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The Best Book on Mozart

October 25, 2007 issue

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W.A. Mozart

Another book in English on Mozart might not seem to be a pressing need just now after the extravagant outpouring of the 250th anniversary of his birth last year, but we have waited a long time for this one. When, eighty-eight years ago, Hermann Abert’s W.A. Mozart appeared, it was recognized as the most authoritative survey of the composer’s life and works. (It claimed to be a revision of Otto Jahn’s pathbreaking life of Mozart of 1882, but in fact almost nothing was left of Jahn; when one of Jahn’s observations does appear in Abert, it is quoted as if from an external source, so it is just as well that Jahn’s name is no longer displayed on the title page.)

Abert managed to set down practically everything of interest about Mozart’s life that was known in 1919, and he added a complete overview of Mozart’s works, very many of them discussed in great detail and related to a masterly account of the music world in Mozart’s time and the different musical traditions of the age. Over the years the project of translating Abert often came up, but until now, no one had the courage, the good sense, or the resources to carry it out. The 1,500-page monument has finally been issued in an excellent translation by Stewart Spencer (even Mozart’s letters in rhyme when quoted by Abert appear like reasonable English doggerel), and it has turned out to be not only the most satisfactory but also the most readable and entertaining work on Mozart available in English.

Nevertheless, so much research has been expended on Mozart since 1919, so much more is known, and so many dates and facts have been corrected and revised that the book could not simply be translated. It had to be brought up to date. This has been done with full respect for the original by Cliff Eisen, one of the most brilliant Mozart scholars of our time. He has himself written profoundly on Mozart, above all on the viola quintets, and his knowledge of the composer and the musical life of his time has no superior and few equals. Without altering the original, he has added thousands of footnotes that correct or expand the text, indicating the most useful of recent publications on almost every aspect of Mozart taken up in the book. An immense bibliography has made this publication not only a pleasure to read but extremely useful for music-lovers, students, and scholars alike. We may well ask, however, after so much recent scholarship and revision, how a work of almost a century ago can retain its importance not just as a document of the past but as an adequate presentation of Mozart for the modern listener.

In his introductory editorial note, Eisen may give us a clue to an answer when he sets forth his main disagreement with Abert. He presents his case eloquently:

The heart of Abert’s book is chapter 31, “Mozart’s Personality.” For all his discussion of biography, of social circumstance, of commerce and industry, patrons and the public, it is Abert’s firm belief that, above all, Mozart’s music expresses Mozart himself, his keen observation of, and boundless empathy for, his fellow man: “…it is impossible to separate his life from his music: in both, the same force is at work.” And it is here that I profoundly disagree with Abert: as I see it, Mozart was a keen observer of mankind, and boundlessly empathetic, but what he expressed in his music was us , not himself. Put another way, Mozart was the consummate artist, able to manipulate and cajole his listeners, to draw them in and draw them out, to create art, to construct art not for the sake of self-expression but to allow us to express ourselves. Yet this fundamental difference with Abert is exactly why I like the book so much: if I could, I would say exactly the same things about the music, I would describe it in exactly the same words and with the same images, for Abert’s words and images correspond more or less exactly with how I hear the music. At the most basic level, then, Abert and I agree, not only that Mozart’s music is profoundly expressive but also as to what it expresses. So it is really of little consequence, in the end, whether Mozart is expressing himself or expressing his listener. Either way, Mozart’s is a compelling story: to whom, or to what, we attribute meaning in his music only determines the thrust and trajectory of the narrative, not its substance and not, ultimately, its effect. It is a story that can be read and told in a multiplicity of ways and Abert’s, because his understanding of the music resonates so strongly within us, no matter what our view of Mozart’s creative personality, remains perhaps the most compelling of all.

Eisen’s point is subtle, and provokes elucidation, but this is not simple. He is ill at ease, and to some extent rightly, with the old-fashioned and only too-well-established idea that the composer is simply expressing himself; this turns the composition of music, a social activity, into a purely personal act, and it is true that some critics of the past and even of our time have absurdly treated works of art as private creations, published so as to allow readers, listeners, and spectators to eavesdrop on the artist’s intimacy. When Eisen, however, says that what Mozart “expressed in his music was us , not himself,” it is not easy to identify the “us.” Who are we? Mozart’s contemporaries, or his patrons, or the connoisseurs of his work, or the listeners of his posterity? To choose any one of these makes expression too narrow, too limited. To choose all of them makes it too vague to be given a precise meaning. When Eisen, after declaring a profound disagreement with Abert about expression, writes, “At the most basic level, then, Abert and I agree, not only that Mozart’s music is profoundly expressive but also as to what it expresses,” he seems to be trying to take back, at least in part, his initial objection. Yet his disquiet is well founded.

To justify Eisen’s dissatisfaction, we should turn not to the chapter on Mozart’s personality, but to a passage in Abert’s own preface that reveals his great strength but also betrays a methodology that is at the root of some less than satisfactory emphases in his book. Here he pays generous tribute to his predecessors, in particular the work of the French team of Théodore de Wyzewa and Georges de Saint-Foix, but he makes one sharp criticism of their work:

For them, Mozart’s art is like a mosaic, made up of a series of influences to which he succumbed in the course of his life as a result of chance. This rationalistic desire to bring clarity and order to a varied picture is typically French, but quite apart from the fact that it is a fatal error to see genius as the sum total of the influences that affect it, this approach provides us with no answer as to two main questions: how did Mozart choose which of his many models to adopt? And which elements did he appropriate from them and make his own? Why did Johann Christian Bach and Schobert, for example, affect him more deeply than the incomparably greater Gluck? 1

This is a profound indictment not merely of Abert’s predecessors, but of an enormous amount of research on Mozart between Abert’s death in 1927 and our own time, so often devoted to a demonstration of how frequently Mozart borrowed from his contemporaries. Much of this is already in Abert (a great deal of subsequent research reads, in fact, like footnotes to his work): he constantly reveals what Mozart took from J.C. Bach, Johann Schobert, Giovanni Paisello, and others. He observes, for example, that the opening theme of the famous Symphony in G Minor is an eighteenth-century commonplace (and that it is found yet again in Tamino’s first aria in The Magic Flute ), but he also points out the two details that Mozart added to the motif that transformed the banal into something new.

Immediately following the above quotation from the preface are a few sentences about the difference between a genius and the common man that will provoke a shiver of distaste from most modern scholars:

Not even ordinary mortals imitate things if they do not already contain within them the nucleus of what they are imitating. In the case of the genius, this selective process already bears within it the stamp of creativity: it is his first attempt to assert himself in the face of tradition, to cast aside what inhibits him and is alien to his nature and not just to imitate all that he feels drawn towards but, at the same time, to recast it and make it his own.

Today, no one (or few, at any rate) would deny that there is a difference between a genius and an ordinary craftsman or hack, but it is felt to be not very nice or democratic to mention it. Of course, we know that an uncritical ascription to Mozart of Romantic nineteenth-century ideals of revolutionary originality gives a false picture of the career and thought of a late-eighteenth-century composer. Nevertheless, to claim that the ideals of originality and revolutionary inspiration do not apply in any way to Mozart (a claim sometimes made today in the newly fashionable view of Mozart as a simple professional craftsman only out to please the patrons who commissioned his work) gives a picture equally false, and one that impedes any workable view of the music.

Abert’s view of genius, however, leads him into a typology of Mozart’s works that, while it does not actually do much harm to his book, is nevertheless dubious. He depreciates the importance of the traditional division of musical works into sacred, dramatic, instrumental, and vocal, because that would mean examining trivial works of Mozart alongside more important ones, but he does not reject it. He sets up a new division, however, partially based on the way Mozart’s works were responses to commissions and to external circumstances. He writes:

A living tradition still existed at this time, a summation of formal and stylistic rules acknowledged and felt by all, whether they were the patrons responsible for issuing the commissions…or the artists responsible for carrying them out. No artist could afford to ignore them.

There are three groups of work for Abert. First, there were those written to fulfill a commission,

in which his genius conformed to tradition without further ado, in some cases even subordinating itself to that tradition…works written for various celebrations, the pieces intended for pupils and individual singers, with their specific demands, and so on. The second group consists of those works that are still part of the tradition described above, but where tradition is permeated and hence transformed and enriched by the elemental force of the artist’s own experience, its range of forms increased in consequence. Typical of this group are the great keyboard concertos of the 1780s, which still clearly embody the old ideal of music written to divert society…. In the works of the third group, finally, the artist’s archetypal experience, his basic emotion comes to predominate, with the result that the tradition is completely overshadowed by it. Here the focus of the artist’s interest passes from the receptive element—his audience in society—to the artist himself. In these works, tradition is annealed by the fire of Mozart’s genius to the point that it falls away like ash, allowing entirely new shapes to emerge.

To this final group for Abert belong “the great symphonies and string quintets” as well as the great operas.

This system of classification is neither entirely misleading nor indefensible, but it is tendentious. It preempts judgment. Abert himself admits that the distinctions are not hard and fast, and even observes that it is a pleasure to try to decide in which category a work belongs. Excluding the wonderful concertos of the 1780s from the category of the sublime because they are sociable is certainly a dubious point. This distinction of categories inclines us to underestimate the influence of tradition in the most radical works of the third group, a tendency that Abert, however, largely resists successfully in spite of his programmatic statement above. (He knows perfectly well that in the most individual works the musical tradition does not “fall away like ash.”)

His categories assume unwarrantably that the composer always expressed his art more personally when transforming tradition than by conforming to it, that Mozart, in short, was most Mozartean only when most radical. That is particularly dangerous with this composer because it may prevent us from recognizing that Mozart could be as inspired when he conformed to tradition as when he was revolutionary. The refusal to acknowledge that Mozart often showed his genius when he was most conventional has inspired such foolishness as Theodor W. Adorno’s rueful assertion that Mozart, unlike Beethoven, could not always write the way he wanted, or Glenn Gould’s attempt, by performance as well as writing, to demonstrate that Mozart in his last years had become an inferior composer.

Abert’s preference for the radical and revolutionary works is certainly due in large part to the contemporary situation in the arts in 1919. This was the moment of German expressionism in painting and literature, with Kirchner, Kandinsky, Beckmann among the artists, and Hauptmann, Wedekind, and Thomas Mann among the writers. It was the era of the French Fauve painters and cubism, of Joyce and Proust as well; the period dominated in new music by Richard Strauss, Arnold Schoenberg, and Igor Stravinsky. A new view of Mozart was required.

Abert’s preference for the Mozart that could seem, at least, most personal and radical did not, in fact, affect his judgment of music except in minor ways. Perhaps the only important exception to this is his treatment of the piano concertos. This is not to say that he was insensible or unappreciative of their extraordinary qualities; it would not be easy to find a treatment that was fairer. But he treats them oddly as a group, and does not give them individually the analysis extended to the viola quintets and the symphonies, not to speak of the operas (the field of Abert’s greatest expertise). He does not trace the extraordinary change in the style of the concertos from the A Major K. 414 to the C Minor K. 491, and while he is aware that Mozart transformed the tradition of the concerto as greatly as he did the opera and the symphony, he does not choose to set this in relief. He does not even treat the early masterpiece of the twenty-year-old Mozart, the Concerto in E-flat Major K. 271, separately from the two concertos that preceded it. This is the opus that Alfred Einstein called Mozart’s Eroica Symphony, the stylistic breakthrough that confirmed his mature style, and about which H.C. Robbins Landon remarked that with it Mozart “quietly bursts the form which was bequeathed to him by his precursors: for K. 271 is indeed far removed from the form and content of the pre-classical concerto.” 2

It is clear that Abert’s aesthetic risks a distortion of history, and we can see why Eisen should be made uncomfortable by it. Yet it has had two admirable effects, and these are strangely contradictory or at least paradoxical. The first effect is that it has increased our appreciation of Mozart by setting in relief those works that appeal to musical taste today. Our interest in the art of the past is necessarily discriminating, and we must not expect to admire with an equal passion everything that our ancestors valued before us. Abert and his generation put new life into Mozart by making him into a composer that appealed to the twentieth century. They brought out what they felt to be the demonic aspect of Mozart, the dramatic force and even the violence, and created a figure very different from the more graceful and charming but blander Mozart generally conceived by the nineteenth century (with, of course, a few notable exceptions from E.T.A. Hoffmann and Kierkegaard to George Bernard Shaw, who were all aware of Mozart’s power).

The expressionistic aesthetic, historically flawed as it is, had, as its second effect, a historical restoration of the way that Mozart was viewed by the late eighteenth century. For his contemporaries, Mozart was a difficult composer, not only hard to play but hard to listen to. Most of the more ambitious works, they felt, could only be performed by the finest professionals, or else they would make a poor impression. Not only were there too many notes, there were above all too many new ideas and new themes, all coming one after the other in a profusion that was painful to follow. (In most operas by other composers, the second violins played the same notes as the first violins most of the time, but in Mozart they are more often given an independent line, and the violas, as well, are allotted interesting phrases.) And the harmony was often outrageous and impossible to understand (to this complaint E.T.A. Hoffmann replied that connoisseurs understood Mozart’s harmony without difficulty, the uneducated public was emotionally stirred by it, and only the half-educated music amateur was bewildered). Abert and his generation restored Mozart’s difficulty and made him definitively the dramatic equal of any composer in history.

Nowhere does Abert shock modern scholarship more than in his low estimate of Mozart’s last opera, La Clemenza de Tito . 3 This work has been revived with some success in the last two decades, and is sometimes advertised as a seventh great opera along with I domeneo , The Abduction from the Seraglio , The Marriage of Figaro , Don Giovanni , Cosí fan tutte , and The Magic Flute . It was a work that Mozart wrote hurriedly in ill health, and he had to get someone else to compose the recitatives. With all his other operas he almost certainly had something to do with the choice and even the construction of the librettos—he forced rewriting of I domeneo , messed up the libretto of The Abduction to get a more effective finale for the second act, chose the Beaumarchais play The Marriage of Figaro himself, and must have influenced the last three with their profusion of ensembles and a Protestant chorale for The Magic Flute —but not with Tito . He was not, as Abert remarks, able to create here something original, but only to set quickly an old libretto of Metastasio, fixed up and abridged in advance.

Abert gives a sympathetic account of the work, admiring above all the first-act finale (“one might even say that it is the spirit of classical tragedy that finds expression here”), but his final judgment is severe:

Any comparison between I domeneo and La clemenza di Tito is bound to be to the latter’s disadvantage, as the later work lacks the sense of profound personal experience that we find in the earlier piece. In I domeneo Mozart still believed in his artistic mission even in the field of opera seria. By the time he wrote La clemenza di Tito , this world lay far behind him, and his only concern was to carry out his professional duty and complete a task that only sporadically engaged his interest.

His severity is, I think, justified. There are a number of fine things in the opera, but for most of it Mozart’s ability to give new life to the commonplace, to transfigure the banal, has deserted him. One has only to compare the fine rondo of Sesto in the second act with the similar but much more affecting rondo of Fiordiligi in the second act of Cosí to see the lower level of inspiration.

In one sense, the way Abert privileges the most radical works gives a truer representation of Mozart in history than an effort to reconstruct an eighteenth-century cast of mind; not only does it restore Mozart’s complexity, it also sets in relief those works that changed the course of music. It was these radical works that had the greatest effect on composers after Mozart. The progeny of Don Giovanni are innumerable. The Abduction from the Seraglio changed the way the Sing-spiel was composed afterward. Cosí fan tutte was imitated by Beethoven and Stravinsky. Schoenberg said that he learned the secret of eccentric phrasing by studying Mozart’s works. In short, the demonic composer that Abert partly discovered and partly created restored Mozart to history.

Of two largely neglected works of Mozart, Abert gives a lengthy and brilliant account that makes their importance convincing. One is the unfinished German opera on a serious Turkish theme, Zaide , written just before the comic Turkish opera The Abduction . Abert is understandably repelled by the miserable style of the libretto (all the spoken dialogue has disappeared except for two experimental sections called melodrama—that is, spoken dialogue with orchestral accompaniment), but gives full justice to the music, which presents some of Mozart’s finest arias and ensembles. Except for the overture (always the last piece to be written, because it needed no stage rehearsal) and the final number, the work is complete.

