Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart (1756–1791)

"Mozart" redirects here. For other uses, see Mozart (disambiguation).

Detail from Portrait of the Mozart Family, c. 1781

Born (1756-01-27) 27 January 1756 Getreidegasse 9, Salzburg

Died 5 December 1791 (aged 35) Vienna

Works List of compositions Spouse Constanze Weber

Parents • Leopold Mozart • Anna Maria Mozart

Family Mozart family Signature

Wolfgang Amadeus Mozart [a] [b] (27 January 1756 – 5 December 1791) was a composer whose prolific output and profound influence mark him as a titan of the Classical period (music). His life, though tragically short, was a testament to a prodigious talent that manifested from the earliest years. Mozart's rapid pace of composition and innate mastery resulted in an astonishing body of work, numbering over 800 pieces that span virtually every Western classical genre known in his era. His compositions are not merely numerous; they are widely considered the zenith of achievement in the symphonic, concertante, chamber, operatic, and choral repertoires. The enduring legacy of Mozart is one of unparalleled genius, with his music universally admired for its exquisite melodic beauty, its formal elegance, and its remarkable richness of harmony and texture. He is undeniably one of the most significant figures in the history of Western music, [1] his work continuing to captivate and inspire centuries later.

Born in the picturesque city of Salzburg, Mozart's extraordinary musical gifts were apparent from infancy. By the age of five, he had already mastered the keyboard and violin, demonstrated an aptitude for composition, and performed before the highest echelons of European royalty. His father, Leopold Mozart, a musician and composer himself, recognized the immense potential of his son and embarked on extensive tours across Europe, showcasing Wolfgang's talents. These journeys, including a grand tour and three subsequent trips to Italy, exposed the young prodigy to a vast array of musical styles and traditions. At seventeen, while holding a position at the Salzburg court, Mozart's restless spirit and ambition for greater opportunities led him to seek employment elsewhere. This quest for a more suitable position took him on a circuitous route through cities like Paris, Mannheim, and Munich, eventually leading him back to Salzburg, albeit with his ambitions unfulfilled. During this period of exploration, he produced significant works such as his five violin concertos, the Sinfonia Concertante for Violin, Viola and Orchestra (Mozart), and the Concerto for Flute, Harp, and Orchestra (Mozart), alongside sacred compositions, masses, the motet Exsultate, jubilate, and the opera Idomeneo.

His pivotal move to Vienna in 1781 marked a turning point. Dismissed from his Salzburg post, Mozart chose to remain in the imperial capital, where he achieved considerable fame but struggled with financial instability. The early Viennese years were exceptionally fruitful, yielding masterpieces such as the opera Die Entführung aus dem Serail, the monumental Great Mass in C minor (Mozart), the deeply insightful "Haydn" Quartets, and a series of compelling symphonies. His prolific output in Vienna also included over a dozen piano concertos, many of which are considered his most profound achievements. The final years of his life witnessed the creation of his most celebrated works, including his last three symphonies, culminating in the majestic Jupiter Symphony, the beloved serenade Eine kleine Nachtmusik, the virtuosic Clarinet Concerto (Mozart), and the iconic operas The Marriage of Figaro, Don Giovanni, Così fan tutte, and The Magic Flute. His final composition, the Requiem (Mozart), remained unfinished at the time of his death at the age of 35, the circumstances of which remain shrouded in mystery and subject to much speculation.

Life and career

Early life

Family and childhood

• See also: Mozart's name, Mozart family, and Mozart's nationality

Baptismal record showing him as "Joannes Chrysostomus Wolfgangus Theophilus Mozart"

Wolfgang Amadeus Mozart entered the world on 27 January 1756, born to Leopold Mozart and Anna Maria, née Pertl, in the historic Getreidegasse 9 in Salzburg. At the time of his birth, Salzburg was the proud capital of the Archbishopric of Salzburg, a significant ecclesiastical principality nestled within the vast expanse of the Holy Roman Empire, in what is now modern-day Austria. [c] He was the youngest of seven children, a stark reminder of the high infant mortality rates of the era, as five of his siblings did not survive infancy. His elder sister, Maria Anna Mozart, affectionately known as "Nannerl," was his closest companion and musical collaborator in their early years. Mozart was baptised the day following his birth at the venerable St. Rupert's Cathedral in Salzburg. His baptismal record officially lists his name in a Latinised form: Joannes Chrysostomus Wolfgangus Theophilus Mozart. However, in adulthood, he preferred to be known as "Wolfgang Amadè Mozart," though his name underwent numerous variations throughout his life. [4]

Mozart's birthplace at Getreidegasse 9, Salzburg

His father, Leopold Mozart, hailed from Augsburg, [5] a city that was then an Imperial Free City within the Holy Roman Empire. Leopold was himself a composer of some repute and a highly experienced music educator. In 1743, he secured a position as the fourth violinist in the esteemed musical ensemble of Count Leopold Anton von Firmian, the ruling Prince-Archbishop of Salzburg. [2] Four years later, he married Anna Maria in Salzburg. Leopold's career progressed, and by 1763, he had risen to the position of deputy Kapellmeister. The year of his son's birth also saw the publication of Leopold's influential violin textbook, Versuch einer gründlichen Violinschule, which met with considerable success. [6]

The musical education of young Wolfgang began under the tutelage of his father, Leopold. When Nannerl, his elder sister, reached the age of seven and commenced her keyboard lessons with Leopold, the three-year-old Wolfgang would observe intently. Years later, after Wolfgang's passing, Nannerl recalled:

