Franz Xaver Wolfgang Mozart (1791–1844)

Franz Xaver Wolfgang Mozart

Franz Xaver Wolfgang Mozart (1825)

Franz Xaver Wolfgang Mozart (26 July 1791 – 29 July 1844), a man condemned by birthright, was also known, perhaps inevitably, as Wolfgang Amadeus Mozart Jr. He was the sixth and youngest child born to the monumental composer Wolfgang Amadeus Mozart and his resilient wife Constanze . Of their six offspring, he was the younger of the two who managed to survive past infancy, a rather grim distinction in that era. [^1] This individual, burdened by a name that simultaneously opened doors and cast an inescapable shadow, forged a career as a composer , accomplished pianist , capable conductor , and diligent teacher. His active years spanned the twilight of the classical period and the nascent stirrings of Romanticism . His musical style, unsurprisingly, bore the indelible mark of his father’s mature genius, though he occasionally hinted at a burgeoning, more contemporary voice. Despite the constant, crushing comparison, he managed to earn the respect of his peers, including such luminaries as Franz Schubert and Robert Schumann , both of whom, astonishingly, held him in high esteem.

Biography

Franz Xaver Wolfgang Mozart had the rather dramatic timing to be born in Vienna a mere four months and ten days before his father’s untimely death. One might call it a cosmic irony; the passing of one genius coinciding with the arrival of another, destined to live in his shadow. Although he was formally baptized Franz Xaver Mozart, his family, with a touch of either affection or unintentional cruelty, consistently referred to him as Wolfgang. [^2] One can only imagine the weight of that name, the constant reminder of an impossible legacy.

Despite this psychological burden, his early musical education was nothing short of exceptional, a testament to his mother’s determination and the connections his father had cultivated. He received rigorous instruction from some of the most respected figures of the time, including the formidable Antonio Salieri – a name that, for different reasons, also carries a heavy historical weight – and the virtuosic Johann Nepomuk Hummel . For composition, he studied under the tutelage of Johann Georg Albrechtsberger , a renowned theorist, and the prolific Sigismund von Neukomm . [^3] He dedicated himself to mastering both the piano and the violin. Like his illustrious father before him, he began to compose at a remarkably early age. His public debut in Vienna occurred in April 1805, when the thirteen-year-old Wolfgang Mozart Jr. performed in a concert at the prestigious Theater an der Wien . [^4]

The two surviving sons of Wolfgang Amadeus and Constanze Mozart : Franz Xaver Wolfgang (left) and Karl Thomas (right); painting by Hans Hansen , Vienna, 1800 (circa 1800)

Mozart eventually established himself as a professional musician, achieving what could be described as moderate success, particularly in his roles as a teacher and performer. However, his temperament stood in stark contrast to the often flamboyant and confident image of his father. Franz Xaver was notably introverted, plagued by a pervasive sense of self-deprecation. He harbored a deep-seated fear that his own creative output would forever be judged, and inevitably found wanting, when measured against the colossal achievements of his father. This internal struggle led him to constantly undervalue his own considerable talents, a perfectly understandable neurosis given the circumstances. Imagine being named ‘Junior’ to a legend, a perpetual footnote to greatness.

Financial necessity, that most insistent of muses, compelled him to leave Vienna in 1808. He journeyed to Lemberg (which is known today as Lviv in Ukraine ), where he secured employment giving music lessons to the daughters of the Polish count Wiktor Baworowski. While the remuneration was certainly adequate, Franz found himself profoundly lonely in the isolated town of Pidkamin, situated near Rohatyn . Consequently, in 1809, he accepted a more appealing offer from another Polish aristocrat, the imperial chamberlain , Count von Janiszewski. This new position involved teaching his daughters music in the town of Burshtyn . Beyond his teaching duties, he also began to give local concerts, performing both his own compositions and, perhaps to appease expectations, pieces by his father. These performances proved instrumental in introducing him to the influential social and cultural circles of Galicia .