The other work to which, as far as I know, only Abert has done full justice is The Musical Joke . This is a sextet for string quartet and two horns that Mozart wrote in 1787. Abert relates it to “a venerable tradition of caricaturing worthless and incompetent colleagues” and observes that “the real parody is directed at the work’s imaginary composer.” This is Mozart’s Art of Music which takes the form of an example of how not to do it, and it makes a wonderful introduction to his conception of composition. What is magnificent is that Mozart’s imaginary idiot blunders into every possible clumsy mistake, and yet Mozart succeeds in making the piece sound delightful. Abert goes into great detail explaining each error and so giving a beautiful résumé of Mozart’s aesthetic, and remarks, “Rarely has so much wit been expended on creating an impression of such witlessness.”

I have only one serious disagreement with Abert to offer; he does not believe that Mozart’s setting of “ Viva la libertà ” (“Hooray for liberty”) in Don Giovanni has a secret political meaning. It is true that the overt significance of the words at Don Giovanni’s party is that they invite his guests to enjoy themselves; but Mozart’s setting is clearly martial and stirring, with trumpets and drums reintroduced for the first time since the overture of the opera, and the music resonates like a call to arms. In any case, the belief that the setting was subversive was later accepted, as the words were changed to Viva la società .

One important aspect of Abert’s view of Mozart was omitted by him in this book, and appears only in the short introduction to his edition of The Marriage of Figaro : the harmonic construction and logic of the opera as a whole. On this subject Abert’s considerations have become unfashionable, and some critics have tried to deny that a Mozart opera has the unity that so many have felt about each of the mature works. Of course, the unity of an opera is not the relatively closed structure of a sonata or symphony, which is not, in turn, the even denser structure of a single movement, or the absolutely closed form of a rounded melody. Nevertheless, the way Mozart worked out the harmonious relationships in his later operas has a logic and a symmetry that has convinced many listeners, and they were best indicated and described by Abert in his Eulenburg edition of the orchestral score. Recent writing on this subject does not seem to have understood or paid much attention to his arguments, and it would be a good idea to add the few pages as an appendix when the book is reprinted, as I expect it will be. The power and the cogency of Albert’s account of Mozart’s achievement are due in large part to his understanding of Mozart’s ability to organize his works on the largest scale.

October 25, 2007

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Charles Rosen was a pianist and music critic. In 2011 he was awarded a National Humanities Medal.

We must not mind the touch of Gallophobia in the reproach of French rationalism, natural enough in a German in 1919, and Abert’s initial praise of the French team is evidently whole-hearted. At the opening of the book Abert makes it clear that he thinks Mozart was not really Austrian but Swabian, as his father was born in Augsburg. It might be objected that Augsburg is not actually in Swabia but in Bavaria, but it is on the border of Swabia and administratively incorporated into it. Abert himself came from Stuttgart, which is the main city of Swabia.  ↩

The Mozart Companion , edited by H.C. Robbins Landon and Donald Mitchell (London: Rockcliff, 1956), p. 249. Earlier in his article, Robbins Landon had insisted that Mozart’s concertos are incomprehensible without a knowledge of the preclassical form, and he seems to contradict that here. He is, I suppose, right on both counts; it depends on how you think music is—or ought to be—understood.  ↩

The overture to The Magic Flute was written after Tito , but the rest had been composed before.  ↩

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Wolfgang Mozart

A prolific artist, Austrian composer Wolfgang Mozart created a string of operas, concertos, symphonies and sonatas that profoundly shaped classical music.

(1756-1791)

Who Was Wolfgang Mozart?

Wolfgang Amadeus Mozart was a musician capable of playing multiple instruments who started playing in public at the age of 6. Over the years, Mozart aligned himself with a variety of European venues and patrons, composing hundreds of works that included sonatas, symphonies, masses, chamber music, concertos and operas, marked by vivid emotion and sophisticated textures.

Central Europe in the mid-18th century was going through a period of transition. The remnants of the Holy Roman Empire had divided into small semi-self-governing principalities. The result was competing rivalries between these municipalities for identity and recognition. Political leadership of small city-states like Salzburg, Vienna, and Prague was in the hands of the aristocracy and their wealth would commission artists and musicians to amuse, inspire, and entertain. The music of the Renaissance and Baroque periods was transitioning toward more full-bodied compositions with complex instrumentation. The small city-state of Salzburg would be the birthplace of one of the most talented and prodigious musical composers of all time.

Born on January 27, 1756, in Salzburg, Austria, Wolfgang Amadeus Mozart’s was the sole-surviving son of Leopold and Maria Pertl Mozart. Leopold was a successful composer, violinist, and assistant concert master at the Salzburg court. Wolfgang’s mother, Anna Maria Pertl, was born to a middle class family of local community leaders. His only sister was Maria Anna (nicknamed “Nannerl”). With their father’s encouragement and guidance, they both were introduced to music at an early age. Leopold started Nannerl on keyboard when she was seven, as three-year old Wolfgang looked on. Mimicking her playing, Wolfgang quickly began to show a strong understanding of chords, tonality, and tempo. Soon, he too was being tutored by his father.

Leopold was a devoted and task-oriented teacher to both his children. He made the lessons fun, but also insisted on a strong work ethic and perfection. Fortunately, both children excelled well in these areas. Recognizing their special talents, Leopold devoted much of his time to their education in music as well as other subjects. Wolfgang soon showed signs of excelling beyond his father’s teachings with an early composition at age five and demonstrating outstanding ability on harpsichord and the violin. He would soon go on to play the piano, organ and viola.

In 1762, Mozart’s father took Nannerl, now age eleven, and Wolfgang, age six to the court of Bavaria in Munich in what was to become the first of several European "tours." The siblings traveled to the courts of Paris, London, The Hague, and Zurich performing as child prodigies. Mozart met a number of accomplished musicians and became familiar with their works. Particularity important was his meeting with Johann Christian Bach (Johann Sebastian Bach's youngest son) in London who had a strong influence on Mozart. The trips were long and often arduous, traveling in primitive conditions and waiting for invitations and reimbursements from the nobility. Frequently, Mozart and other members of his family fell seriously ill and had to limit their performance schedule.

Budding Young Composer

In December 1769, Mozart, then age 13, and his father departed from Salzburg for Italy, leaving his mother and sister at home. It seems that by this time Nannerl’s professional music career was over. She was nearing marriageable age and according to the custom of the time, she was no longer permitted to show her artistic talent in public. The Italian outing was longer than the others (1769-1771) as Leopold wanted to display his son’s abilities as a performer and composer to as many new audiences as possible. While in Rome, Mozart heard Gregorio Allegri’s Miserere performed once in the Sistine Chapel. He wrote out the entire score from memory, returning only to correct a few minor errors. During this time Mozart also wrote a new opera, Mitridate, re di Ponto for the court of Milan. Other commissions followed and in subsequent trips to Italy, Mozart wrote two other operas, Ascanio in Alba (1771) and Lucio Silla (1772).

Mozart and his father returned from their last stay in Italy in March 1773. His father’s benefactor, Archbishop von Schrattenbach had died and was succeeded by Hieronymus von Colleredo. Upon their return, the new archbishop appointed young Mozart as assistant concertmaster with a small salary. During this time, young Mozart had the opportunity to work in several different musical genres composing symphonies, string quartets, sonatas and serenades and a few operas. He developed a passion for violin concertos producing what came to be the only five he wrote. In 1776, he turned his efforts toward piano concertos, culminating in the Piano Concerto Number 9 in E flat major in early 1777. Mozart had just turned 21.

Despite his success with the compositions, Mozart was growing discontent with his position as assistant concert master and the confining environment of Salzburg. He was ambitious and believed he could do more somewhere else. Archbishop von Colloredo was becoming impatient with the young genius’s complaining and immature attitude. In August 1777, Mozart set out on a trip to find more prosperous employment. The archbishop wouldn’t give Leopold permission to travel, so Anna Maria accompanied Wolfgang on his quest to the cities of Mannheim, Paris and Munich. There were several employment positions that initially proved promising, but all eventually fell through. He began to run out of funds and had to pawn several valuable personal items to pay traveling and living expenses. The lowest point of the trip was when his mother fell ill and died on July 3, 1778. After hearing the news of his wife’s death, Leopold negotiated a better post for his son as court organist in Salzburg and Wolfgang returned soon after.

Making it in Vienna

Back in Salzburg in 1779, Mozart produced a series of church works, including the Coronation Mass. He also composed another opera for Munich, Idomeneo in 1781. In March of that year, Mozart was summoned to Vienna by Archbishop von Colloredo, who was attending the accession of Joseph II to the Austrian throne. The Archbishop’s cool reception toward Mozart offended him. He was treated as a mere servant, quartered with the help, and forbidden from performing before the Emperor for a fee equal to half his yearly salary in Salzburg. A quarrel ensued and Mozart offered to resign his post. The Archbishop refused at first, but then relented with an abrupt dismissal and physical removal from the Archbishop’s presence. Mozart decided to settle in Vienna as a freelance performer and composer and for a time lived with friends at the home of Fridolin Weber.

Mozart quickly found work in Vienna, taking on pupils, writing music for publication, and playing in several concerts. He also began writing an opera Die Entführung aus dem Serail (The Abduction from the Seraglio). In the summer of 1781, it was rumored that Mozart was contemplating marriage to Fridolin Weber’s daughter, Constanze. Knowing his father would disapprove of the marriage and the interruption in his career, young Mozart quickly wrote his father denying any idea of marriage. But by December, he was asking for his father’s blessings. While it’s known that Leopold disapproved, what is not known is the discussion between father and son as Leopold’s letters were said to be destroyed by Constanze. However, later correspondence from Mozart indicated that he and his father disagreed considerably on this matter. He was in love with Constanze and the marriage was being strongly encouraged by her mother, so in some sense, he felt committed. The couple was finally married on August 4, 1782. In the meantime, Leopold did finally consent to the marriage. Constanze and Mozart had six children, though only two survived infancy, Karl Thomas and Franz Xaver.

As 1782 turned to 1783, Mozart became enthralled with the work of Bach and George Frederic Handel and this, in turn, resulted in several compositions in the Baroque style and influenced much of his later compositions, such as passages in Die Zauberflote (The Magic Flute) and the finale of Symphony Number 41. During this time, Mozart met Joseph Haydn and the two composers became admiring friends. When Haydn visited Vienna, they sometimes performed impromptu concerts with string quartets. Between 1782 and 1785 Mozart wrote six quartets dedicated to Haydn.

European Fame

The opera Die Entführung enjoyed immediate and continuing success and bolstered Mozart’s name and talent throughout Europe. With the substantial returns from concerts and publishing, he and Constanze enjoyed a lavish lifestyle. They lived in one of the more exclusive apartment buildings of Vienna, sent their son, Karl Thomas, to an expensive boarding school, kept servants, and maintained a busy social life. In 1783, Mozart and Constanze traveled to Salzburg to visit his father and sister. The visit was somewhat cool, as Leopold was still a reluctant father-in-law and Nannerl was a dutiful daughter. But the stay promoted Mozart to begin writing a mass in C Minor, of which only the first two sections, "Kyrie" and "Gloria," were completed. In 1784, Mozart became a Freemason, a fraternal order focused on charitable work, moral uprightness, and the development of fraternal friendship. Mozart was well regarded in the Freemason community, attending meetings and being involved in various functions. Freemasonry also became a strong influence in Mozart’s music.

From 1782 to 1785, Mozart divided his time between self-produced concerts as soloist, presenting three to four new piano concertos in each season. Theater space for rent in Vienna was sometimes hard to come by, so Mozart booked himself in unconventional venues such as large rooms in apartment buildings and ballrooms of expensive restaurants. The year 1784, proved the most prolific in Mozart’s performance life. During one five-week period, he appeared in 22 concerts, including five he produced and performed as the soloist. In a typical concert, he would play a selection of existing and improvisational pieces and his various piano concertos. Other times he would conduct performances of his symphonies. The concerts were very well attended as Mozart enjoyed a unique connection with his audiences who were, in the words of Mozart biographer Maynard Solomon, “given the opportunity of witnessing the transformation and perfection of a major musical genre.” During this time, Mozart also began to keep a catalog of his own music, perhaps indicating an awareness of his place in musical history.

By the mid-1780s, Wolfgang and Constanze Mozart’s extravagant lifestyle was beginning to take its toll. Despite his success as a pianist and composer, Mozart was falling into serious financial difficulties. Mozart associated himself with aristocratic Europeans and felt he should live like one. He figured that the best way to attain a more stable and lucrative income would be through court appointment. However, this wouldn’t be easy with the court’s musical preference bent toward Italian composers and the influence of Kapellmeister Antonio Salieri. Mozart’s relationship with Salieri has been the subject of speculation and legend. Letters written between Mozart and his father, Leopold, indicate that the two felt a rivalry for and mistrust of the Italian musicians in general and Salieri in particular. Decades after Mozart’s death, rumors spread that Salieri had poisoned him. This rumor was made famous in 20th-century playwright Peter Shaffer’s Amadeus and in the 1984 film of the same name by director Milos Foreman. But in truth, there is no basis for this speculation. Though both composers were often in contention for the same job and public attention, there is little evidence that their relationship was anything beyond a typical professional rivalry. Both admired each other’s work and at one point even collaborated on a cantata for voice and piano called Per la recuperate salute di Ophelia.

Toward the end of 1785, Mozart met the librettist Lorenzo Da Ponte, a Venetian composer and poet and together they collaborated on the opera The Marriage of Figaro . It received a successful premiere in Vienna in 1786 and was even more warmly received in Prague later that year. This triumph led to a second collaboration with Da Ponte on the opera Don Giovanni which premiered in 1787 to high acclaim in Prague. Noted for their musical complexity, the two operas are among Mozart’s most important works and are mainstays in operatic repertoire today. Both compositions feature the wicked nobleman, though Figaro is presented more in comedy and portrays strong social tension. Perhaps the central achievement of both operas lies in their ensembles with their close link between music and dramatic meaning.

Later Years

In December 1787, Emperor Joseph II appointed Mozart as his "chamber composer," a post that had opened up with the death of Gluck. The gesture was as much an honor bestowed on Mozart as it was an incentive to keep the esteemed composer from leaving Vienna for greener pastures. It was a part-time appointment with low pay, but it required Mozart only to compose dances for the annual balls. The modest income was a welcome windfall for Mozart, who was struggling with debt, and provided him the freedom to explore more of his personal musical ambitions.

Toward the end of the 1780s, Mozart’s fortunes began to grow worse. He was performing less and his income shrank. Austria was at war and both the affluence of the nation and the ability of the aristocracy to support the arts had declined. By mid-1788, Mozart moved his family from central Vienna to the suburb of Alsergrund, for what would seem to be a way of reducing living costs. But in reality, his family expenses remained high and the new dwelling only provided more room. Mozart began to borrow money from friends, though he was almost always able to promptly repay when a commission or concert came his way. During this time he wrote his last three symphonies and the last of the three Da Ponte operas, Cosi Fan Tutte , which premiered in 1790. During this time, Mozart ventured long distances from Vienna to Leipzig, Berlin, and Frankfurt, and other German cities hoping to revive his once great success and the family’s financial situation but did neither. The two-year period of 1788-1789 was a low point for Mozart, experiencing in his own words "black thoughts" and deep depression. Historians believe he may have had some form of bipolar disorder, which might explain the periods of hysteria coupled with spells of hectic creativity.

Between 1790 and 1791, now in his mid-thirties, Mozart went through a period of great music productivity and personal healing. Some of his most admired works -- the opera The Magic Flute , the final piano concerto in B-flat, the Clarinet Concerto in A major, and the unfinished Requiem to name a few -- were written during this time. Mozart was able to revive much of his public notoriety with repeated performances of his works. His financial situation began to improve as wealthy patrons in Hungary and Amsterdam pledged annuities in return for occasional compositions. From this turn of fortune, he was able to pay off many of his debts.