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

Mozart family on tour: Leopold, Wolfgang, Nannerl; watercolour by Carmontelle, c. 1763 [8]

These early compositions, catalogued as K. 1–5, were meticulously recorded in the Nannerl Notenbuch. While scholarly debate exists regarding whether Mozart was precisely four or five years old when he penned his inaugural musical compositions, there is little doubt that his first three pieces of music, K. 1a, 1b, and 1c, were created within a remarkably short span of weeks. [9]

In these formative years, Wolfgang's sole instructor was his father, Leopold. Beyond music, Leopold imparted knowledge of languages and various academic subjects to his children. [10] The renowned biographer Maynard Solomon observes that while Leopold was a dedicated and nurturing teacher, there is compelling evidence suggesting that Mozart possessed an intrinsic drive to surpass the confines of his tutelage. [10] His initial, ink-stained compositions and his remarkably precocious violin endeavors were acts of self-initiation, surprising even Leopold, [11] who eventually curtailed his own compositional pursuits as his son's extraordinary musical talents came to the fore. [12]

1762–73: Travel

• Main articles: Mozart family grand tour and Mozart in Italy

During Wolfgang's childhood, his family undertook several extensive European journeys, during which both he and his sister Nannerl were presented as musical child prodigies. These tours commenced in 1762 with performances at the court of Prince-elector Maximilian III of Bavaria in Munich, followed by appearances at the Imperial Courts in Vienna and Prague. A more extensive concert tour then ensued, lasting for three and a half years. This ambitious undertaking led the family to the courts of Munich, Mannheim, Paris, London, [13] Dover, The Hague, Amsterdam, Utrecht, Mechelen, and once more to Paris. Their return journey included stops in Zürich, Donaueschingen, and Munich. [14] This prolonged period of travel not only exposed Mozart to diverse musical environments and prominent musicians but also allowed him to immerse himself in the works of other composers. A particularly significant encounter was with Johann Christian Bach, whom Mozart visited in London in 1764 and again in 1765. By the age of eight, Mozart had already composed his first symphony, a work largely transcribed by his father. [15]

Mozart aged 14 in January 1770 (School of Verona, attributed to Giambettino Cignaroli)

• Antiphon "Quaerite primum regnum Dei", K. 86/73v

Composed 9 October 1770 for admission to the Accademia Filarmonica di Bologna; Performed by Phillip W. Serna, treble, tenor & bass viols

The family's extensive travels were often fraught with hardship, and the conditions of travel were rudimentary at best. [16] They were reliant on invitations and financial support from the nobility, and endured prolonged periods of serious illness far from home. Leopold was gravely ill in London during the summer of 1764, [17] and both children suffered from severe illnesses in The Hague in the autumn of 1765. [18] The family returned to Vienna in late 1767 and remained there until December 1768.

Following a year back in Salzburg, Leopold and Wolfgang embarked on another journey to Italy in December 1769, leaving Anna Maria and Nannerl at home. This tour extended until March 1771. As with previous expeditions, Leopold's primary objective was to showcase his son's exceptional abilities as both a performer and a rapidly developing composer. In Bologna, Wolfgang encountered Josef Mysliveček and the esteemed theorist Giovanni Battista Martini. He was subsequently accepted as a member of the prestigious Accademia Filarmonica di Bologna. A widely circulated story, though its veracity is debated, recounts that while in Rome, Mozart heard Gregorio Allegri's Miserere performed twice in the Sistine Chapel. According to the legend, he then transcribed the entire piece from memory, thus creating the "first unauthorised copy of this closely guarded property of the Vatican." [19] [20] [d] [21]

During their time in Milan, Mozart composed the opera Mitridate, re di Ponto (1770), which was met with considerable success. This triumph led to further opera commissions. The father and son returned to Milan twice more (from August to December 1771 and from October 1772 to March 1773) to compose and oversee the premieres of Ascanio in Alba (1771) and Lucio Silla (1772). Leopold harbored hopes that these visits would secure a professional appointment for his son. Indeed, the ruling Archduke Ferdinand considered hiring Mozart, but his mother, Empress Maria Theresa, expressed reservations about employing "useless people," effectively halting the prospect. [e] Leopold's aspirations for his son remained unrealized. Towards the conclusion of this Italian sojourn, Mozart penned the solo motet Exsultate, jubilate, K. 165.

1773–77: Employment at the Salzburg court

Tanzmeisterhaus, Salzburg, Mozart family residence from 1773; reconstructed in 1996

Having finally returned to Salzburg with his father on 13 March 1773, Mozart entered into employment as a court musician under the patronage of Prince-Archbishop Hieronymus Colloredo. Despite the constraints of his position, Mozart found ample opportunity to compose in a variety of genres, including symphonies, sonatas, string quartets, masses, serenades, and several minor operas. He also benefited from the support of numerous friends and admirers within Salzburg. [23]

Between April and December 1775, Mozart experienced a surge of creative energy focused on violin concertos. He produced a remarkable series of five concertos, the only ones he would ever write, each demonstrating a progressive increase in musical sophistication. The final three—Violin Concerto No. 3 (Mozart) (K. 216), Violin Concerto No. 4 (Mozart) (K. 218), and Violin Concerto No. 5 (Mozart) (K. 219)—are now considered essential components of the standard violin repertoire.