After dedicating two years to his work in Burshtyn , he made a significant move to Lemberg (Lviv ) in 1813. This city would become his primary residence for the next quarter-century, a substantial period during which he immersed himself in teaching – his students included Julie von Webenau , née Baroni-Cavalcabò, a notable composer in her own right – and continued to give concerts. Between 1826 and 1829, he undertook the ambitious task of conducting the choir of Saint Cecilia, an ensemble comprising a remarkable 400 amateur singers. In 1826, he conducted his father’s iconic Requiem during a concert held at the Ukrainian Greek Catholic cathedral of St. George . From the foundations of this large choir, he established the musical brotherhood of Saint Cecilia, which subsequently evolved into the first formal school of music in Lemberg, a significant contribution to the region’s cultural landscape. He did not, however, abandon his performing career, and between 1819 and 1821, he embarked on several concert tours throughout Europe. In 1819 alone, he gave concerts in Warsaw , Elbing (modern-day Elbląg), and Danzig (Gdańsk ).

During the 1820s, Mozart Jr. found himself among a distinguished group of 50 composers commissioned to contribute a variation on a theme by Anton Diabelli . This collective effort formed Part II of the monumental Vaterländischer Künstlerverein . Part I of this ambitious project, for context, was famously dedicated entirely to the 33 variations supplied by Beethoven , which have since achieved an independent and legendary status as his Diabelli Variations , Op. 120. It was around this period that Mozart Jr. made the acquaintance of Franz Schubert , and the two musicians developed a close friendship that lasted until Schubert’s untimely death in 1828.

Lithograph of the composer in his latter years, by Josef Kriehuber

In 1838, after his extensive period in Lemberg , Mozart Jr. moved back to Vienna , and subsequently to Salzburg , the city of his father’s birth. There, he was appointed as the Kapellmeister (music director) of the prestigious Mozarteum , a position that must have felt both a homecoming and a constant reminder of his lineage. From 1841, he took on the role of teacher to the promising young pianist Ernst Pauer . Franz Xaver Wolfgang Mozart succumbed to stomach cancer on 29 July 1844, just three days after his 53rd birthday, in the spa town of Karlsbad (now known as Karlovy Vary in the Czech Republic), where he was subsequently buried.

Like his elder brother, Karl Thomas Mozart , Franz Xaver Wolfgang remained unmarried and childless throughout his life. His will was meticulously executed by Josephine de Baroni-Cavalcabò (1788–1860), a woman who had been a devoted patron to him for many years and to whom he had dedicated his cello sonata. [^3]

The immense shadow of his father, it seems, extended even beyond the grave. The following poignant epitaph was etched onto his tombstone : “May the name of his father be his epitaph, as his veneration for him was the essence of his life.” A rather fitting, if utterly crushing, summation of a life lived under a shadow.

Works by genre

Franz Xaver Wolfgang Mozart’s compositional output was, by most measures, relatively modest, with his opus numbers extending only to 30. Furthermore, after 1820, he appears to have largely curtailed his compositional activities; a particularly striking gap of eleven years (from 1828 to 1839) suggests a period where he seemingly produced nothing. One can only speculate on the reasons – creative exhaustion, the weight of expectation, or simply a shift in focus. Nevertheless, his music is not entirely forgotten, and recordings of his works can be found today, allowing a glimpse into his distinct, if overshadowed, voice. He primarily focused on chamber music and piano music , with his most substantial contributions to the orchestral repertoire being his two piano concertos .

Orchestral works

• Sinfonia
• Overture in D major

Concertante

• Piano Concerto No. 1 in C major , Op. 14 (composed in 1808, published in 1811)
• Piano Concerto No. 2 in E-flat major , Op. 25 (composed in 1818)

These two piano concertos exhibit noticeable differences, reflecting a subtle evolution in his style. The first concerto, Op. 14, could, with a certain leniency, almost be mistaken for one of his father’s later works (those from K. 550 onwards), distinguished primarily by a youthful exuberance and the expanded tessitura of the piano part, a development that occurred around 1795, shortly after Mozart senior’s death. The second concerto, Op. 25, however, feels more contemporary to the 1810s, featuring a more overtly virtuosic piano part. This later work offers stronger hints that the younger Mozart was indeed developing a distinct stylistic identity, moving beyond mere imitation.