However, during this time both Wolfgang Amadeus Mozart’s mental and physical health was deteriorating. In September 1791, he was in Prague for the premiere of the opera La Clemenza di Tito , which he was commissioned to produce for the coronation of Leopold II as King of Bohemia. Mozart recovered briefly to conduct the Prague premiere of The Magic Flute , but fell deeper into illness in November and was confined to bed. Constanze and her sister Sophie came to his side to help nurse him back to health, but Mozart was mentally preoccupied with finishing Requiem, and their efforts were in vain.

Death and Legacy

Mozart died on December 5, 1791, at age 35. The cause of death is uncertain, due to the limits of postmortem diagnosis. Officially, the record lists the cause as severe miliary fever, referring to a skin rash that looks like millet seeds. Since then, many hypotheses have circulated regarding Mozart's death. Some have attributed it to rheumatic fever, a disease he suffered from repeatedly throughout his life. It was reported that his funeral drew few mourners and he was buried in a common grave. Both actions were the Viennese custom at the time, for only aristocrats and nobility enjoyed public mourning and were allowed to be buried in marked graves. However, his memorial services and concerts in Vienna and Prague were well attended. After his death, Constanze sold many of his unpublished manuscripts to undoubtedly pay off the family’s large debts. She was able to obtain a pension from the emperor and organized several profitable memorial concerts in Mozart’s honor. From these efforts, Constanze was able to gain some financial security for herself and allowing her to send her children to private schools.

Mozart’s death came at a young age, even for the time period. Yet his meteoric rise to fame and accomplishment at a very early age is reminiscent of more contemporary musical artists whose star had burned out way too soon. At the time of his death, Mozart was considered one of the greatest composers of all time. His music presented a bold expression, oftentimes complex and dissonant, and required high technical mastery from the musicians who performed it. His works remained secure and popular throughout the 19th century, as biographies about him were written and his music enjoyed constant performances and renditions by other musicians. His work influenced many composers that followed -- most notably Beethoven. Along with his friend Joseph Haydn, Mozart conceived and perfected the grand forms of symphony, opera, string ensemble, and concerto that marked the classical period. In particular, his operas display an uncanny psychological insight, unique to music at the time, and continue to exert a particular fascination for musicians and music lovers today.

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QUICK FACTS

• Name: Wolfgang Mozart
• Birth Year: 1756
• Birth date: January 27, 1756
• Birth City: Salzburg
• Birth Country: Austria
• Gender: Male
• Best Known For: A prolific artist, Austrian composer Wolfgang Mozart created a string of operas, concertos, symphonies and sonatas that profoundly shaped classical music.
• Astrological Sign: Aquarius
• Nacionalities
• Death Year: 1791
• Death date: December 5, 1791
• Death City: Vienna
• Death Country: Austria

We strive for accuracy and fairness.If you see something that doesn't look right, contact us !

CITATION INFORMATION

• Article Title: Wolfgang Mozart Biography
• Author: Biography.com Editors
• Website Name: The Biography.com website
• Url: https://www.biography.com/musicians/wolfgang-mozart
• Access Date:
• Publisher: A&E; Television Networks
• Last Updated: September 16, 2022
• Original Published Date: April 3, 2014
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Best books about Mozart

We pick out the best biographies about the great composer Mozart

BBC Music Magazine

Will we ever know the real Mozart? These fascinating books explore the great composer’s life and bring new insights into his world, inspirations and works, from his unconventional childhood to his untimely and mysterious death at the age of 35.

• 10 of the best books about Beethoven
• Twelve of the best books featuring classical music
• 5 of the best fictional composers

Mozart in Motion – His Work and His World in Pieces

Reviewed by Jessica Duchen

Like Laura Tunbridge’s book Beethoven – A Life in Nine Pieces , Patrick Mackie’s exploration of Mozart and his world takes a particular piece as the focal point for each chapter, from Don Giovanni down to the piano sonatas. Some sections flare into flame particularly well: Mackie is at his best when exploring the Enlightenment, its philosophers and other facets of Mozart’s cultural hinterland.

For instance, he brings to vivid life the decadence of 18th-century Paris as it slides towards the Revolution, and offers an intriguing explanation for the Piano Concerto K271’s mid-finale minuet: a connection with Victoire Jenamy’s father, the choreographer Noverre.

Nevertheless, this book is as much about literary virtuosity as anything else (fair enough, since Mackie is a poet, not a musician) and sometimes the text’s verbosity tends to obscure its philosophical arguments regarding the music. Marmite-fond readers may relish the chance to muse on the nature of Mozart’s genius and of creativity itself in tracts that spangle occasionally nebulous concepts with verbal bedazzlement. Others might reflect that the composer would have been too busy working to think in such terms, and that he used never a note too many.

Mozart – The Reign of Love

Reviewed by Kate Wakeling

‘Who wants to read about a happy man?’ asks Jan Swafford in the introduction to his terrifically engaging new biography of Mozart. Certainly the Mozart conjured by those ‘mythmakers’ of the 19th century was an enthrallingly tragic figure, steeped in penury and neglect. Swafford, however, refuses to take the bait and having written acclaimed biographies of Beethoven, Brahms and Ives, declares Mozart to be the ‘sanest’ of the lot.

This biography is thus crucially low on drama: Mozart is presented as neither a revolutionary nor victim, but rather a ‘jolly and informal man’ who was ‘supremely fastidious’ in his music-making. Swafford’s gifts as a biographer mean that this warm-spirited account of an essentially ‘happy man’ could not be more engrossing.

Packed with musical analysis and meticulous historical research, the book is written with a wit, grace and compassion that well befits its subject. For Swafford, the enduring power of Mozart’s music lies in the composer’s profound understanding of the human condition and in his tremendous capacity for love: of music, of his wife and of ‘humanity in all its gnarled splendour’.

Mozart in Context

Reviewed by Anthony Pryer

The eminent scholar Simon Keefe is joined here by 22 others to take us on a tour of the latest insights into Mozart’s interactions with the wider world. Revised evaluations abound. Mozart did ‘not fall from favour’ in his last years, his death aged 35 was ‘not unusual’ for that era (Schubert died at 31), Salieri’s supposed hatred of Mozart (as portrayed in the film and play Amadeus ) was actually directed at his librettist Da Ponte, not the composer, and female singers did not match modern voice production ideals because ‘corset wear’ constricted their diaphragms.

Importantly we learn that Mozart’s concept of the work was ‘more closely tied …to the act of performance’ than to a single text (see the various versions of the Piano Concerto K491). Sometimes the contributors disagree: for example, the Vienna chapter reports that his piano pupils were ‘invariably women’ whereas the ‘Instrumentalists’ section names two male students. This book is not simply a set of snapshots of Mozart from different angles, but a glorious grandstand view of 21st-century insights about him in his cultural settings.

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Biography Online

Mozart Biography

“Music is my life and my life is music. Anyone who does not understand this is not worthy of God.”

– Wolfgang Amadeus Mozart.

Short Biography of Mozart

His father Leopold, who was also a musician, was quick to see the talent of his young son and became a formidable publicist in showing off his son’s capacities.  During his childhood, Mozart was a frequent guest at various palaces around Europe, playing for distinguished guests. In addition to being feted by aristocrats across, Europe, Leopold raised his children as strict Catholics. This included attendance at mass, frequent confession and the veneration of saints. Mozart remained a committed Catholic throughout his life.

Mozart family on tour

Dressed in the finest clothes, the child-genius Mozart left an indelible impression on everyone he met. One of the pre-eminent composers of the day Johann Hasse remarked: “He has done things which for such as age are really incomprehensible; they would be astonishing in an adult.”

Aged 17, he accepted a post as a court musician in Salzburg; although this did not suit him very well. He chaffed at the lack of independence from his patron Prince-Archbishop Hieronymus Colloredo (the ruler of Salzburg). Mozart was also indignant at his meagre salary (150 florins a year) which left Mozart feeling unappreciated. Yet, despite dissatisfaction and getting involved in rows, the next few years were a time of prolific composition. In 1777, he grew tired of the demands placed on him by his patron and negotiated the release from his contract. He left Salzburg and after travelling to Paris and Germany, he moved permanently to Vienna, Austria where he lived for the remainder of his life.

Initially, Mozart worked for Archbishop Colloredo, but again Mozart felt constrained by the unreasonable demands and limitations placed on him by the Archbishop. For example, the Archbishop sought to prevent Mozart from playing in public concerts. Mozart became angry at these restrictions and confronted the archbishop. Eventually, he was released from his contact with a ‘literal kick up the backside.’ It was a difficult decision because his father sided with the archbishop and felt his son should seek to reconcile with the archbishop. Some biographers see this as an important moment in Mozart’s life as – in a very clear way – Mozart asserted his musical independence even at the cost of his relationship with his father and his financial security.

In Vienna, he became well known and was often in demand as a composer and performer. His dazzling and innovative new compositions were generally admired, although, like many genii, he was ahead of his time. Some criticised his symphonies for being too complicated, however, he received the very sincere praise of all the great composers of the era. Schubert said of Mozart:

“O Mozart! immortal Mozart! What countless impressions of a brighter, better life hast thou stamped upon our souls!”

On a personal level, his strained relationship with his domineering father left Mozart often seeking outer recognition. However, in the realm of music, Mozart was in his own world, he was not constrained by the petty misunderstandings and expectations of society.

“I pay no attention whatever to anybody’s praise or blame. I simply follow my own feelings.”

Drawing of Mozart by Dora Stock, Dresden, April 1789

However, despite his relative fame, he struggled to manage his finances and moved between periods of poverty and prosperity. A trait of Mozart’s character was that he could be frivolous with money; he enjoyed spending on fancy clothes – as soon as he received money he could spend it and he was frequently in debt. Another aspect of Mozart’s character was a playfulness and high-spirits, which could also appear like childishness. He enjoyed pranks and a rough sense of humour, and his care-free attitude could get him into difficulties with the more serious-minded court officials. Yet, Mozart was a man of great contrast and counterpoint. The one moment he could be making a crude joke, the next he could be composing the most sublime and divine music.

Personal life

In 1782, he married Constanze – against the wishes of his father. He remained very close to her for the rest of his life and was very much in love. They had six children but only two survived infancy. Whilst he got closer to Constanze, his relationship with his father deteriorated. His father had been domineering since his childhood, and Mozart increasingly resented his presence.

Early fortepiano played by Mozart

His financial difficulties were enhanced in 1786 when Austria was involved in a war which led to lower demand for musicians. Mozart wrote many letters begging for support from patrons, friends and fellow freemasons. He received only scattered support and supplemented his income by teaching and performing his works.

Death and requiem

In the last year of his life, he began composing one of his greatest works – The Requiem. Mozart died before he could finish. Reasons for his death are not clear. The most likely is a sudden illness – possibly the plague or possibly a combination of rheumatoid arthritis and pneumonia. One legend is that he was poisoned by a jealous rival composer Salieri, but this theory is discredited..

His last major work the Requiem was commissioned by Count Franz von Walsegg for his wife who past away. Walsegg may have tried to pass it off as his own work, but a public benefit concert for Constanze frustrated his aim. Many took the Requiem to be autobiographical and written by Mozart for his own life.

Mozart was near bankrupt when he died and he was given a modest burial of a citizen. It was not a pauper’s grave as sometimes claimed. But, in those days, 10 years after burial a citizens grave could be dug up and re-used.

The music of Mozart

The work of Mozart is epic in scope and proportion. There were few branches of music Mozart did not touch. He composed operas, symphonies, concertos, and solo pieces for the piano. His work spanned from joyful light-hearted pieces to powerful, challenging compositions which touched the emotions. At the beginning of his career, Mozart had a powerful ability to learn and remember from the music he heard from others. He was able to incorporate the style and music of people such as Haydn and J.S. Bach. As he matured, he developed his very own style and interpretations. In turn, the music of Mozart very much influenced the early Beethoven .

Mozart was brought up a Roman Catholic and remained a member of the church throughout his life.

“I know myself, and I have such a sense of religion that I shall never do anything which I would not do before the whole world.”

Some of his greatest works are religious in nature such as Ave Verum Corpus  and the final Requiem .

Mozart was very productive until his untimely death in 1791, aged 35.

“I never lie down at night without reflecting that young as I am —I may not live to see another day.”

In the last year of his life, he composed the opera The Magic Flute , the final piano concerto (K. 595 in B-flat), the Clarinet Concerto K. 622, a string quintet (K. 614 in E-flat), the famous motet Ave Verum Corpus K. 618, and the unfinished  Requiem K. 626.

Citation: Pettinger, Tejvan . “Biography of Mozart”, Oxford, UK.  www.biographyonline.net , Last updated 3 March 2020. Originally published 28th May 2008.

More interesting facts about the life of Mozart

Mozart – 100 Classical Masterpieces

Mozart – 100 Classical Masterpieces at Amazon

Mozart: A Life

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20 Best Mozart Book Reviews 2022 (Best Books to Learn Mozart)

Best Mozart Book

DISCLOSURE: This post may contain affiliate links, meaning when you click the links and make a purchase, I receive a commission. As an Amazon Associate I earn from qualifying purchases.

Mozart book is highly recommended for music lovers, musicians, and students who want to know more about the life and works of the most influential and famous composers of all time. Apart from that, this book can also serve as a guide book for Piano players looking to improve their skills .

Read Also:  Mozart Biography ,  Mozart’s Symphonies ,  Mozart Facts ,  The Best of Mozart ,  Mozart’s Starling ,  Mozart as a child , Mozart Famous Piano Pieces

What are the Best Mozart Books to Buy?

2) Lyanda Lynn Haupt: Mozart’s Starling

• Remarkable Bond Between Mozart & His Starling
• Biography & Memoir
• Understanding on the Connection Between Art & Life

1) Who was Wolfgang Amadeus Mozart?

• Biography Charts
• Black & White Illustrations
• Timeline & Bibliography
• Easy to Understand
• Price-Friendly

3) John Suchet: Mozart

• Detailed & Informative
• Helpful Illustrations & Paintings
• Better Understanding the Famous Composer

Interested to Learn Mozart Online? Check These Websites!

Mozart books come in different sizes. Some Mozart books are voluminous, giving you in-depth knowledge on everything you need to know about the biography of composers. There are Mozart books with fascinating illustrations designed for children. We also more advanced ones for experienced players and music lovers.

The advantage of Mozart's book cannot be overestimated. Apart from enriching the knowledge of music enthusiasts and players about the life and times of famous composers, it is also designed to improve the playing skills of pianists. Not only that, but you can also develop your child’s interest in music by getting him or her a Mozart book. The books are not only enlightening, but it is also fascinating. Some books adopt a story-telling approach to capture the attention of the young ones.

About Mozart

Mozart was a composer known for his exploits in music. He was one of the most influential and prolific composers during classical times. The works of Mozart are still being appreciated; therefore, musicians have dedicated their time studying the works and life of this famous composer. Today, the work of Mozart is included in many music curriculums.

If you are keen on learning about the Child prodigy that composes his first symphony at the age of eight, then you need to get a Mozart book. The books are designed in such a way that it has a perfect balance between musical teachings and biographies. Thus, it can serve as a musical reference long after you have read the book.

For those looking to buy the right Mozart book, we have come up with 20 best Mozart books of all time. These books were chosen based on factors like the author's experience, the contents, the accuracy of the information given, among others.

Related:  Unfinished Mozart Opera ,  What Instruments Did Mozart Play? (Answered)  

20 Best Mozart Book Reviews

1. Who was Wolfgang Amadeus Mozart?

Nancy Harrison did the cover illustration of the book; Carrie Robbins illustrated the book. Yona Zeldis McDonough wrote this unique book. She has won several awards as an author, and she is also a doll lover and collector. She has published different books for adults and children. This Mozart book is perfect for readers of 8 years and above. Also, Penguin Workshop published the book on April 28, 2003. The dimension of the book measures 5.2 x 0.2 x 7.6 inches.