In 1776, his focus shifted to piano concertos, culminating in the brilliant E♭ concerto Piano Concerto No. 9 (Mozart) (K. 271) composed in early 1777. This work is widely regarded by critics as a pivotal breakthrough in his compositional development. [24]

Despite these artistic triumphs, Mozart's dissatisfaction with Salzburg grew, and he intensified his efforts to secure a position elsewhere. A primary source of his discontent was his meager salary of 150 florins per year; [25] Mozart yearned to compose operas, a genre for which Salzburg offered only infrequent opportunities. The situation became more challenging in 1775 when the court theatre was closed, and the only other theatre in Salzburg was largely reserved for visiting troupes, further limiting his operatic ambitions. [26]

Two lengthy expeditions undertaken in search of employment punctuated this extended period in Salzburg. Mozart and his father visited Vienna from 14 July to 26 September 1773, and subsequently traveled to Munich from 6 December 1774 to March 1775. Neither of these journeys yielded the desired professional outcome, although the Munich visit was marked by the successful premiere of Mozart's opera La finta giardiniera. [27]

1777–78: Journey to Paris

Mozart wearing the badge of the Order of the Golden Spur which he received in 1770 from Pope Clement XIV in Rome [28] Portrait of the Mozart Family, c. 1780 (attrib. Johann Nepomuk della Croce); the portrait on the wall is of Mozart's mother.

In August 1777, Mozart tendered his resignation from his position in Salzburg, [29] [f] and on 23 September, he set out once more in pursuit of employment, with planned visits to Augsburg, Mannheim, Paris, and Munich. [30]

During his time in Mannheim, Mozart became acquainted with the renowned orchestra, which was considered the finest in Europe at that time. It was also in Mannheim that he fell deeply in love with Aloysia Weber, one of the four daughters of a musical family. While there were prospects of employment in Mannheim, these ultimately proved to be unfounded, [31] and Mozart departed for Paris on 14 March 1778 [32] to continue his search for a suitable position. Correspondence from his time in Paris suggests a potential opportunity for an organist post at Versailles, but Mozart expressed no interest in such an appointment. [33] He found himself increasingly in debt, resorting to pawning his possessions to make ends meet. [34] The emotional low point of this Parisian visit occurred with the tragic death of his mother on 3 July 1778. [35] Delays in summoning medical assistance, likely due to a lack of funds, exacerbated the situation. [36] Mozart resided with Melchior Grimm at the home of the Marquise d'Épinay, located at 5 rue de la Chaussée-d'Antin. [37]

While Mozart was in Paris, his father was actively exploring potential employment opportunities for him back in Salzburg. [38] With the backing of influential local nobility, Mozart was offered a position as court organist and concertmaster. The offered annual salary was 450 florins, [39] but Mozart harbored significant reluctance to accept. [40] By this point, the relationship between Grimm and Mozart had become strained, leading Mozart to seek new lodgings. After departing Paris in September 1778 for Strasbourg, he lingered in Mannheim and Munich, still hopeful of securing a position outside of Salzburg. In Munich, he encountered Aloysia again, now a highly successful singer, but she showed no reciprocal interest. [41] Mozart finally returned to Salzburg on 15 January 1779 and assumed his new appointment, yet his profound discontent with Salzburg remained unabated. [42]

Among the notable works composed during Mozart's Paris journey are the Piano Sonata No. 8 (Mozart) in A minor, K. 310/300d, and the "Paris" Symphony (Mozart) (No. 31), which received their premieres in Paris on 12 and 18 June 1778 respectively; [43] he also composed the Concerto for Flute, Harp, and Orchestra (Mozart) in C major, K. 299/297c. [44]

Vienna

1781: Departure

In January 1781, Mozart's opera Idomeneo premiered in Munich to "considerable success." [45] The following March, Mozart was summoned to Vienna by his employer, Archbishop Colloredo, who was attending celebrations for the ascension of Joseph II, Holy Roman Emperor to the Austrian throne. For Colloredo, this was a matter of ensuring his musical subordinate was readily available, requiring Mozart to dine in his household alongside the valets and cooks. [g] Mozart, however, harbored aspirations for a more significant career and envisioned his presence in Vienna as an opportunity. He expressed his ambition in a letter to his father:

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

Mozart did indeed meet the Emperor, who would later provide substantial support for his career through commissions and a part-time appointment. [citation needed]

In the same letter to his father, Mozart detailed his plans to perform as a soloist in concerts organized by the Tonkünstler-Societät, a prominent series of benefit concerts. [48] This plan also materialized after the Viennese nobility intervened, persuading Colloredo to withdraw his opposition. [49]

Colloredo's desire to prevent Mozart from performing outside his direct employment was enforced on other occasions, fueling the composer's indignation. One such instance involved an opportunity to perform for the Emperor at the residence of Countess Thun, which would have yielded a fee equivalent to half of his annual Salzburg salary. [citation needed]

The conflict with the Archbishop reached its climax in May, when Mozart attempted to resign his post but was initially refused. In June, permission was granted, but in a manner that Mozart found deeply insulting: he was summarily dismissed with a physical expulsion, reportedly "with a kick in the arse," administered by the Archbishop's steward, Count Arco. This incident solidified Mozart's decision to establish himself in Vienna as an independent performer and composer. [50]

The dispute with Colloredo was further complicated by his father's stance, who sided with the Archbishop. Leopold Mozart engaged in fervent correspondence with his son, imploring him to reconcile with their employer and return to Salzburg. Wolfgang passionately defended his resolve to pursue an independent career in Vienna. The conflict was ultimately resolved with Mozart's dismissal by the Archbishop, freeing him from both his oppressive employer and his father's insistent demands. Solomon characterizes Mozart's resignation as a "revolutionary step" that profoundly altered the trajectory of his life. [51]

Early years

• See also: Haydn and Mozart and Mozart and Freemasonry

Mozart's nascent career in Vienna commenced auspiciously. He frequently appeared as a pianist, notably in a performance before the Emperor on 24 December 1781, where he competed with Muzio Clementi. [50] He quickly "had established himself as the finest keyboard player in Vienna." [50] His success as a composer also flourished, culminating in the completion of the opera Die Entführung aus dem Serail ("The Abduction from the Seraglio") in 1782. The opera premiered on 16 July 1782 and achieved significant acclaim, soon being performed "throughout German-speaking Europe," [50] firmly cementing Mozart's reputation as a preeminent composer.

