwell1998,chs.181942. Solomon1995,p.15743. Halliwell1998,p.32244. Sadie1998,345. Hewroteduringthatperiodwhatwheneverheorsomeoneelseplayedoneofhiscompositions,itwasasif

thetableandthechairsweretheonlylisteners.Histoiredelamusiqueoccidentale,Jean&BrigitteMassin,ed.,Fayard,Paris,1983,p.613.

46. Deutsch1965,p.17647. Sadie1980,vol.12,p.70048. Sadie1998,449. Solomon1995,p.24750. Solomon1995,p.25351. Solomon1995,p.25952. Solomon1995,p.25853. MozartDaybyDay1789(http://www.mozarteum.at/en/mozartlifeandwork/mozartscalender.html?

id=449&suche=&seite=4&jahr=1789),Mozarteum54. Solomon1995,p.27055. Barry2000.FordetaileddiscussionoftheinfluenceofOpus33onthe"Haydn"quartets.56. Mozart&Mozart1966,p.1331.Leopold'slettertohisdaughterNannerl,1416May1785.57. Solomon1995,p.29358. Solomon1995,p.29859. Solomon1995,p.43060. Solomon1995,p.57861. Solomon1995,2762. Solomon1995,p.43163. Solomon1995,p.32164. Solomon199565. Freeman2013,pp.10413066. Solomon1995,pp.423424.Amorerecentview,Wolff(2012),isthatMozart'spositionwasamore

substantialonethanistraditionallymaintained,andthatsomeofMozart'schambermusicfromthistimewaswrittenaspartofhisimperialduties.

67. Haberl2006,pp.2155568. Sadie1998,669. Lorenz201070. Sadie1980,vol.12,p.71071. Steptoe1990,p.20872. Solomon1995,30.Morerecently,Wolff(2012)hasforcefullyadvocatedaviewofMozart'scareeratthe

endofhislifeasbeingontherise,interruptedbyhissuddendeath.73. Solomon1995,p.47774. Solomon1995,p.48775. Solomon1995,p.49076. Freeman2013,pp.1487777. Solomon1995,p.49178. Solomon1995,p.49379. Solomon1995,p.58880. Sadie1980,vol.12,p.71681. WaltherBrauneis,Diesirea,diesillaDayofwrath,dayofwailing:Notesonthecommissioning,origin

andcompletionofMozart'sRequiem(KV626)(http://www.aproposmozart.com/Brauneis%20%20Dies%20irae.rev.Index.pdf)

82. Wakin201083. Crawford,Franklin(14February2000)."FoulplayruledoutindeathofWolfgangAmadeusMozart"



References

83. Crawford,Franklin(14February2000)."FoulplayruledoutindeathofWolfgangAmadeusMozart"(http://www.eurekalert.org/pub_releases/200002/CUNSFpro1402100.php).EurekAlert!(AmericanAssociationfortheAdvancementofScience).Retrieved26April2014.

84. Becker,Sander(20August2009)."VoorlopigisMozartbezwekenaanstreptokok"(http://www.trouw.nl/tr/nl/4324/Nieuws/article/detail/1152870/2009/08/20/VoorlopigisMozartbezwekenaanstreptokok.dhtml)("ForthetimebeingMozartsuccumbedtostreptococcus").Trouw.Retrieved25April2014(Dutch).

85. Bakalar,Nicholas(17August2009)."WhatReallyKilledMozart?MaybeStrep."(http://www.nytimes.com/2009/08/18/health/18mozart.html).TheNewYorkTimes.Retrieved24April2014.

86. Solomon1995,p.49987. MichaelLorenz,"JosephLange'sMozartPortrait"(http://michaelorenz.blogspot.co.at/2012/09/josephlanges

mozartportrait.html),Vienna201288. SeeGeraldDrebes,Die"MannheimerSchule"einZentrumdervorklassischenMusikundMozart,

Heidelberg1992,p.16,online[2](http://www.geralddrebes.de/7.html)89. Solomon1995,p.30890. Solomon1995,p.31091. Abert,Hermann(2007).W.A.Mozart(http://books.google.com/?

id=l6I6BwTMJ3sC&printsec=frontcover&dq=Hermann+Abert#v=onepage&q=Hermann%20Abert&f=false).YaleUniversityPress.ISBN0300072236.Retrieved20May2014.