If you are on the lookout for a Mozart book that is ideal for homeschooling, then you should not search any further, this excellent book by Yona Zeldies is all you need. The book comes with the right text for children in 3rd to 6th grade. Apart from that, it comes with illustrations to aid understanding. Some of the remarkable features of this book are that it is detailed, easy to understand, and enjoyable. If you need a classic Mozart book for your kid, then you consider Who Wolfgang Amadeus Mozart was.

2. Lyanda Lynn Haupt: Mozart’s Starling

Mozart's Starling by Lyanda Lynn Haupt is described as a book that is hard to put down. This means that it is a captivating and informative book. It is a fantastic blend of biography, science, as well as a memoir that shed light on many unknown stories of the composers and his love bird. The book is highly readable for all categories of readers whether or not you are a music professional. The book was published on April 4, 2017, by Little, Brown Spark.

This unique book is written for readers that are sensitive and have a sense of appreciation for nature and art. It is a highly recommended book for anyone who desires a better understanding of the connection between art and life. Apart from that, the book contains facts about birds and communication between other species.

3. John Suchet: Mozart

Do you seek a Mozart book that is rich in warmth and wit? If yes, then you should take advantage of this great Mozart book by John Suchet. It is a perfect way to understand the famous composers. In addition to that, the book is impressive, detailed, and informative. The author was one of the most respected TV journalists in England before he ventured into classical music. He received several awards as a reporter and a musician. Pegasus books published this excellent work of John Suchet on August 8, 2017.

This book has been described as one of the best biographies for music enthusiasts that do not need too many technical details. The book is exciting and highly recommended for those who desire to know the biography of Mozart. The book comes with helpful illustrations and paintings. In this book, the author corrected a lot of myths about Mozart. If you need a Mozart book that is well structured and written by an experienced author, then you should not overlook this unique Mozart book.

4. Paul Johnson: Mozart - A Life

This is an excellent Mozart book by Paul Johnson. He has authored numerous bestselling books. Examples of such books are A Man for Our Times, Portrait of a Genius, A Penguin Life, and Churchill, among others. This unique Mozart book is not an exception. It is a concise, intelligent book that will appeal to all serious-minded music enthusiasts. Apart from that, the book is designed for all readers whether or not you are a music expert. Penguin Books published the book on November 25, 2014. Furthermore, it is written in English.

The dimension of this Mozart book measures 0.6 x 5.4 x 8.3 inches. The length of the book is about 176 pages. The text is explanatory and easy to read. The author packs a great deal of useful information in this book. He employs a unique and comprehensive approach in dealing with the explanation of Mozart's work. If you are interested in understanding the old Mozart's hand, then you pick up this excellent book.

5. David Dutkanicz: A First Book of Mozart

Are you a beginner piano player looking for an engaging Mozart book? If that is the case, then you need to give this book a try. David Dutkanicz authors it. He was a former Dover editor, and he holds a music degree from Columbia University and New York University. The book is ideal for children of ages four years upwards. It was published on December 28, 2005, by Dover Publications. The dimension of the Mozart book measures 8 x 0.2 x 10.8 inches. And it contains 48 pages.

The piano book features easy lessons featuring both bass and treble notes. One of the advantages of this book is that it provided a website address where you can listen to the tunes being played. The First book of Mozart is perfect for beginner player that has not yet mastered the correct timing of speed and tempo.

6. Mozart 19 Sonatas – Complete: Piano Solo

The text of this Mozart book is written in both Spanish and English. And, the book was edited and revised by Richard Epstein. Philip Hale did the composer biographical sketch. The book's dimension measures 9 x 0.8 x 12 inches. G. Schirmer Incorporation published the book on November 1, 1986.

Furthermore, it consists of 322 high-quality pages that are excellently bound. If you desire to re-acquaint yourself with Mozart playing style, then you should give this book a try. You will be pleased to know that this unique book comes at an affordable price. Also, the quality of the book is great, and its texts are clear. The Mozart 19 Sonatas is a highly motivating and inspiring book for music lovers.

7. Mozart: A Life by Maynard Solomon

If you desire to know more about Mozart's two hundred birthday, you should go for this excellent book by Maynard Solomon. It presents the biography of the musician in a satisfying and moving manner. The dimension of this Mozart book measures 9.2 x 6.2 x 1.2 inches, while it contains about 640 pages. This unique Mozart book was published on December 27, 2005, by Harper Perennials. The book gives an excellent picture of the life of Mozart. It explains the musician's relationship with his father as well as other essential aspects of his life.

If you are interested in knowing more details about composers, then you need to get this unique book. It is also worth mentioning that the book is written in an easy-to-understand and friendly version for all music lovers. If you are keen on learning about Wolfgang Amadeus Mozart, you will not be disappointed when you read this excellent book by Maynard Solomon.

8. Mozart: Piano Sonatas Vol. 1

If you are looking for an excellent Mozart book that is easy to read, then you should consider the volume one of the Mozart Piano Sonatas. Some of the advantages of this unique book are that it is highly organized and comes in clear printing. These are some of the factors the enhances the readability of this Mozart book. Furthermore, the book is made with high-quality material that will enable it to withstand years of intensive usage.

The book was published on November 1, 2006, by Henle publisher. Its dimension measure 12 x 9.2 x 0.5 inches. The Mozart Piano Sonatas volume one contains about 158 pages, and it is written in English. If you need a Mozart book with clear and correct fingering, top-quality pages, and clear printing, do not hesitate to go for this excellent Mozart book.

9. Wolfgang Amadeus Mozart: A Biography

This is an outstanding Mozart book authored by Lydia G. Cochrane. The book was published on May 1, 2008, by the University of Chicago Press. The book gives an explanatory account of the remarkable life as well as times of Mozart. The dimension of the book measures 8.9 x 6.1 x 0.8 inches. The book is written in English, and it comprises 300 pages. This is the right Mozart book for you if you want to have a full understanding of the life and times of Mozart.

Are you looking for a book that has the right balance when it comes to the Wolfgang Amadeus Mozart? If that is the case, then you should go for this excellent book. The book is both informative and enjoyable. Some of the features of this book are perfect layout, detailed chapters, incredible stories, among others.

10. Wolfgang A. Mozart: Getting to Know the World’s Greatest Composers

This Mozart book was written by someone who has authored several non-fiction books for children. The book gives the biography of a child prodigy who died at the age of thirty-five. Before his death, he had written over 800 pieces of music. The book is designed for children from the ages of 6 above. The book comprises 32 pages, and it was published on October 1, 1995, by Children Press.

The dimension of this book measures 7.8 x 0.2 x 9.2 inches. It features cartoons, which makes the book fun-filled and exciting to read. If you need educational material to boost the musical knowledge of your kids, you should take advantage of this unique book by Mike Venezia. Are you a teacher looking for a perfect way to introduce your 3 rd graders to famous artists and composers? You will find the Wolfgang Amadeus Mozart by Mike Venezia extremely helpful in this regard.

11. W.A Mozart

Seasoned professionals authored this book. The likes of Prof Herman Abert, Stewart Spencer, and Cliff Eisen. Professor Herman Abert was a renowned musicologist in the early 20th century, while Steward Spencer is a translator, author, and musical consultant. Cliff Eisen is one of the editors of The Cambridge Mozart Encyclopedia. The book was published on November 30, 200,7, by Yale University Press. And, its dimension measures 7.8 x 3.2 x 10.2 inches.

The book is enlightening and enriching. It contains some of the essential biographies musicians written to broaden the horizon of all music lovers. The book is voluminous as it contains about 1515 pages. It is often regarded as a bible that all music scholars and enthusiasts can use for reference. The advantage of this book is that it is accurate and detailed. If you need a superb book that provides a thorough investigation of the life of W.A Mozart, then you should take advantage of this voluminous book.

12. Mozart: From Easy to Intermediate Piano Masterpieces

Do you have a passion for Mozart? Then you should consider this book. It is designed for everyone with a genuine interest in Mozart. The book features clear fingering designed to serve as a go-to resource for any keyboard player or pianist. On January 1, 2013, the book was published by Flame Tree Publishing. Furthermore, the dimension of the book measures 8.5 x 0.6 x 11 inches. The book contains 160 pages.

The author of this Mozart book is Alan Brown. He works presently as a freelance musician. He is a consultant and has published several compositions. The advantage of this book is that it is carefully designed to suit all levels of players. Mozart: From Easy to Intermediate Piano Masterpieces is a challenging, rewarding, and exciting book for all serious-minded pianists.

13. Mozart: Later Symphonies (Nos. 35 -41)

This excellent book was published on June 1, 1974, by Dover Publication. The dimension of the book measures 9.3 x 0.6 x 12.1 inches. The book features the full orchestra scores of Mozart Symphonies 35 to 41. It is worth mentioning that this volume was reprinted straight from the Breitkopt and Hartel Complete edition. Some of the things you will find in this Mozart book are Symphony No 35 in D Major k.385, Symphony No 36 in C Major, K 425, and so on.

Furthermore, the book contains 288 pages, and it is written in English. The Mozart scores are straightforward, so they are easy to read. This Mozart book is perfect for college-level works. Some of its features are clear text, straightforward approach, enough room for making notes, among others. If you need a Mozart book that comes with easy-to-read scores, then you should give the Later Symphonies (Nos 35 to 41) in Full Score a try.

14. Complete Sonatas and Fantasies for Solo Piano

Are you looking for a Mozart book with complete, authentic scores? If yes, then you should try the Complete Sonatas and Fantasies for Solo Piano. This book is highly recommended for all piano players. The book was published by Dover publication on September 3, 1996. Also, the dimension of the Mozart book measures 9.2 x 0.8 x 12.2 inches. It has about 272 pages. This unique Mozart book is ideal for all categories of pianists as it exposes them to everything they need to know about the playing techniques of the musical instrument.

This great edition features four fantasies and nineteen sonatas. The book is unique because it includes works that have been mistakenly omitted in other Mozart editions. This is one of the most thorough versions, and it comes at a pocket-friendly price.

15. Mozart: Favorite Piano Works

If you need a Mozart book that will help your daughter in her piano lesson, then you should go for this unique book. Apart from the fact that it is easy to follow, it features clear texts and comes at a reasonable price. G.Schirmer, Incorporation published this excellent book on February 1, 2014. The dimension of the book measures 9 x 0.5 x 12 inches. It features 12 famous pieces, which include the Rondos in D major, Sonatas that is most played, Sonatina in C Major, as well as 12 different versions of Ah, Vous dirai-je, Maman.

Furthermore, the Mozart book is not only ideal for learners; intermediate players who want to expand their musical knowledge can also take advantage of the book. The book contains about 168 pages. Other well-known pieces contained in the book are Piano sonata in C Major, Fantasia in D Minor, Eight different versions of Laat ons juichen. We also have Piano Sonata in C Minor, K.475, Piano Sonata in B-Flat Major, and many others.

16. Mozart: The Wonder Boy

Do you need a Mozart book with a unique and helpful illustration? If that is your desire, then the Mozart, The Wonder Boy is an excellent option for you. It features captivating stories. Also, the Mozart book adopts a simple approach. If you aim at developing your son's and daughter's interest in music early enough, this Mozart book will help you achieve your desire. The dimension of the book is 7.5 x 0.3 x 9.2 inches, while it contains 130 pages.

Zeezok Publishing, LLC published the book on December 1, 2006. One advantage of this book is that it is designed to draw the attention of children. Therefore, it is written in story form because children love to read as much as listen to stories. The book engages students at all levels, using different learning modalities to impact knowledge. With the Mozart, The Wonder Boy, your kid is sure to have the most entertaining and memorable learning experience.

17. Mozart: World History Biographies

This great book features outstanding people in history, and it employs a simple, easy-to-read approach. Apart from that, the content of the book is well-organized, and it is perfect for everyone who has a keen interest in music. Marcus Weeks and Julian Rushton author the book. Marcus Weeks is a musician that has written and co-authored several books. Some of his works are DK's Children's Illustrated Encyclopedia, A crash course, and many others. Julian Rushton is an Emeritus Professor at the University of Leeds. Some of his publications are Mozart Musicians series, Mozart: An extraordinary life, and many others.

The book was published on July 9, 2013, by the National Geographic Children's books. Its dimension is 6.8 x 0.2 x 9.7 inches. The book contains about 64 pages, and it is written in English. The book features lively texts that are aimed at giving the reader a sense of appreciation of the legacy of Mozart timeless music.

18. Libretti of Mozart’s Completed Operas, Volume 2

Are you in search of an educative and easy-to-follow Mozart book? If that is true, then you should consider the volume 2 of the Libretti of Mozart’s Completed Operas. The operas included in this unique book are le Nozze di Figaro, ll Re Pastore, Lucio, Mitridate, Die Zauberflote, among others. The dimension of this Mozart book measures 11.1 x 8.8 x 1.5 inches. Furthermore, it was published on January 1, 1998, by Leyerle Publications.

If you are looking for a helpful book that will help you in your preparation for opera performance, then you should pick up this excellent book. Note that the Libretti collection is not a book of opera stories; it serves as a guide for every singer who has the desire to take part in an opera. The Libretti of Mozart's completed operas, Volume two, is a helpful book for opera singers as well as students.

19. Mozart WA Concerto No. 5 in a Major K

This book comes with all of Mozart Concerto No 5 in a major key, and it is a highly recommended book for all those that are interested in music. It is worth mentioning that the book features a piano/violin sheet. The dimension of the book is 10.9 x 9.3 x 0.5 inches. The International Music Company published the book.

The book is concise and easy to understand. The book is ideal for beginners as well as intermediate players. If you are keen on learning the piano or violin, you should not overlook this important book by Joseph Joachim.

20. Mozart 21 of His Most Popular Pieces

This unique Mozart book was published on January 1, 1997, by Alfred Music. It is written in English. The book comprises some of the famous works of Mozart. The book is easy to follow. The dimension of the book measures 9 x 0.2 x 12 inches, while it comprises of 64 pages. It can also serve as a perfect gift for anyone interested in music.

The Mozart book is ideal for beginners and intermediate players. It comprises playable pieces and easy-to-understand transcriptions. It will interest you to learn that the parts are drawn from rondos, sonatas, Marriage of Figaro, and Don Giovanni. Some of the features of this book are helpful discussions, clear editing, precise, and straightforward approaches, among others.

Choosing The Best Mozart Books

Before choosing a Mozart book, you should consider factors like the relevance of the information provided, the author's reputation and experience, the experience of the past users, among other factors. We have carefully selected 20 unique Mozart books for you; go through their specifications and features, and choose the one that meets your requirements.

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Wolfgang Amadeus Mozart: A Biography Paperback – May 1, 2008

• Print length 300 pages
• Language English
• Publisher University of Chicago Press
• Publication date May 1, 2008
• Dimensions 6.25 x 1 x 9.25 inches
• ISBN-10 0226519619
• ISBN-13 978-0226519616
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• Publisher ‏ : ‎ University of Chicago Press; Illustrated edition (May 1, 2008)
• Language ‏ : ‎ English
• Paperback ‏ : ‎ 300 pages
• ISBN-10 ‏ : ‎ 0226519619
• ISBN-13 ‏ : ‎ 978-0226519616
• Item Weight ‏ : ‎ 1.08 pounds
• Dimensions ‏ : ‎ 6.25 x 1 x 9.25 inches
• #231 in Classical Musician Biographies
• #1,313 in Classical Music (Books)
• #3,357 in Historical European Biographies (Books)

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The glorious gospel of peacock records, ‘damn.’: kendrick lamar’s pursuit for higher learning, ‘long distance call’: a personal favorite number for muddy waters, ‘stay with me’: the story behind sam smith’s breakthrough song, soul boys: the influence of soul on 80s chart pop, ‘grease’: how a nostalgic soundtrack became a timeless hit, nduduzo makhathini announces ‘unomkhubulwane,’ shares ‘omnaya’, girls aloud release ‘something kinda ooooh’ digital ep, elyanna releases debut album ‘woledto,’ video for ‘ganeni’, maggie rogers announces first ever arena tour, celebrates ‘don’t forget me’ release, u2’s ben affleck and matt damon-produced ‘kiss the future’ coming to paramount+, the rolling stones share ‘from london to shanghai’ documentary, poison’s ‘native tongue’ to receive vinyl reissue, best mozart works: 10 essential pieces by the great composer.