1782 portrait of Constanze Mozart by her brother-in-law Joseph Lange

During the height of his disputes with Colloredo, Mozart took up residence with the Weber family, who had relocated to Vienna from Mannheim. The family's patriarch, Fridolin, had passed away, and the Webers were taking in lodgers to supplement their income. [52]

Marriage and children

After failing to secure the affections of Aloysia Weber, who had since married the actor and artist Joseph Lange, Mozart's attention turned to the third daughter of the family, Constanze.

Their courtship was not without its complications. Surviving correspondence reveals that Mozart and Constanze experienced a brief separation in April 1782, stemming from an incident involving jealousy: Constanze had participated in a parlor game where another young man measured her calves. [53] Mozart also faced considerable difficulty in obtaining his father's permission for the marriage. [54]

The marriage itself occurred amidst a backdrop of crisis. [Daniel Heartz] suggests that Constanze moved in with Mozart prior to their marriage, an act that would have been considered scandalous according to the social norms of the time. [55] Mozart wrote to Leopold on 31 July 1782, "All the good and well-intentioned advice you have sent fails to address the case of a man who has already gone so far with a maiden. Further postponement is out of the question." [55] Heartz recounts, "Constanze's sister Sophie had tearfully declared that her mother would send the police after Constanze if she did not return home [presumably from Mozart's apartment]." [55] On 4 August, Mozart wrote to Baroness von Waldstätten, inquiring, "Can the police here enter anyone's house in this way? Perhaps it is only a ruse of Madame Weber to get her daughter back. If not, I know no better remedy than to marry Constanze tomorrow morning or if possible today." [55]

The couple was finally married on 4 August 1782 in St. Stephen's Cathedral, Vienna, just one day before his father's letter of consent arrived. In the marriage contract, Constanze allocated "five hundred gulden which ... the latter has promised to augment with one thousand gulden," with the total sum designated to pass to the surviving spouse. Furthermore, all assets jointly acquired during the marriage were to be considered the common property of both. [56]

The couple had six children, though tragically, only two survived infancy: [57]

• Raimund Leopold (17 June – 19 August 1783)

• Karl Thomas Mozart (21 September 1784 – 31 October 1858)

• Johann Thomas Leopold (18 October – 15 November 1786)

• Theresia Constanzia Adelheid Friedericke Maria Anna (27 December 1787 – 29 June 1788)

• Anna Maria (died shortly after birth, 16 November 1789)

• Franz Xaver Wolfgang Mozart (26 July 1791 – 29 July 1844)

1782–87

In 1782 and 1783, Mozart became deeply immersed in the works of Johann Sebastian Bach and George Frideric Handel, largely due to the influence of Gottfried van Swieten, who possessed an extensive collection of manuscripts by the Baroque masters. Mozart's study of these scores profoundly impacted his compositional style, inspiring him to incorporate Baroque elements and later influencing his musical language, evident in the fugal passages of The Magic Flute and the triumphant finale of Symphony No. 41, the "Jupiter" Symphony. [2]

During a visit to his family in Salzburg in 1783 with his wife, Mozart's father and sister treated Constanze with cordiality, but the visit spurred the composition of one of Mozart's most significant liturgical works, the Mass in C minor. Although incomplete, the mass was premiered in Salzburg, with Constanze herself performing a solo part. [58]

Mozart encountered Joseph Haydn in Vienna around 1784, marking the beginning of a significant friendship between the two composers. When Haydn visited Vienna, they occasionally participated in impromptu string quartet performances. Mozart's six quartets dedicated to Haydn (K. 387, K. 421, K. 428, K. 458, K. 464, and K. 465), composed between 1782 and 1785, are widely considered a response to Haydn's groundbreaking String Quartets, Op. 33 from 1781. [59] Haydn's admiration for Mozart was profound; he reportedly stated, "posterity will not see such a talent again in 100 years," [60] and in 1785, he conveyed to Mozart's father: "I tell you before God, and as an honest man, your son is the greatest composer known to me by person and repute, he has taste and what is more the greatest skill in composition." [61]

From 1782 to 1785, Mozart organized his own concert series, often featuring himself as the piano soloist and premiering three or four new piano concertos each season. Due to limited availability of suitable venues, he utilized unconventional spaces, including a large room in the Trattnerhof apartment building and the ballroom of the Mehlgrube restaurant. [62] These concerts were immensely popular, and the concertos premiered there remain central to the classical music repertoire. Solomon aptly describes this period as one where Mozart forged "a harmonious connection between an eager composer-performer and a delighted audience, which was given the opportunity of witnessing the transformation and perfection of a major musical genre." [62]

With the substantial income generated from his concerts and other engagements, Mozart and Constanze adopted a more lavish lifestyle. They moved into an expensive apartment with an annual rent of 460 florins. [63] Mozart acquired a fine fortepiano from Anton Walter for approximately 900 florins and invested in a billiard table costing around 300 florins. [63] The Mozarts also enrolled their son Karl Thomas in an exclusive boarding school [64] [65] and maintained household servants. Despite his considerable earnings during this period, Mozart saved little of his income. [66]