Chamber works

• Piano Quartet in G minor , Op. 1 (published 1802) [^3]
• Sonata for Violin and Piano in B-flat major, Op. 7
• 6 pieces for flute and 2 horns, Op. 11
• Sonata for Violin and Piano in F major, Op. 15
• Sonata for violoncello or violin and piano in E major, Op. 19 (published in 1820) [^3]
• Rondo in E minor for flute and piano

Piano works

• Variations on Minuet from Don Giovanni , Op. 2
• Piano Sonata in G major, Op. 10
• Six Polonaises mélancoliques for piano, Op. 17
• Quatre Polonaises mélancoliques for piano, Op. 22
• Five Variations on a romance from Méhul ’s Joseph , Op. 23 (published 1820) (until 1994 mistakenly attributed to the young Liszt , S147a)
• Two polonaises for piano, Op. 24
• Diabelli’s Waltz – V28 (As noted, in the 1820s Franz Xaver Wolfgang Mozart was one of 50 composers to write a variation on a theme of Anton Diabelli for part II of the Vaterländischer Künstlerverein )

Choral and vocal works

• Kantate an Joseph Haydn auf dessen 73. Geburtstag (Cantata for the 73rd Birthday of Joseph Haydn ), FXWM I:2 [^5]
• Der erste Frühlingstag (The First Spring Day), cantata for solo, choir and orchestra, Op. 28
• “Festchor” for the unveiling of the Mozart monument in Salzburg , Op. 30 (1840)
• Songs with piano accompaniment:
  • 8 German songs, Op. 5
  • 6 songs, Op. 9
  • 6 Songs, Op. 21
  • 3 German Songs, Op. 27
  • Entzückung
  • In der Väter Hallen ruhte
  • Ständchen
  • Erinnerung
  • An Emma (“Weit in nebelgraue Ferne”)

Works by opus number

The following provides a comprehensive, if somewhat exhaustive, catalogue of Franz Xaver Wolfgang Mozart’s compositions, organized by their assigned opus numbers, offering a structured overview of his creative output during his active years.

• Opus 1: Piano Quartet in G minor (composed 1802)
• Opus 2: Variations in F major on a minuet from the finale of Don Giovanni by W. A. Mozart (composed 1805)
• Opus 3: Variations in A major
• Opus 4: Rondeau in F major
• Opus 5: 8 German songs
  • No. 1 – Die Einsamkeit (Solitude)
  • No. 2 – Das Klavier (The Piano)
  • No. 3 – Der Vergnügsame (The Amusing One)
  • No. 4 – Aus den Griechischen (From the Greek)
  • No. 5 – Todtengräberlied (Gravedigger’s Song)
  • No. 6 – Mein Mädchen (My Girl)
  • No. 7 – Maylied (May Song)
  • No. 8 – Das Geheimniss (The Secret)
• Opus 6: Variations in F major
• Opus 7: Sonata for Violin and Piano in B-flat major
• Opus 8: Variations in G minor
• Opus 9: 6 songs
  • No. 1 – Das liebende Mädchen (The Loving Girl)
  • No. 2 – An spröde Schönen (To Aloof Beauties)
  • No. 3 – Nein! (No!)
  • No. 4 – Der Schmetterling auf einem Vergissmeinnicht (The Butterfly on a Forget-Me-Not)
  • No. 5 – Klage an den Mond (Lament to the Moon)
  • No. 6 – Erntelied (Harvest Song)
• Opus 10: Piano Sonata in G major, FXWM VII: 8 (composed July 1807)
• Opus 11: 6 pieces for flute and two horns
• Opus 12: Romance: Song, In der Väter Hallen ruht (The father rested halls)
• Opus 13: Aria buffa from opera ‘Der Schauspieldirektor ’ by W.A. Mozart
• Opus 14: Piano Concerto No. 1 in C major (composed 1808, published 1811).
• Opus 15: Sonata for violin and piano in F major
• Opus 16: 7 Variations in D major after Coriolano by Giuseppe Niccolini (composed 1813)
• Opus 17: 6 Melancholy Polonaises (Six Polonaises mélancoliques) (composed 1811–14)
• Opus 18: 7 Variations in D minor on a Russian melody (composed 1809, published 1820)
• Opus 19: Sonata for cello (or violin) and piano in E major (published 1820 in Leipzig Peters)
• Opus 20: Variations on a Russian Theme
• Opus 21: 6 songs
  • No. 1 – Aus dem Französischen des J. J. Rousseau (From the French of J. J. Rousseau)
  • No. 2 – Seufzer (Sighs)
  • No. 3 – Die Entzückung (The Ecstasy)
  • No. 4 – An Sie (To Her)
  • No. 5 – An die Bäche (To the Brooks)
  • No. 6 – Le Baiser (The Kiss)
• Opus 22: 4 Melancholy Polonaises (Quatre Polonaises mélancoliques) (composed 1815–18)
• Opus 23: Five Variations on a romance from Méhul ’s Joseph (composed 28 October 1816, published 1820/24). This work was dedicated to Josephine Baroni-Cavalcabò. (Remarkably, until 1994, the work was mistakenly attributed to the young Liszt – who would have been five or nine years old at the time of its publication – and consequently bore the catalog number S147a.)
• Opus 24: An Emma (“Weit in nebelgraue Ferne”) (Far into the Misty Gray Distance)
• Opus 25: Piano Concerto No. 2 in E-flat major (composed 1818). Its premiere took place in Lemberg on 17 December 1818.
• Opus 26: 2 Melancholy Polonaises (composed 1824)
• Opus 27: 3 German songs
  • No. 1 – An den Abendstern (To the Evening Star)
  • No. 2 – Das Finden (The Finding)
  • No. 3 – Bertha’s Lied in der Nacht (Bertha’s Song in the Night)
• Opus 28: Der erste Frühlingstag (The First Spring Day), cantata for choir soloists and orchestra, including “Angels of God proclaim Christmas song” (arranged as an excerpt from a duo of the cantata op. 28)
• Opus 29: Spring greeting song
• Opus 30: Festchor for the inauguration of the Salzburg Mozart monument (composed 1840)