Discover our selection of the best Mozart works including opera, symphony, concerto and sonata masterpieces.

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Wolfgang Amadeus Mozart is one of the greatest and most influential composers in the history of Western music. He composed over 600 works for all the musical genres of his day including operas, concertos, symphonies, chamber music and sonatas, and excelled in each one. Mozart was born in Salzburg on 27 January 1756 and was the son of Leopold Mozart, a successful composer, violinist and assistant concert master at the Salzburg court. He was a child prodigy and composed his first piece of music when he was only five years old. Leopold recognised his son’s extraordinary talents and took him on several performing tours throughout Europe. At 17 Mozart was engaged as a musician at the Salzburg court but grew restless and travelled in search of a better position. While visiting Vienna in 1781 he was dismissed from his Salzburg position and chose to stay in Vienna where he composed many of his best-known symphonies, concertos and operas during his final years. He died on 5 December 1791, while working on his famous Requiem , at the age of 35. Discover our selection of ten of the best Mozart works including a range of opera, symphony, concerto, chamber, and piano masterpieces by the legendary composer.

Listen to the best of Mozart on Apple Music  and Spotify .

‘Overture’ from The Marriage Of Figaro, K492

The Marriage Of Figaro ( Le Nozze Di Figaro ), premiered in 1786, is an ideal place to begin an exploration of the best Mozart works and the opera’s ‘Overture’ sets its mood perfectly. It seems to have been Mozart’s own idea to set the scandalous play by Pierre-Augustin Caron De Beaumarchais, which had already been banned in Paris and Vienna, but what cannot be spoken can sometimes be sung. A suitably adapted opera libretto by his new collaborator Lorenzo Da Ponte produced from the composer a score that matches the swiftly changing moods of this busy, intricate, and amorous comedy.

Symphony No.41 in C, K551 – Jupiter

If he was keeping count Mozart cannot have expected his 41st Symphony to be his last – but so it turned out. He certainly wrote nothing more complex than this brilliant, ambitious work, the finale of which offers a display of contrapuntal skills second to none in the whole of music. This is no mere showing off of technical knowledge however, but instead a revelatory demonstration of what can be achieved by combining thematic material in complex ways simultaneously. While the rest of the Symphony is first-rate, it is certainly the remarkable writing of the finale that has earned the piece the nickname of Jupiter , king of the gods.

Requiem Mass in D minor, K626

Our understanding of Mozart’s Requiem is inevitably coloured by the fact that it was his final work, and that he died before he could complete it. Commissioned in a mysterious fashion by a nobleman who wished to pass it off as his own work, as a memorial to his wife, it has attracted a huge amount of myth and conjecture. It is, however, certain that Mozart was genuinely haunted by premonitions of death as he composed it, and that it was used – at least in part – as his own requiem.

Quintet in A for Clarinet and Strings, K581

Mozart’s affinity for the clarinet is evident in many of his works, but particularly in the late pieces that were written for his friend Anton Stadler to play. The Clarinet Concerto (1791) and the Clarinet Quintet (1789) both date from Mozart’s full maturity, and testify not merely to Stadler’s excellence as a player, but also to the sheer beauty Mozart could draw from this instrument – an expressive immediacy few later composers have matched. Something about the more intimate scale of the Quintet makes it unusually appealing as a sample of Mozart’s chamber music.

Piano Concerto No.21 in C major, K467

Mozart was a great pianist, and initially made his name in Vienna as a composer of piano concertos that he wrote for himself to play at public concerts. Mozart’s Piano Concerto No. 21 in C major was completed on 9 March 1785, just four weeks after the completion of his dramatic Piano Concerto No. 20 in D minor , and is one of his best-known and technically demanding concertos. The famous ‘Andante’ was featured in the 1967 Swedish film Elvira Madigan and, as a result, the work became widely known as the Elvira Madigan Concerto .

Die Zauberflöte (The Magic Flute), K620

A complex allegorical opera combining elements of fairy-tale quest and symbolic references to Freemasonry, The Magic Flute was Mozart’s last opera to be staged. It forms an apt summation of the incredible variety of his art, with the diverse music allotted to all the different characters and situations displaying his outstanding range of invention and style. Comic and serious by turns this finally triumphant opera is one of the best Mozart works.

Piano Sonata No.11 in A, K331/K300I

Probably composed in 1783 and published the following year Mozart’s Sonata No.11 has become famous above all for its finale, the so-called ‘Rondo Alla Turca’, which is written in the percussive Turkish style that was well-known in Vienna due to the bands of Turkish musicians who would roam the streets and play in public. Mozart also made use of the style in his opera Die Entführung Aus Dem Serail ( The Abduction From The Seraglio ) of 1782. But there is more to the Sonata than that – the opening movement is a particularly clever and charming set of variations, while the slow movement is a graceful minuet and trio. As well as Mozart’s original version the Sonata has become known via arrangements, and sets of variations, by later musicians such as Max Reger and Dave Brubeck.

Symphony No.36 in C, K425 – Linz

Mozart’s ability to work fast is evidenced by his so-called Linz  Symphony – it was composed in the Austrian city, on a journey back from Salzburg to Vienna in November 1783, to fulfil a commission from a local nobleman. It took the composer just four days to write the piece, which is a mature production full of compositional ingenuity and wit. There are four movements: the substantial first movement begins with a slow introduction, the second is a slow movement in siciliano rhythm (which has pastoral associations, though not necessarily Sicilian in origin), the third is a standard minuet and trio, and the fourth is a lively finale.

Clarinet Concerto in A major, K 622

Mozart’s Clarinet Concerto , widely regarded as the greatest clarinet concerto and his last instrumental work, was completed in October 1791, less than two months before the composer’s death at the age of just 35. Mozart composed his Clarinet Concerto for the clarinettist Anton Stadler, who was the most gifted clarinettist in Vienna, and he performed the work at the premiere on 16 October 1791. It was the first clarinet concerto to be written by a major composer – however it wasn’t strictly composed for the clarinet at all. Mozart originally composed the concerto for the basset clarinet.

Ave Verum Corpus, K618

Mozart composed this short motet, which is just 46 bars long, in the final year of his life while he was in the middle of writing his opera The Magic Flute . Ave Verum Corpus was composed to celebrate the feast of Corpus Christi and was written for his friend Anton Stoll who was choirmaster at the parish church in Baden, Austria. Such was the extraordinary harmonic appeal of the piece to 19th-century composers that Liszt made transcriptions for solo piano and organ and Tchaikovsky incorporated an orchestration of Liszt’s transcription in his orchestral suite Mozartiana .

Discover more of our composer best works.

Michelle Folwell

March 21, 2020 at 8:15 pm

You missed out some of Mozart’s best: Eine Kleine Nachtmusik, Symphony No. 40, Piano Sonata No. 16 in C major, K.545 and Piano Concerto No. 21 in C major: II Andante!

February 10, 2023 at 11:45 pm

I know, amazing how he started composing at the age 5!

Albert Kirsch

April 27, 2023 at 11:39 pm

Imagine if he had lived as long as Haydn!

Paul Goldblatt

October 26, 2023 at 12:53 pm

Why not his entire catalog or just composed a cello concerto?

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Reading the Best Biographies of All Time

Review of “Mozart: A Life” by Maynard Solomon

11 Thursday Jul 2019

Posted by Steve in Art / Sports / Entertainmt

≈ 3 Comments

biographies , book reviews , Maynard Solomon , Mozart , Pulitzer Prize nominee , Wolfgang Amadeus Mozart

Maynard Solomon’s “Mozart: A Life” was published in 1995 and was a Pulitzer Prize finalist for biography. Solomon co-founded Vanguard Records, has taught at Columbia, Yale, Harvard and the Julliard School of Music, and authored several books including a highly-regarded biography of Beethoven .

Two things are immediately clear when reading this biography: it is built upon a foundation of assiduous (and likely painstaking) research…and it is not for the faint of heart. Solomon’s narrative is neither an easy-to-follow chronological treatment of Mozart’s life nor a particularly colorful one.  Instead, it is fact- and conjucture-dense, thematic and disappointingly dry with a puzzling predilection for psychoanalysis.

Most readers will conclude there is much about Mozart’s life which is simply unknowable but that Solomon diligently unearthed and analyzed every available bit of information. Unfortunately, the resulting narrative too often resembles the transcript of a tedious college lecture with little historical context, too much supposition and speculation, and almost no sense of narrative vibrancy. Very few readers will find the book hard to put down.

Great biographies generally provide robust introductions to a subject’s family as well as his or her most important friends and colleagues. In this case Solomon provides only the barest of disclosure relating to anyone other than Mozart’s father (whose presence throughout the book is pervasive), his sister (who receives her own admittedly excellent chapter) and Mozart himself. His mother and wife receive minimal coverage and his six children rarely appear at all.

Instead, the author exhibits a curious fascination with Mozart’s finances – a preoccupation so unrelenting that one might suspect the author of being a forensic accountant in a past life. But if this unyielding focus on 18th-century accounting appeals to some readers, what they may be disappointed not to find is a thorough and systematic analysis of Mozart’s musical compositions.

In addition, despite its Pulitzer imprimatur this biography fails to paint a cohesive or richly textured portrait of it subject. Readers unfamiliar with Mozart’s life are unlikely to finish this book feeling as though they really understand him or have a good sense of what made him tick. In the end, he seems oddly inert and unexpectedly…uninteresting.

But Solomon’s biography is not without its high points. His focus on Mozart’s relationship with his father, though far too Freudian, is interesting. The chapter on his relationship with his sister and their eventual estrangement is fascinating. And the chapter covering Mozart’s Masonic membership provides revealing insight into his character and motivations. But the pages which explore Mozart’s Zoroastran “riddles” may be the most unexpected and intellectually compelling of the book.

Overall, Maynard Solomon’s “ Mozart: A Life ” is a fact- and conjecture-rich biography of one of the 18th century’s most creative and unsettled artists. But if Mozart’s life was multi-hued and utterly captivating (as I suspect it was) Solomon almost entirely fails to capture that magic. And in the end his biography of Mozart, which is likely to appeal only to a narrow audience, is disappointingly dry and dull.

Overall rating: 2½ stars

3 thoughts on “Review of “Mozart: A Life” by Maynard Solomon”

July 11, 2019 at 10:34 am

I’m so glad I’m not the only who found this dry, and it’s especially reassuring to know that I’m not the only one who caught Solomon’s bizarre fascination with Mozart’s monies.

I’d read Jan Swafford’s Brahms and Beethoven biographies (both of which have my highest recommendation) and I had sorely hoped that Solomon’s Mozart biography would be equally good. I was disappointed.

July 11, 2019 at 11:04 am

I’m glad to hear Swafford’s biographies are written in a different literary style! I had planned to tackle Solomon’s bio of Beethoven in the next year or so but now I think I’ll swap it for one of Swafford’s. Thanks for the tip!

February 17, 2020 at 10:29 am

I echo everything Terry93D said. Thought Solomon’s bio of Mozart was positively boring but loved Swfford’s bio of Brahms (I think Brahms’ incredibly strange relationship with the Schumanns is ripe for movie treatment). Have Swafford’s bio of Beethoven on my night table as one of my next reads. Looking forward to it!

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In This Article Expand or collapse the "in this article" section Wolfgang Amadeus Mozart

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Wolfgang Amadeus Mozart by David Buch LAST MODIFIED: 27 April 2017 DOI: 10.1093/obo/9780199757824-0193

Wolfgang Amadeus Mozart (baptized Johannes Chrysostomus Wolfgangus Theophilus Mozart, b. 27 January 1756–d. 5 December 1791) is widely regarded as one of the greatest composers in European music history. The son of Leopold Mozart, a professional musician, Wolfgang was a celebrated child prodigy and developed into a composer who mastered almost every musical genre of his era, composing over 600 works. Despite a vast secondary literature on Mozart and his music, some of the widely accepted “facts” of his life are based on posthumous anecdotes, conjecture, and even outright invention. Some accounts of his compositional practice, the conditions of his life, his finances, and even his death and burial are either demonstrably false or lack convincing documentary evidence. Pronouncements by scholars should not be taken at face value, but rather be examined critically in the light of primary sources. It should come as no surprise that many studies referenced in this article challenge received wisdom about Mozart’s life and works. The studies included here concentrate on original research with a strong evidentiary basis, in addition to essential sources found in other publications.

The following sources include updated and complete coverage of a broad overview of Mozart and his music. Keefe 2003 is a collection of essays, Eisen and Keefe 2006 is a true lexicon, and Landon 1990 is a broad survey that attempts to be comprehensive.

Eisen, Cliff, and Simon P. Keefe, eds. The Cambridge Mozart Encyclopedia . Cambridge, UK: Cambridge University Press, 2006.

Contributors include some forty-nine scholars (chiefly British and American, several of whom are from Cornell University, which has produced Mozart specialists under the guidance of Neal Zaslaw, who also contributed to this volume). Among these are Cliff Eisen on Mozart’s life in Salzburg, Ulrich Konrad on his compositional method, Derek Beales on his relationship with Joseph II, and John Rice on his opera La clemenza di Tito .

Keefe, Simon P., ed. The Cambridge Companion to Mozart . Cambridge, UK: Cambridge University Press, 2003.

A collection of seventeen topical essays by fifteen scholars, providing a general review and contextual perspective. The essays are divided into four parts: “Mozart in Context,” “The Works,” “Reception,” and “Performance.” The discussion of instrumental music stresses harmonic analysis over expressive content and topical character.

Landon, H. C. Robbins, ed. The Mozart Compendium: A Guide to Mozart’s Life and Music . New York: Schirmer, 1990.

Some twenty-eight scholars contributed to this broad survey, including a substantial section on the composer’s music edited by John Arthur and an essay by Wolfgang Rehm on collected editions. The works are arranged by genre in chronological order within each category. Despite the need for updating, this book remains the best and most comprehensive of its kind.

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7 Best Books Which Show The Quirky Life Of Mozart

Mozart might seem like a genius, but these books will prove to you that he’s got a lot more to his name than talent.

Although Mozart deserves the respect and recognition for his work, it can be said that a large part of his personality has gone unnoticed. Which is difficult to imagine thanks to the many quirks this 18th century musician had to his name.

Apart from the curiosities of Mozart, you’ll also learn about his childhood, which truly reveals the talent that he is so well known for. All in all, these books deliver on their promise of a fun yet informative read.

Great inspiration for a little one starting out on the piano!

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#1   Mozart: The Man Revealed by John Suchet

Even in 2020, Mozart continues to fascinate with not only the amazing quality of his music but his bizarre life-story and persona. This book provides a thorough account of Mozart’s life, from the musical accomplishments to his harsh upbringing by his tyrannical father and quirky personality.

Sadly as we know, Mozart died young before he was able to create even more incredible music that would live long after he passed away. Overall this book does a great job of showing us Mozart’s life in its fullest, including 75 unique color illustrations, making it one of my favorite books on Wolfgang Amadeus Mozart’s life.

Before buying a book make sure to compare price and outlet, we have included links below to several large book outlets for different regions in the world:

• Amazon (International)
• The Book Depository (International)
• Waterstones (International)

#2   Mozart: a cultural biography by Robert W. Gutman

Gutman does a great job of leading the readers through Mozart’s entire life, analyzing his work through political, cultural and artistic standpoint. It shows how Mozart’s life and personality have affected his work and vice versa. The book reveals Mozart in a different light – a man who is caring, affectionate, committed and incredibly loyal.