92. Solomon1995,2093. Solomon1995,p.31994. Solomon1995,p.16995. Rosen1998,p.32496. Solomon1995,ch.8.Discussionofthesourcesofstyleaswellashisearlyimitativeability.97. Heartz200398. Einstein196599. Solomon1995,p.574

100. Raptus101. NicholasTill,p.1819102. March,Greenfield&Layton2005

Abert,Hermann(2007).W.A.Mozart.CliffEisen(ed.),StewartSpencer(trans.).NewHaven:YaleUniversityPress.ISBN9780300072235.Barry,BarbaraR(2000).ThePhilosopher'sStone:EssaysintheTransformationofMusicalStructure.Hillsdale,NewYork:PendragonPress.ISBN1576470105.OCLC466918491(https://www.worldcat.org/oclc/466918491).Braunbehrens,Volkmar(1990).Mozart:Lebensbilder.G.Lubbe.ISBN9783785705803.Deutsch,OttoErich(1965).Mozart:ADocumentaryBiography.PeterBranscombe,EricBlom,JeremyNoble(trans.).Stanford:StanfordUniversityPress.ISBN9780804702331.OCLC8991008(https://www.worldcat.org/oclc/8991008).Einstein,Alfred(1965).Mozart:HisCharacter,HisWork.GalaxyBook162.ArthurMendel,NathanBroder(trans.)(6thed.).NewYorkCity:OxfordUniversityPress.ISBN0304924830.OCLC456644858(https://www.worldcat.org/oclc/456644858).Eisen,Cliffetal."Mozart"(http://www.oxfordmusiconline.com/subscriber/article/grove/music/40258pg3).GroveMusicOnline(subscriptionrequired).Retrieved15September2010.Fradkin,RobertA.(1996)Thewelltemperedannouncer:apronunciationguidetoclassicalmusic.Bloomington:IndianaUniversityPress.ISBN025321064X.Freeman,DanielE.(2013).MozartinPrague.Minneapolis:Bearclaw.ISBN9780979422317.Halliwell,Ruth(1998).TheMozartFamily:FourLivesinaSocialContext.NewYorkCity:ClarendonPress.ISBN9780198163718.OCLC36423516(https://www.worldcat.org/oclc/36423516).(German)Haberl,Dieter(2006)."BeethovensersteReisenachWien:dieDatierungseinerSchlerreisezuW.A.Mozart".NeuesMusikwissenschaftlichesJahrbuch(14).OCLC634798176



Furtherreading

Cairns,David(2006).MozartandHisOperas.Berkeley,California:UniversityofCaliforniaPress.ISBN0520228987.OCLC62290645(https://www.worldcat.org/oclc/62290645).Eisen,CliffKeefe,SimonP,eds.(2006).TheCambridgeMozartEncyclopedia.Cambridge:CambridgeUniversityPress.ISBN0521856590.OCLC60245611