Without opus

• Rondo F major (1802)
• Cantata for the 73rd anniversary of Joseph Haydn (1805)
• March in G major for piano, FXWM VII: 9 (February 1809)
• Ländler in G major for piano, FXWM VII: 19 (September 1810)
• German dance in D minor for piano, FXWM VII: 23 (1812)
• German dance in G minor for piano, FXWM VII: 24 (1812)
• Fantasy in A major, for piano on a Russian Song “Tschem tebja ja ogortschila” and a Krakowiak, FXWM VII: 30 (1815)
• Andantino in A major for piano, FXWM VII: 41 (August 1841)
• Sonata movement for flute and piano in E minor (“Rondo”)
• Symphony
• Erinnerung (Remembrance)
• Ständchen (Serenade)

Liszt misattribution

Perhaps one of the more ironic twists in Franz Xaver Mozart’s already overshadowed career involves his Five Variations on a romance from Méhul ’s Joseph , Op. 23, first published in 1820. For decades, and until as recently as 1994, this particular work was mistakenly attributed to the young Franz Liszt . The error originated from a copyist’s manuscript of the piece, which bore the unfortunately misleading notation “par le jeune Liszt” (by the young Liszt). This misattribution was so widely accepted that the work was published in good faith by the Neue Liszt-Ausgabe in 1990 and subsequently catalogued as Liszt’s S147a.

The esteemed Liszt scholar Leslie Howard even recorded the work in similar good faith in 1992 as part of his monumental series of recordings encompassing the complete music for solo piano by Liszt , specifically for the disc titled The Young Liszt. However, shortly after the disc’s release, Howard himself discovered and noted the error in his accompanying sleeve notes:

It has since been established that the attribution is false and that the work is from the pen of Mozart’s son Franz Xaver and was published as his opus 23 in 1820. But since the work remains unknown and unrecorded, like the vast majority of F X Mozart’s output, and since the writing is not vastly different from some of the other pieces in this collection, it was thought best not to discard it. [^6]

The irony is palpable: a piece by the son of Mozart, a name synonymous with musical genius, was so overlooked that it had to gain recognition under the guise of another colossal figure, Liszt . It speaks volumes about the pervasive shadow of his father and the struggles Franz Xaver faced in carving out his own identity, even posthumously.

Monuments

In a rather delayed, but perhaps still meaningful, gesture of recognition, a monument dedicated to Franz Xaver Wolfgang Mozart has been erected in Lviv , Ukraine , specifically in Yevhena Malanyuka Square. A monument, after a life spent in shadows. Humanity’s timing is impeccable.