#3   Mozart In Vienna by Simon P. Keefe

This biography focuses on Mozart’s life as a composer and performer during the time he was in Vienna.. Not only does the book discuss his works, it highlight’s Mozart’s ability to cope with the never ending demand of the singers, performers, publicists, production and more.. Additional,y the author discusses Mozart’s personality and how it was impacted by his career. A must read.

#4   Mozart: A Life in Letters: A Life in Letters by Cliff Eisen

This fascinating work gives a deep insight into Mozart’s life and personality. Spanning a lifetime, these letters carefully collected by Cliff Eisen fill in many of the gaps music lovers and historians alike will gush over for hours (and in some cases lifetimes). Learn more about one of the greatest geniuses of human history in his very own words with this fascinating historical text.

#5   Mozart’s Women: His Family, His Friends, His Music by Jane Glover

This unique look into the life of Mozart takes an in-depth look into his relationships, inspiration, and profound respect for the women in his life. From his mother, sisters, wife, women patrons, lovers, and more—Mozart’s deep connection to women is often overlooked in biographies focusing on his seminal works. Glover steps into the canon and brings these important players and influences to life in stunning technicolor. Mozart could not have been without the women in his life, dive into an often untold and forgotten history with this groundbreaking book.

#6   W.A. Mozart by Hermann Ab

W.A. Mozart originally hit the scene in 1919 and blew music lovers and scholars out of the water. Abert’s in-depth research, analysis, and insight into the genius composer’s work and life were groundbreaking. However, over the last hundred years, the work of countless scholars gave us deep insights and new findings into Mozart’s inner world and life. That’s where Cliff Eisen, one of the formative Mozart scholars of our time, comes in.

He has beautifully updated this seminal text with great respect for the Abert original. You are sure to love this timeless classic, a pleasure to read, and a real treasure trove of knowledge for music-lovers and historians alike.

#7   Mozart: A Cultural Biography by Robert W. Gutman

Another true classic and must-read for music lovers and those curious about Mozart, this genius biography places Mozarts life and work into the broader context of musical development and culture in the 18th century. Gutman brings a level of nuance and complexity often lacking from other biographies, which can become too mired down in the details of Mozart’s art alone. Mozart: A Cultural Biography brings to light a luminous and deeply human Mozart—one who lived in a real-world, with real emotions, connections, and beliefs.

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Biography of Mozart

Family and early years.

Wolfgang Amadeus Mozart was born to Leopold and Anna Maria Pertl Mozart in Getreidegasse 9 in the city of Salzburg, the capital of the sovereign Archbishopric of Salzburg, in what is now Austria, then part of the Holy Roman Empire. His only sibling who survived past birth was an older sister: Maria Anna, nicknamed Nannerl. Mozart was baptized the day after his birth at St. Rupert's Cathedral. The baptismal record gives his name in Latinized form as Joannes Chrysostomus Wolfgangus Theophilus Mozart. Mozart generally called himself "Wolfgang Amadé Mozart"as an adult, but there were many variants.

Baptsismal Record

Mozart was baptized January 28, 1756, the day after his birth, at St. Rupert's Cathedral in Salzburg as Joannes Chrysostomus Wolfgangus Theophilus Mozart. The baptismal register of the cathedral parish contains the entry shown below, written down in Latin by city chaplain Leopold Lamprecht. The parallel five-column format of the original document, seen in the figure, is transcribed below in five consecutive paragraphs. Material in brackets represents editorial additions by Otto Erich Deutsch (see below), intended for clarification.

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

1762-1773: Years of travel

During Mozart's formative years, his family made several European journeys in which the children were exhibited as child prodigies. These began with an exhibition in 1762 at the Court of the Elector of Bavaria in Munich, then in the same year at the Imperial Court in Vienna and Prague. A long concert tour spanning three and a half years followed, taking the family to the courts of Munich, Mannheim, Paris, London, The Hague, again to Paris, and back home via Zürich, Donaueschingen, and Munich. During this trip Mozart met a great number of musicians and acquainted himself with the works of other composers. A particularly important influence was Johann Christian Bach, who met Mozart in London in 1764–65. Bach's work is often taken to be an inspiration for Mozart's music. The family again went to Vienna in late 1767 and remained there until December 1768. On this trip Mozart contracted smallpox, and his healing was believed by Leopold as proof of God's plans concerning the child.[citation needed]

After one year in Salzburg, three trips to Italy followed, this time with just Leopold, leaving Wolfgang's mother and sister at home. These took place from December 1769 to March 1771, from August to December 1771, and from October 1772 to March 1773. The first trip resembled the earlier journeys, with the purpose of displaying the now-teenaged Mozart's abilities as a performer and as a rapidly maturing composer. Mozart met G.B. Martini in Bologna, and was accepted as a member of the famous Accademia Filarmonica. In Rome he heard Gregorio Allegri's Miserere once in performance in the Sistine Chapel then wrote it out in its entirety from memory, only returning to correct minor errors; thus producing the first illegal copy of this closely-guarded property of the Vatican.

In Milan Mozart wrote an opera Mitridate Rè di Ponto (1770), performed with success. This lead to further opera commissions, and Wolfgang and Leopold returned twice from Salzburg to Milan for the composition and premieres of Ascanio in Alba (1771) and Lucio Silla (1772).

Toward the end of the final Italian journey Mozart wrote the first of his works that is still widely performed today, the solo cantata "Exsultate, jubilate", K. 165.

1773-1777: The Salzburg Court

Following his final return with his father from Italy (13 March 1773), Mozart was employed as a court musician by the ruler of Salzburg Prince-Archbishop Hieronymus Colloredo. Mozart was a "favorite son" in Salzburg, where he had a great number of friends and admirers, and he had the opportunity to compose in a great number of genres, including symphonies, sonatas, string quartets, serenades, and the occasional opera. Some of the works he produced during this early period are very widely performed today. For instance, during the period between April and December of 1775, Mozart developed an enthusiasm for violin concertos, producing a series of five (the only ones he ever wrote), steadily increasing in their musical sophistication. The last three (K. 216, K. 218, K. 219) are now staples of the repertoire. The E flat piano concerto K. 271 (1777), with its surprising interruption of the orchestra by the soloist at the start, is considered by critics to be a breakthrough work.

Nevertheless, Mozart gradually grew more discontented with Salzburg and made increasingly strenuous efforts to find a position elsewhere. The reason seems to be in part his low salary, 150 florins per year (Leopold, the vice-Kapellmeister, made 250).[6] In addition, Mozart loved to compose operas, and Salzburg provided at best rare occasions for opera productions. The situation became worse in 1775 when the court theater was closed, and the other theater in Salzburg was largely reserved for visiting troupes.[7]

Two long job-hunting expeditions interrupted this long Salzburg stay: Wolfgang and Leopold (they were both looking) visited Vienna from 14 July to 26 September 1773 and Munich from 6 December 1774 to March 1775. Neither visit was successful, though the Munich journey resulted in a popular success with the premiere of Mozart's opera La finta giardiniera[8]

1777-1778: The Paris Journey

On September 23, 1777, Mozart began yet another job-hunting tour, this time accompanied by his mother Anna Maria. The visit included Munich, Mannheim, and Paris. In Mannheim he became acquainted with members of the Mannheim orchestra, the best in Europe at the time. He also fell in love with Aloysia Weber, one of four daughters in a musical family. Mozart moved on to Paris and attempted to build his career there, but was unsuccessful (he did obtain a job offer as organist at Versailles, but it was a job he did not want). The visit to Paris was an especially unhappy one because Mozart's mother took ill and died there, June 23, 1778. On his way back to Salzburg Mozart passed through Munich again, where Aloysia, now employed at the opera there as a singer, indicated she was no longer interested in him.

Mozart's discontent with Salzburg continued after his return. The question arises why Mozart, despite his talent, was unable to find a job on this trip. Maynard Solomon has suggested that the problem lay in conflict with father Leopold, who insisted that Mozart find a high-level position that would support the entire family. Wolfgang favored the alternative strategy of settling in a major city, working as a freelance, and cultivating the aristocracy to the point that he would be favored for an important job; this had worked earlier for other musicians such as Haydn. The plan Leopold imposed, coupled with Mozart's youth (he was only 21 when he left Salzburg), seems to have had foreordained failure.

1781: The move to Vienna

In January 1781, Mozart's opera Idomeneo, premiered with "considerable success" (New Grove) in Munich. The following March, the composer was summoned to Vienna, where his employer, Prince-Archbishop Colloredo of Salzburg, was attending the celebrations for the installation of the Emperor Joseph II. Mozart, who had just experienced success in Munich, was offended when Colloredo treated him as a mere servant, and particularly when the Archbishop forbade him to perform before the Emperor at Countess Thun's (for a fee that would have been fully half of his Salzburg salary). In May the resulting quarrel intensified: Mozart attempted to resign, and was refused. The following month, however, the delayed permission was granted, but a grossly insulting way: Mozart was dismissed literally "with a kick in the arse", administered by the Archbishop's steward, Count Arco. In the meantime, Mozart had been noticing opportunities to earn a good living in Vienna, and he chose to stay there and develop his own freelance career.

In fact, Mozart's Vienna career began very well. He performed often as a pianist, notably in a competition before the Emperor with Muzio Clementi, December 24, 1781, and according to the New Grove, he soon "had established himself as the finest keyboard player in Vienna. Mozart also prospered as a composer: during 1781–1782 he wrote the opera Die Entführung aus dem Serail ("The Abduction from the Seraglio"), which premiered July 16, 1782 and achieved a huge success. The work was soon being performed "throughout German-speaking Europe", and fully established Mozart's reputation as a composer.

Near the height of his quarrels with Archbishop Colloredo, Mozart moved in (May 1 or May 2, 1781) with the Weber family, who had moved to Vienna from Mannheim. The father, Fridolin, had died, and the Webers were now taking in lodgers to make ends meet. Aloysia, who had earlier rejected Mozart's suit, was now married to the actor Joseph Lange, and Mozart's interest shifted to the third daughter, Constanze. The couple were married, with father Leopold's "grudging consent" (New Grove), on August 4, 1782. They had six children, of whom only two survived infancy: Carl Thomas (1784–1858) and Franz Xaver Wolfgang (1791–1844; later a minor composer himself).

During 1782–1783, Mozart became closely acquainted with the work of J. S. Bach and G.F. Handel as a result of the influence of Baron Gottfried van Swieten, who owned many manuscripts of works by the Baroque masters. Mozart's study of these works led first to a number of works imitating Baroque style and later had a powerful influence on his own personal musical language, for example the fugal passages in Die Zauberflöte ("The Magic Flute"), and in the finale of Symphony No.41.

In 1783, Wolfgang and Constanze visited Wolfgang's family in Salzburg, but the visit was not a success, as Leopold and Nannerl were, at best, only polite to Constanze. However, the visit sparked the composition of one of Mozart's great liturgical pieces, the Mass in C Minor, which, though not completed, was premiered in Salzburg. Constanze sang in the premiere.

At some (unknown) time following his move to Vienna, Mozart met Joseph Haydn and the two composers became friends; see Haydn and Mozart. When Haydn visited Vienna, they sometimes played together in an impromptu string quartet. Mozart's six quartets dedicated to Haydn (K. 387, K. 421, K. 428, K. 458, K. 464, and K. 465) date from 1782–85, and are often judged to be his response to Haydn's Opus 33 set from 1781. Haydn was soon in awe of Mozart, and when he first heard the last three of Mozart's series he told the visiting Leopold, "Before God and as an honest man I tell you that your son is the greatest composer known to me either in person or by name: He has taste, and, furthermore, the most profound knowledge of composition."

During the years 1782–1785, Mozart put on a series of concerts in which he appeared as soloist in his own piano concertos. He wrote three or four concertos for each concert season, and since space in the theaters was scarce, he booked unconventional venues: a large room in the Trattnerhof, an apartment building; and the ballroom of the Mehlgrube, a restaurant. The concerts were very popular, and the works Mozart composed for them are considered among his finest. Solomon writes that during this period Mozart created "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.

With the substantial money Mozart earned in his concerts and elsewhere, his family adopted a rather plush lifestyle. They moved to an expensive apartment, with a rent of 460 florins.Mozart also bought a fine fortepiano from Anton Walter for about 900 florins, and a billiard table for about 300. The Mozarts also sent their son Karl Thomas to an expensive boarding school and kept servants. These choices inhibited saving, and were the partial cause of a stressful financial situation for the Mozart family a few years later.

1786-1787: Return to Opera

Despite the great success of Die Entführung aus dem Serail, Mozart did little writing of operas during the years that followed it, producing only two unfinished works and the one-act Der Schauspieldirektor. He focused instead on his career as a piano soloist and writer of concertos. However, around the end of 1785, Mozart reshifted his focus again: he ceased to write piano concertos on a regular basis, and began his famous operatic collaboration with the librettist Lorenzo da Ponte. 1786 saw the Vienna premiere of The Marriage of Figaro, which was quite successful in Vienna and even more so in a Prague production later the same year. The Prague success led to a commission for a second Mozart-Da Ponte opera, Don Giovanni, which premiered 1787 to acclaim in Prague and was also produced, with some success, in Vienna in 1788. Both operas are considered among Mozart's most important works and are mainstays of the operatic repertoire today; their musical complexity caused difficulty for both listeners and performers alike at their premieres.

In December 1787 Mozart finally obtained a steady post under aristocratic patronage. Emperor Joseph II appointed him as his "chamber composer", a post vacated the previous month when Gluck died. It was not a full-time job, however. It paid only 800 florins per year, and merely required Mozart to compose dances for the annual balls in the Redoutensaal. Mozart complained to Constanze that the pay was "too much for what I do, too little for what I could do." However, even this much proved important to Mozart later on when hard times arrived. Court records show that Joseph's intent was explicitly to help make sure that Mozart, whom he esteemed, did not leave Vienna to seek better prospects elsewhere.

Toward the end of the decade, Mozart's career declined. Around 1786 he had ceased to appear frequently in public concerts, and his income dropped. This was in general a difficult time for musicians in Vienna, since between 1788 and 1791 Austria was at war (see Austro-Turkish War (1788–1791)), and both the general level of prosperity and the ability of the aristocracy to support music had declined.

By mid 1788, Mozart and his family moved from central Vienna to cheaper lodgings in the suburb of Alsergrund. Mozart began to borrow money, most often from his friend and fellow Mason Michael Puchberg; "a dismal series of begging letters" (New Grove) survives. Maynard Solomon and others have suggested the Mozart suffered from depression at this time, and it seems his output rate sank somewhat (see Köchel-Verzeichnis). The major works of the period include the last three symphonies (1788: 39, 40, 41; it is not certain whether these were performed in Mozart's lifetime), and the last of the three Da Ponte operas, Cosi fan tutte, premiered 1790.

During this time Mozart made long journeys hoping to improve his fortunes: a visit in spring of 1789 to Leipzig, Dresden, and Berlin (see Mozart's Berlin journey), and a 1790 visit to Frankfurt, Mannheim, and other German cities. The trips produced only isolated success and did not solve Mozart's financial problems.

Mozart's last year was, until his final illness struck, one of great productivity and (in the view of biographer Maynard Solomon) personal recovery. During this time Mozart wrote a great deal of music, including some of the works for which he is most admired today: the opera The Magic Flute, the final piano concerto (K. 595 in B flat), the Clarinet Concerto K. 622, the last in his great series of string quintets (K. 614 in E flat), the revised version of his 40th Symphony, the motet Ave verum corpus K. 618, and the unfinished Requiem.

Mozart's financial situation, which in 1790 was the source of extreme anxiety to him, also began to improve. Although the evidence is uncertain it appears that admiring wealthy patrons in Hungary and in Amsterdam pledged annuities to Mozart, in return for the occasional composition. Mozart also probably made considerable money from the sale of dance music that wrote for his job as Imperial chamber composer. He ceased to borrow large sums from Puchberg and made a start on paying off his debts.

Lastly, Mozart experienced great satisfaction in the public success of some his works, notably The Magic Flute (performed many times even during the short period between its premiere and Mozart's death) and the Little Masonic Cantata K. 623, premiered November 15, 1791.