On 14 December 1784, Mozart was initiated into Freemasonry, joining the lodge Zur Wohltätigkeit ("Beneficence"). [67] Freemasonry became an integral part of Mozart's life, influencing his social circle and inspiring numerous compositions, including the Maurerische Trauermusik ("Masonic Funeral Music"). [68]

1786–87: Return to opera

Fortepiano played by Mozart in 1787, Czech Museum of Music, Prague [69]

Despite the resounding success of Die Entführung aus dem Serail, Mozart produced relatively little operatic work in the subsequent four years, completing only two unfinished pieces and the one-act Der Schauspieldirektor. His focus during this time was primarily on his career as a piano soloist and composer of concertos. Around the end of 1785, Mozart shifted his creative energy away from keyboard writing [70] and initiated his seminal operatic collaboration with the celebrated librettist Lorenzo Da Ponte. The year 1786 witnessed the highly successful premiere of Le nozze di Figaro in Vienna. The opera's reception in Prague later that year was even more enthusiastic, paving the way for a second collaboration with Da Ponte: the opera Don Giovanni. This masterpiece premiered in Prague in October 1787 to widespread acclaim, although its reception in Vienna during 1788 was more subdued. [71] Both operas are now considered cornerstones of the operatic repertoire, renowned for their musical complexity which, at their premieres, presented challenges for both audiences and performers. These significant artistic achievements coincided with the death of Mozart's father on 28 May 1787. [72] His Symphony No. 38, often referred to as the "Prague" Symphony, also premiered in Prague that year. [73]

In December 1787, Mozart finally secured a stable, albeit modest, position under aristocratic patronage. Emperor Joseph II appointed him as his "chamber composer," a role that had become vacant the previous month with the death of Christoph Willibald Gluck. This part-time appointment carried an annual salary of only 800 florins and primarily required Mozart to compose dances for the annual balls held in the Redoutensaal (refer to Mozart and dance for further details). This modest income proved crucial for Mozart during the financially challenging years that followed. Historical court records indicate that Joseph II's intention in creating this position was to retain the esteemed composer in Vienna, preventing him from seeking better opportunities elsewhere. [74] [h]

In 1787, a young Ludwig van Beethoven spent several weeks in Vienna with the expressed hope of studying with Mozart. [76] However, no definitive historical records exist to confirm whether these two musical giants ever met.

Later years

1788–90

Drawing of Mozart in silverpoint, made by Dora Stock during Mozart's visit to Dresden, April 1789

As the decade drew to a close, Mozart's financial and personal circumstances began to deteriorate. Around 1786, his public appearances as a performer became less frequent, and his income substantially diminished. [77] This period was particularly challenging for musicians in Vienna due to the ongoing [Austro-Turkish War (1788–1791)], which led to a general decline in prosperity and a reduced capacity for the aristocracy to patronize the arts. According to Solomon, Mozart experienced a significant drop in income by 1788, estimated at 66% compared to his most lucrative years in the early 1780s. [78]

By mid-1788, Mozart and his family had relocated from central Vienna to the suburb of [Alsergrund]. [77] While it has been suggested that this move was an attempt to reduce rental expenses, Mozart's correspondence with [Michael von Puchberg] indicates that the larger living space in Alsergrund, rather than reduced costs, was the primary motivation. [79] During this period, Mozart began to rely heavily on financial assistance, frequently borrowing money from his close friend and fellow Freemason, Puchberg; a poignant collection of "pitiful letters pleading for loans" survives from this time. [80] Solomon and other scholars posit that Mozart may have been experiencing periods of depression, a factor that possibly contributed to a perceived slowdown in his musical output. [81] Nevertheless, this period saw the creation of some of his most profound instrumental works, including his final three symphonies (Nos. 39, 40, and 41, all composed in 1788) and the last of his three operas with Lorenzo Da Ponte, Così fan tutte, which premiered in 1790.

To improve his financial situation, Mozart undertook several extensive journeys during this period. He visited Leipzig, Dresden, and Berlin in the spring of 1789 (detailed in Mozart's Berlin journey), and embarked on another tour in 1790, visiting Frankfurt, Mannheim, and other German cities.

1791

Mozart's final year, up until the onset of his final illness, was characterized by an extraordinary surge in creative output—and, by some accounts, a period of personal renewal. [82] [i] He composed a remarkable number of his most cherished works during this time, including the opera The Magic Flute; his final piano concerto in B♭ major Piano Concerto No. 27 (Mozart) (K. 595); the virtuosic Clarinet Concerto (Mozart) (K. 622); the last of his string quintets in E♭ major String Quintet No. 6 (Mozart) (K. 614); the sacred motet Ave verum corpus (K. 618); and the unfinished, yet profoundly moving, Requiem (Mozart) (K. 626).