SchlerreisezuW.A.Mozart".NeuesMusikwissenschaftlichesJahrbuch(14).OCLC634798176(https://www.worldcat.org/oclc/634798176).Heartz,Daniel(2003).MusicinEuropeanCapitals:TheGalantStyle,17201780(1sted.).NewYorkCity:W.W.Norton&Company.ISBN0393050807.OCLC50693068(https://www.worldcat.org/oclc/50693068).Landon,HowardChandlerRobbins(1990).1791:Mozart'sLastYear.London:Flamingo.ISBN9780006543244.OCLC20932333(https://www.worldcat.org/oclc/20932333).Lorenz,Michael(9August2010)."Mozart'sApartmentontheAlsergrund"(http://homepage.univie.ac.at/michael.lorenz/alsergrund/).Retrieved27September2010.March,IvanGreenfield,EdwardLayton,Robert(2005).Czajkowski,Paul,ed.PenguinGuidetoCompactDiscsAndDVDs,20052006(30thed.).London:Penguin.ISBN0141022620.OCLC416204627(https://www.worldcat.org/oclc/416204627).Mozart,WolfgangMozart,Leopold(1966).Anderson,Emily,ed.TheLettersofMozartandhisFamily(2nded.).London:Macmillan.ISBN039302248X.OCLC594813(https://www.worldcat.org/oclc/594813)."Mozart,Mozart'sMagicFluteandBeethoven"(http://www.raptusassociation.org/beethmoze.html).RaptusAssociationforMusicAppreciation.Retrieved27September2010.Rosen,Charles(1998).TheClassicalStyle:Haydn,Mozart,Beethoven(2nded.).NewYorkCity:W.W.Norton&Company.ISBN0393317129.OCLC246977555(https://www.worldcat.org/oclc/246977555).Sadie,Stanley,ed.(1998).TheNewGroveDictionaryofOpera.NewYork:Grove'sDictionariesofMusicInc.ISBN9780333734322.OCLC39160203(https://www.worldcat.org/oclc/39160203).Sadie,Stanley,ed.(1980).TheNewGroveDictionaryofMusicandMusicians(6thed.).London:Macmillan.ISBN0333231112.OCLC5676891(https://www.worldcat.org/oclc/5676891).Eisen,CliffSadie,Stanley."Mozart,WolfgangAmadeus",in:TheNewGroveDictionaryofMusicandMusicians,2ndedition,vol.17,ed.StanleySadie,OxfordUniversityPress,Inc.,NewYork,2001.ISBN9780195170672.Solomon,Maynard(1995).Mozart:ALife(1sted.).NewYorkCity:HarperCollins.ISBN9780060190460.OCLC31435799(https://www.worldcat.org/oclc/31435799).Till,Nicholas(1987).TheIllustratedLivesoftheGreatComposers:Rossini.London:OmnibusPress.ISBN0711909881.Steptoe,Andrew(1990).TheMozartDaPonteOperas:TheCulturalandMusicalBackgroundtoLenozzediFigaro,DonGiovanni,andCosfantutte.Oxford:ClarendonPress.ISBN0198162219.OCLC22895166(https://www.worldcat.org/oclc/22895166).

"AwardofthePapalEquestrianOrderofthe"GoldenSpur"toWolfgangAmadeusMozart"(http://asv.vatican.va/en/doc/1770.htm).VaticanSecretArchives.4July1770.Retrieved27September2010.Wakin,DanielJ.(24August2010)."AfterMozartsDeath,anEndlessCoda"(http://www.nytimes.com/2010/08/25/arts/music/25death.html).TheNewYorkTimes.ISSN03624331(https://www.worldcat.org/issn/03624331).Wilson,PeterHamish(1999)TheHolyRomanEmpire,14951806.London:MacMillanPress.Wolff,Christoph(2012)MozartattheGatewaytoHisFortune:ServingtheEmperor,17881791.NewYork:Norton.ISBN9780393050707



WikimediaCommonshasmediarelatedtoWolfgangAmadeusMozart.

Wikiquotehasquotationsrelatedto:WolfgangAmadeusMozart

Wikisourcehasoriginalworkswrittenbyorabout:WolfgangAmadeusMozart

(https://www.worldcat.org/oclc/60245611).Gutman,Robert(2000).Mozart:ACulturalBiography.London:HarcourtBrace.ISBN9780156011716.OCLC45485135(https://www.worldcat.org/oclc/45485135).Holmes,Edward(2005).TheLifeofMozart.NewYork:CosimoClassics.ISBN1596051477.OCLC62790104(https://www.worldcat.org/oclc/62790104).Mozart,Wolfgang(1972).Mersmann,Hans,ed.LettersofWolfgangAmadeusMozart.NewYork:DoverPublications.ISBN0486228592.OCLC753483(https://www.worldcat.org/oclc/753483)."NewMozartPiecesUnveiled(Video)"(http://www.huffingtonpost.com/2009/08/02/newmozartpiecesunveile_n_249532.html).TheHuffingtonPost.8February2009.Retrieved29September2010.Till,Nicholas(1995).MozartandtheEnlightenment:Truth,VirtueandBeautyinMozart'sOperas.NewYorkCity:W.W.Norton&Company.ISBN0393313956.OCLC469628809(https://www.worldcat.org/oclc/469628809).