Final illness and death

Mozart fell ill while in Prague, for the September 6 premiere of his opera La clemenza di Tito, written in 1791 on commission for the coronation festivities of the Emperor. He was able to continue his professional functions for some time, for instance conducting the premiere of The Magic Flute on September 30. The illness intensified on November 20, at which point Mozart became bedridden, suffering from swelling, pain, and vomiting.

Mozart was tended in his final illness by Constanze, her mother Cäcilia Weber, her youngest sister Sophie Haibel, and the family doctor, Thomas Franz Closset. There is evidence that he was mentally occupied with the task of finishing his Requiem (see Death of Wolfgang Amadeus Mozart). However, the evidence that he actually dictated passages to Süssmayr is very slim.

Mozart died at 1 in the morning on December 5. His burial arrangements were exceedingly simple: Mozart's body was sewn in a linen sack, and transferred from a reusable coffin to a common grave with five or six other bodies. No friends or family were present to witness the burial. These procedures reflected common practice at the time, traceable to a decree of Joseph II from 1784 governing funeral arrangements; see Josephinism. Maynard Solomon suggests that the simple funeral may have reflected Mozart's own wishes.

The cause of Mozart's death cannot be determined with certainty. His death record listed "hitziges Frieselfieber" ("severe miliary fever," referring to a rash that looks like millet seeds), a description that does not suffice to identify the cause as it would be diagnosed in modern medicine. Dozens of theories have been proposed, including trichinosis, influenza, mercury poisoning, and a rare kidney ailment. The practice of bleeding medical patients, common at that time, is also cited as a contributing cause. However, the most widely accepted version is that he died of acute rheumatic fever; he had had three or even four known attacks of it since his childhood, and this particular disease has a tendency to recur, leaving increasingly serious consequences each time, such as rampant infection and heart valve damage.

Mozart's extremely spare funeral did not reflect his standing with the public as a composer: memorial services and concerts in Vienna and Prague were well attended. Indeed, during the period following his death, Mozart's musical reputation rose substantially; Solomon describes an "unprecedented wave of enthusiasm" for his work. Biographies were written (initially by Schlichtegroll, Niemetschek, and Nissen), and publishers vied to produce complete editions of his works.

Mozart's physical appearance was described by tenor Michael Kelly, in his Reminiscences: "a remarkable small man, very thin and pale, with a profusion of fine, fair hair of which he was rather vain." His early biographer Niemetschek wrote, "there was nothing special about [his] physique ... He was small and his countenance, except for his large intense eyes, gave no signs of his genius." His facial complexion was pitted, a reminder of his childhood case of smallpox. He loved elegant clothing: Kelly remembered 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." Of his voice Constanze later wrote that it "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".

Mozart worked very hard, a great deal of the time, and finished works where necessary at a tremendous pace. When composing he often made sketches and drafts, though (unlike Beethoven's sketches) these are mostly not preserved, Constanze having destroyed them after his death.

Mozart also enjoyed billiards and liked dancing. He kept pets (a canary, a starling and a dog), and kept a horse for recreational riding.

Mozart lived at the center of Viennese musical life, and knew a great number of people, including not just his fellow musicians, but also theatrical performers, fellow transplanted Salzburgers, and many aristocrats, including a fairly close acquaintance with the Emperor, Joseph II. Mozart had a considerable number of friends, of whom Solomon estimates the three closest were Gottfried Janequin, Count August Hatzfeld, and Sigmund Barisani; others included the singers Franz Xaver Gerl and Benedikt Schack, Haydn (mentioned above), and the horn player Ignaz Leutgeb (with whom Mozart carried on a curious kind of friendly mockery, Leutgeb being always the butt of Mozart's practical jokes).

Particularly in his youth, Mozart had a striking fondness for scatological and sexual humor, which is preserved in his many surviving letters, notably those written to his cousin Anna Maria Thekla Mozart around 1777–1778, but also in his correspondence with his sister Nannerl. Mozart even wrote scatological music, the canons "Leck mich im Arsch" ("Lick me in the arse") K. 231 and "Leck mir den Arsch fein recht schön sauber" ("Lick me in the arse nice and clean") K. 233.

Mozart was influenced by the ideas of the eighteenth-century European Enlightenment as an adult, and became a Freemason in 1785. His lodge was specifically Catholic, rather than deistic, and he worked fervently and successfully to convert his father before the latter's death in 1787.[citation needed] Die Zauberflöte, his penultimate opera, includes Masonic themes and allegory.

Wolfgang Amadeus Mozart (1756-1791) ranks with J.S. Bach and Beethoven as one of the greatest Western composers. His father, Leopold, was a musical pedagogue and a musician at the court of the Prince-Archbishop of Salzburg. When Leopold began to give clavier-lessons to his seven-year-old daughter, Nannerl, her younger brother listened attentively, started playing it himself at the age of four, and was composing his first pieces at the age of five. Between 1762-1773, Leopold brought the two child prodigies on tours around the main European cities and courts, from Rome to London, hoping to promote his son’s future career. Young Wolfgang worked as a court composer for the Prince-Archbishop of Salzburg, but, desirous of a better salary and opportunities to compose operas, he resigned in 1773. After several years of visiting different cities in search of a suitable position, he settled in Vienna, where he spent the final decade of his life. At Vienna, he composed most of his greatest compositions, and his greatness was recognised by both established composers, such as Haydn, and up-and-coming ones, such as Beethoven. Despite his premature death at the age of thirty-five, he left a huge body of work, with masterpieces in sacred, orchestral, and chamber music, concertos, and opera.

In this interview, Simon P. Keefe recommends some books that can help us learn about Mozart’s music and penetrate it more deeply as we listen to it.

Simon P. Keefe is James Rossiter Hoyle Chair of Music at the University of Sheffield, a life member of the Academy for Mozart Research at the International Mozart Foundation in Salzburg and President Elect of the Royal Musical Association. He is the author of five monographs on Mozart, including Mozart's Requiem: Reception, Work, Completion (Cambridge University Press, 2012), which won the 2013 Marjorie Weston Emerson award from the Mozart Society of America, and editor of a further seven volumes for Cambridge University Press, including Mozart Studies , Mozart Studies 2 and Mozart in Context .

• The Letters of Mozart and his Family (3rd edition) edited by Emily Anderson
• Mozart: A Documentary Biography by Otto Erich Deutsch
• Mozart's Requiem: Reception, Work, Completion by Simon P. Keefe
• Mozart in Vienna: The Final Decade ( Kindle ) by Simon P. Keefe
• The Mozart Family: Four Lifes in a Social Context by Ruth Halliwell

Briefly, what was missing from the opening summary of Mozart’s life? You have given a quick synopsis of Mozart's life. It is perfectly fine as it stands.

One could perhaps give more emphasis to his travels as a child.  It is often estimated that, before moving to Vienna in 1781, he spent around a third of his life on the road, including the Grand Tour of 1763-66, his time in France and Germany (1777-79), and the Italian trips (1769-73).

In many ways, this is one of the core things that one needs to appreciate about Mozart and how he became such a cosmopolitan musician. He was exactly the right person to have had the experiences that his father Leopold organised for him during his youth. He had so much access to other musicians and styles. He also had the remarkable ability to process and absorb everything. He becomes such a cosmopolitan musician, with an international mindset, well ahead of what would have been remotely normal.

So, his travels, before he moves to Vienna in 1781, are particularly important.

The other thing that I sometimes wrestle with is whether Mozart’s prodigiousness in his youth is as remarkable as the music from the last ten years of his life. It strikes me that there is no easy answer to that!  Marginally, I’d favour the late music, which I have always found most attractive to study, although I have also worked and published on his early music.

Nevertheless, it is extraordinary how those two aspects of Mozart life and work go together. On the one hand, here is an incredible prodigy who has all these remarkable experiences in his youth. On the other hand, there is the extraordinary quality of the music that he produced throughout the 1780s up to his death in 1791.

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Often a question that comes up among Catholics is, “How could Mozart be such a committed Freemason?” Indeed, some of his compositions—such as The Magic Flute , the Masonic Funeral Music , and the secular cantata Die Seele des Weltalls— celebrate Masonic ideas. However, Pope Clement XII had already condemned freemasonry in 1738 for its reductive conception of Christianity. How serious was Mozart about his Catholic faith? He was very serious about both his Catholic faith and his status as a mason.

Yes, there was a controversial, sometimes confrontational, relationship between masonry and Catholicism in late eighteenth-century Europe.  Indeed, there was quite a complicated coexistence between them in Vienna and the Habsburg lands during the late eighteenth century.

This is partially because Joseph II was an enlightened emperor. He certainly had his faults and had a lot of difficulties to contend with. The end of his life – he died young in 1790 – is also a sad one.  He had to roll back many of his enlightened advances from the early 1780s, largely on account of the French Revolution and the nobility’s fear and uncertainty about what could ultimately happen in Austria.

However, Joseph II was a very devout Catholic and tolerant. That toleration extended not only to Jews and Protestants, but also to Masons. So, while the relationship between Catholicism and masonry was difficult in all kinds of ways, it was an acceptable relationship in late eighteenth-century Austria.

You put up the figure of Joseph II, who was not entirely orthodox. For example, sometimes he is known as the Sacristan Emperor because he overstepped his bounds and dictated many liturgical norms. He closed down monasteries unless, like the Cistercians, they dedicated themselves to parish ministry. So, there was a very rationalist strain that goes against the supernatural and Catholic tradition. Did Mozart have that same tendency? That is difficult to tell. You are right. In terms of orthodox Catholicism, Joseph II is a controversial and complex figure. But, yes, Mozart's precise religious views are difficult to determine.

The relationship between his religious views and those of his father is interesting, perhaps capturing a generational conflict. It is not that Mozart was not devout. He clearly was.

My sense from reading the Mozart letters is that there is less of a fundamental, critical interest in religion than there is for his father, Leopold.

Leopold is a wonderful figure in Mozart’s biography and wrongly maligned in some circles. The amount of effort that he put into nurturing Mozart, educating him, and taking him around Europe, was extraordinary. He was an intensely serious man, especially about religion. And there was some conflict between the two of them where religion was concerned. Leopold would say, “I accept that it is God's will that something should happen, but you must do everything you can to influence that situation.” Wolfgang's response was always, “Well if it is God's will, there is not much I can do about it.”

I interpret that not as a lack of interest in religion on Mozart’s part, but as a kind of formulaic statement. For example, when he states, “the most important thing next to my father is God,” he is saying what he wants his father to hear. This is not to say that he is not a devout or good Catholic, needless to say.

However, for Mozart, music was his life and his world. His father accuses him of not being very practical in the way that he thinks about life and moves through it. And, to some extent, this is a valid claim. Mozart was totally and utterly immersed in the musical world. Although he was influenced by other things, music was basically at the core of everything he did and thought about.

He says as much himself and tells his father, “I am completely immersed in music. I think about it all the time.” And everything else is a kind of adjunct to that.

Leopold’s religious way of thinking about things differs from his son’s.

"He was exactly the right person to have had the experiences that his father Leopold organised for him during his youth."

Your question is a good one, it is difficult to say where Mozart sat relative to a religious thinker, albeit a controversial one, like Joseph II.  Here, it is worth bringing Prince-Archbishop Colloredo into the equation, Mozart’s employer in Salzburg up until 1781.

Famously, Mozart detested Colloredo. Leopold detested him too, among other reasons because he was passed over for promotion.

Colloredo was haughty and dictatorial. However, he had to deal with a very difficult financial position. The previous archbishop (Schrattenbach) had been profligate, and Colloredo had to rein things in. The Mozarts took that personally and Wolfgang was desperate to get away from Salzburg from at least the mid 1770s onwards.

In the 1780s, both Colloredo and Joseph II rein back the lavishness of Catholic services. There was a maximum amount of time that a Mass could take, around three-quarters of an hour. This inevitably meant that music had to take a back seat.

Mozart composed little sacred music during the last ten years of his life. The vast majority of it, over ninety percent, precedes his move to Vienna in 1781. That is because there was no encouragement to write a lot of sacred music during the 1780s. Mozart, nonetheless, remained very interested in it, which is conveyed among other things in fragments he worked on.

Each of the sacred works from the Viennese final decade has an unusual genesis.

There is a bit of a mystery attached to the C-minor Mass, K. 427. Mozart probably wrote it in response to personal circumstances, perhaps relating to his marriage and/or his wife Constanze’s recovery from an illness. It was intended for Salzburg: for the so-called bridal visit, when Mozart took Constanze to visit Leopold and Nannerl in 1783.

The Requiem is also a one-of-a-kind, unfinished work from the end of his life.

The Ave verum corpus is a short work for Corpus Christi, either for first performance in Vienna, or more likely Baden.

They are wonderful works. Each is very different from the others. However, they are not central to Mozart's main musical business in the last ten years of his life.

Perhaps we can approach the same question from a somewhat different angle . We listen to Mozart because his music is spiritually enriching, in the broad sense of the term. The Christian spirituality of the sacred music of Bach and Bruckner often seems to suffuse their instrumental compositions. At least, that is how I hear it. However, Mozart’s non-sacred music, written at the height of the Enlightenment, strikes me as having a more humanistic than a religious orientation. The ethos of his music is more like that of Shakespeare or Molière than Dante. This question may sound silly or pompous, but to what extent does Mozart’s music convey certain spirituality or ethos, and to what extent is it Christian? That is a fascinating question. I am not sure I am properly equipped to answer it, though. I am not religious myself; I am an atheist but have great respect for and interest in religion.

It is also a difficult and personal question. You were talking about the values that you sense in Mozart’s music. I would agree. There is a strongly humanistic quality to his instrumental music. I hear it that way as well. My first book on Mozart, an outgrowth of my PhD dissertation, was on Mozart’s piano concertos and how Enlightenment themes are conveyed through them: collaboration, cooperation, and confrontations and their resolutions, and the way these are mapped out in individual movements and across the span of whole works. That is fundamentally a humanistic phenomenon.

I am not necessarily the right person to talk about Bach in this regard, although what you are saying is exactly what religious friends of mine would also say about his music. Bach’s music is quite remarkable too. How one interprets it is a different question. However, I certainly hear a humanistic quality coming through in Mozart’s instrumental music.

Even in Mozart’s operas, especially the ones in which he collaborated with the Italian priest and librettist Lorenzo da Ponte, there are religious themes, sometimes implicit, at other times explicit. The impenitent Don Giovanni faces divine retribution. Così fan tutte is an exploration of human frailty. In Peter Schaffer’s Amadeus , Salieri attends the premiere of Le nozze di Figaro and is amazed at how an opera buffa concludes with a sublime chorus on forgiveness. Yes, I would not disagree with any of that. Whether one sees those as religious or humanistic themes is a different matter. I certainly would not regard them as exclusively religious, although they have religious resonance.

With opera, one needs to tread carefully in terms of where authorship and responsibility lie. An opera and its design derive from a collaborative process. Principally, it is a collaboration between the librettist and the composer. But there are many others involved, such as the singers, whose individual needs had to be factored into the equation. An opera’s status as an adaptation of an existing work, or as essentially a new work is also important. Figaro is an adaptation of the controversial play that Beaumarchais had written a few years earlier. In Don Giovanni's case, the Don Juan legend goes back at least 150 years, to Molière and others. Da Ponte expands the Don Juan legend considerably, relative to the main source he drew upon. He is without doubt a brilliant librettist. In contrast, he shortens Figaro because the play is much longer, convoluted, and has more characters than ultimately appeared in the opera. In other words, he makes it more concise. Così fan tutte is a combination of all kinds of earlier eighteenth-century sources and quasi mythological ones from the Renaissance.

One is perfectly entitled to see a religious dimension in Mozart’s operas, of course. I would argue that they could be represented in an Enlightened, humanistic way as well.

"When you travel through his repertory and listen to his music in different areas, you can hear bits of all these ways of thinking about music, different styles, different genres as you go through it. The quality is so high that it is an enriching experience in every way."

What attracted you, as a musicologist, to Mozart rather than any of the other great composers? That is a good question.