Mozart's financial anxieties, prevalent in 1790, began to alleviate in 1791. While conclusive evidence remains elusive, [83] it appears that wealthy patrons in Hungary and Amsterdam extended annuities to Mozart in exchange for occasional compositions. It is also believed that he benefited from the sale of dance music he composed in his capacity as Imperial chamber composer. [83] Significantly, Mozart ceased borrowing substantial sums from Puchberg and initiated the process of repaying his outstanding debts. [83]

He experienced profound satisfaction from the public acclaim of several of his works. Notably, The Magic Flute enjoyed numerous successful performances in the brief interval between its premiere and Mozart's death, [84] as did the Little Masonic Cantata (K. 623), which premiered on 17 November 1791. [85]

Final illness and death

• Main article: Death of Wolfgang Amadeus Mozart

Posthumous painting by Barbara Krafft in 1819

Mozart fell ill while in Prague for the premiere of his opera La clemenza di Tito on 6 September 1791. This opera was composed that year to commemorate the coronation festivities of Emperor Leopold II, Holy Roman Emperor. [86] Despite his declining health, he continued to work professionally for a period, conducting the premiere of The Magic Flute on 30 September. His condition worsened significantly on 20 November, at which point he became bedridden, experiencing severe swelling, intense pain, and vomiting. [87]

During his final days, Mozart was lovingly nursed by his wife and her youngest sister. He was attended by the family physician, Thomas Franz Closset. His final days were consumed by the intense effort to complete his Requiem (Mozart). While there is minimal documented evidence, it is believed he dictated passages of the work to his student [Franz Xaver Süssmayr]. [88]

Mozart died in his Vienna residence at 12:55 am on 5 December 1791, at the age of 35. [89] The [New Grove Dictionary of Music and Musicians] describes his funeral arrangements:

Mozart was interred in a common grave, in accordance with contemporary Viennese custom, at the St. Marx Cemetery outside the city on 7 December. If, as later reports say, no mourners attended, that too is consistent with Viennese burial customs at the time; later [Otto Jahn] (1856) wrote that [Salieri], [Süssmayr], [van Swieten] and two other musicians were present. The tale of a storm and snow is false; the day was calm and mild. [90]

The term "common grave" did not signify a communal or pauper's grave, but rather an individual burial plot designated for a member of the general populace, distinct from the aristocracy. Such graves were subject to exhumation after a period of ten years, unlike the graves of aristocrats. [91]

The precise cause of Mozart's death remains undetermined. The official record lists "hitziges Frieselfieber" ("severe miliary fever"), a description of symptoms rather than a definitive diagnosis, noting a rash resembling millet seeds. Medical researchers have proposed over a hundred potential causes, including acute [rheumatic fever], [92] [93] streptococcal infection, [94] [95] [trichinosis], [96] [97] [influenza], [mercury poisoning], and a rare kidney ailment. [92]

Mozart's humble funeral did not fully reflect his stature as a composer. However, memorial services and concerts held in Vienna and Prague in the wake of his death were exceptionally well-attended. In the immediate aftermath of his passing, his reputation experienced a significant and rapid ascent. Solomon aptly describes an "unprecedented wave of enthusiasm" [98] for his music. Biographies were swiftly published by figures such as [Friedrich Schlichtegroll], [Franz Xaver Niemetschek], and [Georg Nikolaus von Nissen], while publishers competed to release complete editions of his works. [98]

Appearance and character

• Main article: Appearance and character of Wolfgang Amadeus Mozart

Detail of Mozart's portrait by his brother-in-law Joseph Lange

Michael Kelly, a tenor, provided a vivid description of Mozart's physical appearance in his Reminiscences: "a remarkably small man, very thin and pale, with a profusion of fine, fair hair of which he was rather vain." His early biographer, Niemetschek, noted, "there was nothing special about [his] physique. ... He was small and his countenance, except for his large intense eyes, gave no signs of his genius." His facial complexion bore the marks of childhood smallpox. [99] His wife later remarked on his voice: "was a tenor, rather soft in speaking and delicate in singing, but when anything excited him, or it became necessary to exert it, it was both powerful and energetic." [100]

Mozart had a penchant for elegant attire. Kelly recalled witnessing him at a rehearsal: "[He] was on the stage with his crimson pelisse and gold-laced cocked hat, giving the time of the music to the orchestra." Based on extant portraits, it appears Mozart typically wore a white wig for most formal occasions. Researchers at the Salzburg Mozarteum have identified only one of the fourteen portraits they have examined that depicts him without his wig. [99]

Mozart was known for his diligent work ethic, often composing at a remarkable pace to meet deadlines. He frequently created sketches and drafts, though unlike Beethoven's, these are largely lost, as his wife reportedly destroyed them after his death. [101]

As a prominent figure in Viennese musical life, Mozart interacted with a diverse range of individuals, including fellow musicians, theatrical performers, compatriots from Salzburg, and members of the aristocracy, including Emperor [Joseph II]. [Solomon] identifies Gottfried von Jacquin, Count August Hatzfeld, and Sigmund Barisani as his three closest friends, with other notable acquaintances including his elder colleague [Joseph Haydn], singers [Franz Xaver Gerl] and [Benedikt Schack], and the horn player [Joseph Leutgeb]. Mozart and Leutgeb shared a playful rapport, often engaging in friendly banter and practical jokes, with Leutgeb frequently the target of Mozart's wit. [102]

His leisure activities included billiards, dancing, and the companionship of various pets, such as a canary, a starling, a dog, and a horse for recreational riding. [103] He possessed a notable fondness for scatological humor, evident in his surviving letters, particularly those written to his cousin Maria Anna Thekla Mozart around 1777–1778, and in his correspondence with his sister and parents. [104] This penchant for humor extended to his music, as he composed a series of canons that he sang with his friends. [j] Mozart also demonstrated a remarkable facility with languages. Having traveled extensively across Europe in his youth, he was fluent in Latin, Italian, and French, in addition to his native German dialect of Salzburg. He may have also possessed a working knowledge of English, as evidenced by a humorous inscription he wrote, "You are an ass," after his 19-year-old student Thomas Attwood made a careless error in his assignments. [105] [106]

Mozart was raised within the Catholic faith and remained a devout adherent throughout his life. [107] [108] He embraced certain principles of Freemasonry starting in 1784. [109]