Externallinks

WolfgangAmadeusMozart(https://musopen.org/composer/wolfgangamadeusmozart/)attheMusopenprojectSalzburgMozarteumFoundation(http://www.mozarteum.at/en.html)ChronologicalThematicCatalog(http://www.mozartproject.org/compositions/index.html)WolfgangAmadeusMozartmaterial(http://bbc.co.uk/mozart)intheBBCRadio3archivesWolfgangAmadeusMozart(http://www.imdb.com/name/nm0003665/)attheInternetMovieDatabaseListofworksbyWolfgangAmadeusMozart(http://www.classicalmusicdb.com/composers/view/7)withcertificationratingattheClassicalMusicDB

Digitizeddocuments

WorksbyWolfgangAmadeusMozart(https://www.gutenberg.org/author/Mozart,+Wolfgang+Amadeus)atProjectGutenbergWorksbyoraboutWolfgangAmadeusMozart(https://archive.org/search.php?query=%28Mozart%29)atInternetArchiveWorksbyWolfgangAmadeusMozart(http://librivox.org/author/6286)atLibriVox(publicdomainaudiobooks)"Mozart"Titles(http://books.google.com/books?as_q=&num=10&lr=&as_brr=3&btnG=Google+Search&as_epq=&as_oq=&as_eq=&as_brr=3&as_pt=ALLTYPES&lr=&as_vt=Mozart+%7C++Mozarts&as_auth=&as_pub=&as_sub=&as_drrb_is=b&as_minm_is=0&as_miny_is=1700&as_maxm_is=0&as_maxy_is=1940&as_isbn=&as_issn=)Mozartasauthor(http://books.google.com/books?lr=&as_brr=3&q=inauthor%3AMozart+inauthor%3A%22J.+Mozart%22&btnG=Search+Books&as_drrb_is=b&as_minm_is=0&as_miny_is=1756&as_maxm_is=0&as_maxy_is=1930)atGoogleBooksDigitalMozartEdition(http://dme.mozarteum.at/DME/main/index.php?l=2)(InternationaleStiftungMozarteum)(French)"Mozart"titles(http://gallica.bnf.fr/Search?q=Mozart&p=1&lang=en&ArianeWireRechercheHaut=palette)fromGallicaFromtheBritishLibrary



Mozart'sThematicCatalogue(http://www.bl.uk/onlinegallery/ttp/mozart/accessible/introduction.html)(viewwith"TurningthePages"(http://www.bl.uk/onlinegallery/virtualbooks/detect.html?accessfolder=mozart))Mozart'sMusicalDiary(http://www.bl.uk/onlinegallery/ttp/ttpbooks.html)BackgroundinformationonMozartandtheThematicCatalogue(http://www.bl.uk/onlinegallery/onlineex/musicmanu/mozart/index.html)

(German)LettersofLeopoldMozartundWolfgangAmadeusMozart(http://www.blbkarlsruhe.de/virt_bib/mozart/)(BadischeLandesbibliothek)

Sheetmusic

Completesheetmusic(scores)(http://dme.mozarteum.at/DME/nma/start.php?l=2)fromtheNeueMozartAusgabe(InternationaleStiftungMozarteum)"Mozart"Titles(http://www.digitalcollections.de/index.html?c=autoren_index&l=en&ab=Mozart%2C+Wolfgang+Amadeus)fromtheMunichDigitisationCentre(MDZ)"Mozart"Titles(https://urresearch.rochester.edu/viewContributorPage.action?personNameId=664)fromtheUniversityofRochesterFreescoresbyWolfgangAmadeusMozartattheInternationalMusicScoreLibraryProjectFreescoresbyWolfgangAmadeusMozartintheChoralPublicDomainLibrary(ChoralWiki)Freetypesetsheetmusic(http://cantorion.org/musicsearch/composer/mozart/)ofMozart'sworksfromCantorion.orgTheMutopiaProjecthascompositionsbyWolfgangAmadeusMozart(http://www.mutopiaproject.org/cgibin/maketable.cgi?Composer=MozartWA)

Retrievedfrom"http://en.wikipedia.org/w/index.php?title=Wolfgang_Amadeus_Mozart&oldid=664986368"

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