Works, musical style, and innovations

Style

• • • Symphony No. 40 in G minor, K. 550. Movement: 1. Molto allegro

Overture to Don Giovanni

Both performed by the Fulda Symphonic Orchestra, conductor: Simon Schindler

Mozart's music, much like that of Haydn, stands as a quintessential embodiment of the Classical style. At the dawn of his compositional career, European music was largely defined by the style galant, a stylistic movement that emerged as a reaction against the intricate complexity of the Baroque era. Through a gradual yet profound process, and largely driven by Mozart's own innovative genius, the contrapuntal complexities characteristic of the late Baroque period were reintroduced, tempered and refined by new forms and adapted to a burgeoning aesthetic and social landscape. Mozart's versatility as a composer is evident in his mastery across all major genres, including the symphony, opera, solo concerto, chamber music such as string quartet and string quintet, and the piano sonata. While these forms were not entirely novel, Mozart elevated their technical sophistication and expanded their emotional resonance. From his earliest compositions to his final works, he produced a diverse array of vocal pieces, including concert arias, songs, and canons. He is particularly credited with almost single-handedly developing and popularizing the Classical piano concerto. His output also includes a substantial volume of religious music, encompassing large-scale masses, as well as dances, divertimenti, serenades, and other forms of lighter entertainment. [110]

The defining characteristics of the Classical style are prominently featured in Mozart's compositions. Clarity, balance, and transparency serve as the fundamental elements of his work. However, simplistic notions of its delicate nature belie the profound power and intensity found in his most exceptional masterpieces, such as the Piano Concerto No. 24 (Mozart) in C minor (K. 491); the Symphony No. 40 (Mozart) in G minor (K. 550); and the opera Don Giovanni. Charles Rosen powerfully articulates this duality:

It is only through recognizing the violence and sensuality at the centre of Mozart's work that we can make a start towards a comprehension of his structures and an insight into his magnificence. In a paradoxical way, [Schumann]'s superficial characterisation of the G minor Symphony can help us to see Mozart's daemon more steadily. In all of Mozart's supreme expressions of suffering and terror, there is something shockingly voluptuous. [111]

During his final decade, Mozart frequently explored the expressive potential of chromatic harmony. A striking example of this can be found in his String Quartet No. 19 (Mozart) in C major (K. 465) (1785), whose introduction is replete with chromatic suspensions, lending the work its evocative nickname, the "Dissonance" quartet.

Mozart possessed an exceptional gift for assimilating and adapting the distinctive qualities of other composers' music. His extensive travels played a crucial role in shaping his unique compositional language. [112] As a child in London, he encountered [Johann Christian Bach] and became familiar with his music. In Paris, Mannheim, and Vienna, he met composers whose work influenced him, and he experienced firsthand the avant-garde capabilities of the Mannheim orchestra. His Italian sojourns introduced him to the Italian overture and the opera buffa, both of which significantly impacted the evolution of his compositional practice. In London and Italy, the galant style was prevalent, characterized by simple, light music with a strong emphasis on cadencing; a harmonic vocabulary focused on tonic, dominant, and subdominant chords, often to the exclusion of others; symmetrical phrase structures; and clearly articulated formal divisions within movements. [113] Some of Mozart's early symphonies bear the structure of Italian overtures, featuring three movements seamlessly connected. Many of these early symphonies are homotonal, meaning all three movements share the same key signature, with the slow middle movement often in the relative minor. Others emulate the style of J. C. Bach, while some exhibit the straightforward rounded binary forms favored by Viennese composers. [citation needed]

Facsimile sheet of music from the Dies Irae movement of the Requiem Mass in D minor (Mozart) (K. 626) in Mozart's handwriting (Mozarthaus, Vienna)

As Mozart matured, he progressively integrated more elements drawn from the Baroque tradition. For instance, the Symphony No. 29 (Mozart) in A major (K. 201) features a contrapuntal main theme in its first movement and demonstrates an experimental approach to phrase lengths. Some of his string quartets from 1773 incorporate fugal finales, likely influenced by Haydn's inclusion of three such finales in his recently published String Quartets, Op. 20 set. The stylistic currents of the Sturm und Drang ("Storm and Stress") period in music, which offered a brief foreshadowing of the Romantic era, are discernible in the works of both Mozart and Haydn during this time. Mozart's Symphony No. 25 (Mozart) in G minor (K. 183) stands as another exemplary illustration of this stylistic influence. [citation needed]

Mozart's creative output fluctuated between operas and instrumental music. He composed in all the prevailing operatic styles of his time: opera buffa, exemplified by Le nozze di Figaro, Don Giovanni, and Così fan tutte; opera seria, such as Idomeneo; and Singspiel, of which The Magic Flute remains the most celebrated example by any composer. In his later operas, he masterfully employed subtle variations in orchestration, textural density, and tone colour to enhance emotional depth and delineate dramatic shifts. [citation needed] This advancement in his operatic writing was intertwined with his progress in instrumental composition. His increasingly sophisticated orchestral techniques in symphonies and concertos informed his operatic orchestration, while the psychological nuance he developed in using the orchestra for dramatic effect in his operas subsequently influenced his non-operatic compositions. [114]

Köchel catalogue

• Main article: Köchel catalogue

To ensure unambiguous identification of Mozart's vast body of work, the Köchel catalogue system is employed. This system assigns a unique number to each of his known compositions, arranged in chronological order. A specific work is referenced by the abbreviation "K." or "KV" followed by its designated number. The initial compilation of this catalogue was completed in 1862 by [Ludwig von Köchel]. Subsequent scholarly research and revisions have refined the catalogue, improving the accuracy of dating and authentication of individual works. [115]

Instruments

Although some of Mozart's early compositions were written for the harpsichord, he also gained familiarity with fortepianos constructed by the Regensburg builder [Franz Jakob Späth] during his formative years. Later, during a visit to Augsburg, Mozart expressed his admiration for the fortepianos crafted by [Johann Andreas Stein], conveying his enthusiasm in a letter to his father. [116] On 22 October 1777, Mozart premiered his triple piano concerto, Piano Concerto No. 7 (Mozart) (K. 242), utilizing instruments provided by Stein. Demmler, the organist at Augsburg Cathedral, performed the first part, Mozart the second, and Stein the third. [117] In 1783, while residing in Vienna, Mozart acquired an instrument manufactured by [Anton Walter]. [118] Leopold Mozart attested to his son's deep attachment to his Walter fortepiano, noting: "It is impossible to describe the hustle and bustle. Your brother's pianoforte has been moved at least twelve times from his house to the theatre or to someone else's house." [119] Mozart's Walter piano is currently preserved and exhibited in the main hall of the Tanzmeisterhaus, the former residence of the Mozart family in Salzburg. [120]

Influence

• See also: Mozart in popular culture

Mozart Monument [de], Mozartplatz, Frankfurt

His most renowned pupil was [Johann Nepomuk Hummel], [121] a composer who served as a transitional figure between the Classical and Romantic eras. Hummel was taken into the Mozart household in Vienna for two years as a child. [122] However, Mozart's influence on subsequent generations of composers is arguably more significant. Since the surge in his posthumous reputation, the study of his scores has become an indispensable part of the training for any aspiring classical musician. [123]

Beethoven, who was fifteen years Mozart's junior, was profoundly impacted by his predecessor's work, [124] having been familiar with it since his teenage years. It is believed that he performed Mozart's operas while playing in the court orchestra at Bonn, [125] and he traveled to Vienna in 1787 with the specific intention of studying with the elder composer. Several of Beethoven's compositions exhibit direct parallels with comparable works by Mozart, and he even composed cadenzas ([WoO 58]) for Mozart's D minor piano concerto Piano Concerto No. 20 (Mozart) (K. 466). [126] [k]

Numerous composers have paid homage to Mozart by composing sets of variations based on his themes. Beethoven himself penned four such sets (Op. 66, WoO 28, WoO 40, WoO 46). [127] Other notable examples include [Fernando Sor]'s Introduction and Variations on a Theme by Mozart (1821), [Mikhail Glinka]'s Variations on a Theme from Mozart's Opera The Magic Flute (1822), [Frédéric Chopin]'s Variations on "Là ci darem la mano" from Don Giovanni (1827), and [Max Reger]'s Variations and Fugue on a Theme by Mozart (1914), which is based on the variation theme from Mozart's piano sonata Piano Sonata No. 11 (Mozart) (K. 331). [128] [Pyotr Ilyich Tchaikovsky], a fervent admirer of Mozart, composed his Orchestral Suite No. 4 in G, Mozartiana (1887), as a dedicated tribute to him. [129] The renowned physicist [Albert Einstein] famously stated, "Mozart's music is so pure it seems to have been ever present in the universe." [130]

Notes and references

Notes

• ^ Sources offer varying guidance on the English pronunciation of Mozart's name. Fradkin 1996, a resource for classical music radio, strongly advocates for the use of the phoneme /ts/ for the letter 'z' (resulting in a pronunciation like /ˈwʊlfɡæŋ ˌæməˈdeɪəs ˈmoʊtsɑːrt/), while deeming other English-like pronunciations acceptable. The standard German pronunciation is [/ˈvɔlfɡaŋ amaˈdeːʊs ˈmoːtsart/]. ⓘ

• ^ Baptised as Joannes Chrysostomus Wolfgangus Theophilus Mozart. These Christian names correspond to the Saints: John Chrysostom, Wolfgang of Regensburg, and Theophilus (biblical). Mozart utilized various versions of his name throughout his life and in different contexts; for a comprehensive account, refer to Mozart's name.

• ^ Source: Wilson 1999, p. 2. The complex and shifting political borders of Europe throughout history make it challenging to definitively assign Mozart a specific nationality; for a detailed discussion, see Mozart's nationality.

• ^ For further details regarding this account, consult Miserere (Allegri) § History.

• ^ Eisen & Keefe 2006, p. 268: "You ask me to take the young Salzburger into your service. I do not know why not believing that you have need for a composer or of useless people. ... What I say is intended only to prevent 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 about the world like beggars."

• ^ Archbishop Colloredo's response to the request was to dismiss both Mozart and his father, although the dismissal of the latter was not ultimately enacted.

• ^ Mozart expresses his dissatisfaction with this situation in a letter to his father dated 24 March 1781. [46]

• ^ A more recent perspective [75] suggests that Mozart's position held greater significance than traditionally acknowledged, and that some of his chamber music from this period may have been composed as part of his official duties to the Emperor.

• ^ Wolff 2012 has strongly argued for a view of Mozart's career trajectory in his final years as being on an upward trajectory, tragically cut short by his untimely death.

• ^ A comprehensive list of these canons can be found in Mozart and scatology § In music.

• ^ For additional information on this subject, refer to Beethoven and Mozart.

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• And not as previously stated on 15 November; see Abert 2007, p. 1307, fn 9.

• Freeman 2021, pp. 193–230.

• Solomon 1995, p. 491.

• Solomon 1995, pp. 493, 588.

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