First of all, as an oboist in my younger days, I was attracted to playing Mozart’s well-known works for this instrument: the oboe quartet and the oboe concerto. That was probably my initial attraction to Mozart.

For me, Mozart’s sheer diversity of works and achievements is quite remarkable. There is probably more diversity to him than to any other composer in the late eighteenth century, as much as I admire many of them, especially Joseph Haydn.

One thing about Mozart is that he appears everywhere across the musical spectrum. He is a fantastic dramatist. He is also a fantastic pianist. He is an extraordinary composer of piano concerti, symphonies, and string quartets and other chamber music. In short, he has all bases covered. When you travel through his repertory and listen to his music in different areas, you can hear bits of all these ways of thinking about music, different styles, different genres as you go through it. The quality is so high that it is an enriching experience in every way. That he died at only thirty-five, makes his achievements all the more remarkable. No one is like him when it comes to covering so much musical territory. That is always one thing that I have always found attractive about Mozart.

There is also the Shakespearean way that he can turn on a dime. Suddenly, you can go from power to poignancy, from great emotion to reflection. He makes these pivots so adeptly, resourcefully and cleverly. That has always been extremely attractive to me as well.

Bach resorts extensively to counterpoint in his compositions, whereas Haydn, Beethoven, and Brahms often develop movements or whole compositions out of a motif. Mozart’s compositional technique is harder to pin down. What are the distinct characteristics of Mozart’s music? How does his style of composition differ from that of his contemporaries? Sometimes, in old secondary literature, scholars explain how the eighteenth century moves from contrapuntal geniuses, such as Bach and Handel, to the less complex style of composers such as Haydn and Mozart.

I am very wary about thinking about things that way, though. Both Haydn and Mozart were extremely skilled writers of fugues, the highest form of counterpoint.

You asked how Mozart is different. It goes back to something I was saying earlier: his cosmopolitan qualities.

In many ways, it is difficult to talk about him as a Viennese composer, a Salzburg composer, or even an Austrian composer (insofar as Austria existed at that time). Rather, he absorbs so many styles and ways of thinking about music. This comes out in all sorts of ways in his music.

Some people parse this state of affairs qualitatively. That is fine. Not many will dispute that, qualitatively, Mozart surpasses every other late eighteenth-century composer, with the possible exception of Haydn.

However, we need not think about things in this way. We can also think about how style transmits itself over the course of a work. There are so many aspects to his music. Mozart can be both suave and then slightly crude or crass, both poignant and powerful - and all within the space of minutes!

Mozart demonstrates complete control of his material – what it expresses, and what it represents. This applies equally to his instrumental and vocal music, including his operas.

Four of the five books that you have recommended are biographical. Is it essential to know about Mozart’s life and context to appreciate his music, or merely helpful? Again, this is a good question. I would say that it is essential to have some biographical understanding, broadly construed.

The books I have chosen are predominantly biographical, although not all are biographies in a conventional sense.

As I was saying earlier, Mozart is immersed in music the whole time. The classic way of thinking about him is that, as he said himself, all the composing goes on in his head, and is then written down. This is a simplification, all told, emanating both from Mozart and from many of his biographers.

However, he lived constantly with music and was totally absorbed in it. So, you need to understand what he is going through, and how he progresses through life in order to get a sense of what his music may or may not mean relative to his circumstances, including how it is significant (or not).

What is biography? This is the heart of the question here. Biography is much more than simply telling a tale of someone’s life and works. It needs to be considerably more nuanced and sophisticated than that. Hopefully, this comes through in the books I have chosen.

"When you dip into the letters, you can still hear Mozart thinking through all sorts of issues. His personality comes alive for us."

Your first selected book is Emily Anderson’s edition of letters of Mozart and his family. What makes them a good read and how they help us appreciate Mozart’s music? This is Mozart from the horse’s mouth, so to speak. There is so much here that is relevant to his life and his music. We have his views on aesthetics and instrumental music. We have the practicalities of life, such as issues relating to travel. We have references to other musicians. We learn about his emotions and relationships. He speaks to us directly.

My latest book project was a study of the reception of Haydn and Mozart in the nineteenth century ( Haydn and Mozart in the Long Nineteenth Century: Parallel and Intersecting Patterns of Reception published by Cambridge University Press in 2023). I had to look at a lot of the early biographies in the course of my work. One is particularly problematic, and was written by Constanze Mozart's second husband, Georg Nikolaus von Nissen.

Nissen’s biography is kind of patchwork quilt. It pulls together numerous previously published sources. Nowadays, we would say that it was plagiarised, but plagiarism did not exist in the same way in the early nineteenth century as it does today.

Its major contribution was to publish, for the first time, enormous tranches of letters, mainly from Constanze and Nannerl. In the reviews of the late 1820s, it is clear that readers cannot believe that this is Mozart suddenly speaking. To them, this kind of immediacy, thirty years after Mozart's death, was extraordinary. We cannot expect now that experience of the letters’ novelty and the great release of all these ideas. The words, phraseology, and so on have been discussed and dissected with a fine-tooth comb. However, when you dip into the letters, you can still hear Mozart thinking through all sorts of issues. His personality comes alive for us, even if Anderson’s translation is a bit too Victorian and makes him sound as if he were from the late nineteenth century rather than the late eighteenth. Mozart wrote in a Salzburgian dialect, and not particularly elegantly. However, Anderson translates the letters into elegant prose. This is problematic, but does not bother me unduly, because Mozart’s ideas and personality still come alive throughout.

It is fantastic to read them from cover to cover or just to dip into them.

The correspondence between Mozart and his father represents the letters at their best and most engaging.

For example, Idomeneo premiered in Munich at the end of January 1781, when Mozart was still based in Salzburg. Mozart went to Munich a few months before in order to discuss the music with the singers and to carry out and complete the work. Meanwhile, the librettist, Giambattista Varesco, was based in Salzburg. Leopold became the go-between for Mozart and Varesco. You can see the drama and the music taking shape for both of them in their letters. Leopold has his say about how Idomeneo should function dramatically and musically. There is this wonderful correspondence for two or three months—between the end of 1780 and the beginning of 1781—that is all about musical ideas, how instruments should function, and other practical issues.

Idomeneo , incidentally, was a great success in Munich. In these letters, we witness the genesis of the opera in front of our eyes. They are a wonderful read.

The relationship between Leopold and Mozart certainly had its difficult and problematic moments. At their very best, though, Mozart and Leopold were great thinkers about music.

"If you write a boring biography on Mozart, you have failed because there are so many interesting things to say about him."

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The 15 greatest pieces of classical music by Mozart

31 January 2024, 12:08

By Siena Linton

Mozart was a prolific composer, writing everything from operas, symphonies and concertos, to choral works, string quartets and smaller ensembles. Here are his 15 greatest of all time.

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From his child prodigy beginnings, Mozart was destined for greatness.

The precocious young boy started playing piano at three, was composing by age four, and by the time he was 12 years old, he had already written 10 symphonies and performed for royalty.

Despite being so industrious, the young composer still managed to make time for fun and games. He was reportedly distracted by cats on more than one occasion, and was also known for appreciating a good fart joke. He even slipped a few into his music over the years.

Aside from his toilet humour, Mozart also wrote much of the world’s most emotive and powerful music. From spirited symphonies to epic requiems, magical operas and virtuosic concertos, here are the 15 greatest pieces he ever wrote.

Read more: Listen to the first piece that Mozart ever wrote… when he was FIVE years old

Mozart’s Requiem is possibly the greatest ever example of the power of music.

After receiving a commission from an anonymous source, Mozart embarked on one of the most soul-searching musical journeys of his life.

After beginning to write it, he began to experience ‘very strange thoughts’, and feared he was writing a piece of music for his own death.

Little did he know, his fears would come true. This epic requiem is charged with fearful angst, resolute acceptance, and the full force of heavenly wrath.

Left unfinished by the time of Mozart’s death in 1791, this is the true expression of emotions that words could never quite convey.

Just listen to the haunting strains of the famous ‘Lacrimosa’, around 22:50.

Mozart : Requiem (Orchestre national de France / James Gaffigan)

Horn Concerto No.4

A cheery horn melody, coupled with playful strings, is enough to put anyone in a good mood.

Mozart wrote it in 1786 for his friend Joseph Leutgeb, a virtuoso horn player . Curiously, he used multicoloured ink to complete the manuscript, switching between red, green, blue and black.

Was it a quirk of Mozart’s humour to frustrate his soloist, or was it a secret code?

We don’t know for sure, but what we do know is that it’s a stonking good tune. Here it is on horn, trumpet and euphonium, because you can never have too much brass:

Rondo from Mozart's Horn Concerto Nr 4 - Berlin Philharmonic Brass

The Marriage of Figaro

Mischievous scurrying strings, interrupted by grandiose wind and brass fanfares, Mozart manages to tell more or less the whole story of his opera in its overture’s first eight bars!

Lively, cheeky and funny, Mozart’s sense of humour is on fine form in this opera.

It’s a classic love story, complete with a handful of cases of mistaken identity, fraudulent trickery, and a handful of practical jokes thrown in for good measure.

Musical highlights include the stunning aria ‘Non più andrai’ and the gorgeously romantic ‘Sull’aria’ duet between Susanna and the Countess as they hatch a plan to catch the cheating Count red-handed...

Read more: The 10 most romantic opera duets of all time

The Marriage of Figaro - Overture (Mozart; Orchestra of The Royal Opera House, Antonio Pappano)

Piano Concerto No.21, ‘Elvira Madigan’

Mozart’s Piano Concerto No.21 has received much of its popularity from its use in themes, and it’s also one of his greatest works.

Hear Mozart at his most joyful and exuberant, with a playful sparkle to his solo writing.

First written in 1785, the piece has since featured in 2006’s Superman Returns , the 10th James Bond film – The Spy Who Loved Me , and notably in the 1967 romantic drama Elvira Madigan , earning this concerto its nickname.

MOZART - Piano Concerto No. 21 in C major, K. 467

Così fan tutte

One of Mozart’s final and most beloved operas, Così fan tutte is a true feast for the ears.

The libretto, by Mozart’s frequent collaborator Lorenzo da Ponte, is full of swapped fiancés, disguises, trickery and tomfoolery – and all the musical richness you’d expect.

It’s also home to some of the finest vocal writing, like this sublime trio:

Così fan tutte – Act I trio ‘Soave sia il vento’ (Mozart; Winters, Brower, Kränzle, The Royal Opera)

Clarinet Quintet

Mozart wrote two enduringly popular pieces for the clarinet, both for the same musician, Anton Stadler.

The first was this clarinet quintet, written for a string quartet and solo clarinettist. At the time this would have been for the ‘basset clarinet’, an early version of the instrument we know today.

In fact, Mozart’s quintet is one of the earliest, and certainly one of the best-loved pieces for the instrument.

Its playful, lyrical lines and jaunty rapport with fellow instruments make it a genuinely joyful listen.

Mozart - Klarinettenquintett A-Dur KV 581 | WDR Sinfonieorchester

The Magic Flute

Mozart’s epic musical storytelling and flair for the dramatic have long secured his opera, The Magic Flute , its place in the history books.

With Masonic elements, plus a handsome prince, a serpent, and an enchanted flute with the power to change men’s hearts, the opera oozes suspense, drama, and the supernatural.

Plus, it has surely been helped along by a host of iconic performances of its devilishly challenging ‘Queen of the Night’ aria , sung magnificently by opera royalty Diana Damrau in this clip:

The Magic Flute – Queen of the Night aria (Mozart; Diana Damrau, The Royal Opera)

Symphony No.41, ‘Jupiter’

A fitting conclusion to all 41 symphonies, this is Mozart at his absolute musical maturity.

With over 30 years’ composing experience under his belt, Mozart has mastered the art of balancing his knack for a good melody with epic orchestral moments.

Throwing everything and the musical kitchen sink at it, Mozart’s final symphony is majestic and impressive, with a playful lightness of touch and humour.

While its nickname of ‘Jupiter’ needs no justification, it was never actually coined by the composer himself but by a musical impresario Johann Peter Salomon, presumably in praise of its grandeur.

Mozart: Sinfonie Nr. 41 C-Dur KV 551 (»Jupiter«) ∙ hr-Sinfonieorchester ∙ Andrés Orozco-Estrada

Clarinet Concerto

This brilliant piece is one of the last works Mozart wrote before he died in 1791.

Perhaps he was struck by genius in his final weeks, or perhaps he was intentionally saving his best til last.

Either way, one of his final acts was to bless the world with his one and only clarinet concerto.

Cherry yet graceful, the clarinet’s warm tone brings the beautifully simple melodies to life.

It’s no wonder this is a frequent favourite in the Classic FM Hall of Fame !

Stage@Seven: Mozart: Clarinet Concerto – Jochen Tschabrun / Alondra de la Parra

Exsultate, jubilate

From the pen of a 17-year-old Mozart flowed this stunning motet, in 1773.

Written for a solo soprano and orchestra, the composer was staying in Milan for a production of his opera Lucio Silla when inspiration struck.

Based on religious texts, his fourth and final movement ‘Alleluia’ remains a firm favourite for sopranos the world over.

Soprano Chelsea Guo sings breathtaking Mozart | Classic FM’s Rising Stars

Mass No.15, ‘Coronation’

One of Mozart’s greatest musical triumphs, the ‘Coronation’ Mass is one of his lighter works in this vein – one where he wasn’t fearful of his own death.

Written when the composer was just 23, this mass is regal and grand, showcasing classical choral music at its best.

Mozart completed the work in Salzburg after a period of unemployment, which quickly turned into good fortune when his 15th Mass likely received its premiere at Salzburg Cathedral on Easter Sunday, 1779.

Its first documented performance, however, came 13 years later when Francis II was crowned Holy Roman Emperor in 1792.

Mozart never heard this performance, as he had died the year before at 35.

MOZART "Coronation Mass in C major, K.317 ~ LAURENCE EQUILBEY

Ave verum corpus

Mozart’s hymn, ‘ Ave verum corpus ’, is a musical balm for the soul.

His famous setting of the Latin text was written in his final year during a visit to Austria, to see his wife Constanze.

Containing just 46 bars of music, it’s only a little over three minutes long.

But find a quiet moment to close your eyes and really listen, and you’ll find that those are some of the most soul-healing minutes of your life.

Read more: What are the lyrics to ‘Ave Verum Corpus’?

Mozart's 'Ave Verum Corpus' at St James' Roman Catholic Church

Don Giovanni

Intensely dramatic from the very first note, Mozart’s opera Don Giovanni is about a conniving adulterer and his womanising ways, and his inevitable infernal comeuppance.

It’s not all doom and gloom, as Mozart balances the darkness of Don Giovanni’s damnation with two blossoming romances, and warm friendships between the rest of the cast.

Don Giovanni is loved for its gorgeous Act 1 duet, ‘Là ci darem la mano’, and Leporello’s humorous Catalogue Aria.

Mozart - Don Giovanni, Overture, K. 527 | Mozart from Prague

Symphony No.40

Nicknamed ‘The Great G minor’, Mozart’s stormy Symphony No.40 is powerful from the off, and packed with some of classical music’s most memorable melodies.

Expertly contrasting lightness and darkness, the symphony was written during a darker period in Mozart’s life.

With decreased demand for his concerts, financial stresses, and reeling from the death of his infant daughter Theresia, Mozart revealed in letters to friends that he was struggling to see the lighter side to life.

The result is one of only two symphonies Mozart ever wrote in a minor key, and one of the greatest ever written.

Mozart: Sinfonie Nr. 40 g-Moll KV 550 ∙ hr-Sinfonieorchester ∙ Andrés Orozco-Estrada

Oboe Concerto

Mozart needed only one attempt to perfect the art of writing oboe concertos.

It’s one of the pinnacles of the modern oboe repertoire, almost 250 years after it was written. Upbeat, cheerful, and delightfully peaceful, it’s a piece that easily stands the test of time.

Its composer clearly thought highly of it, too. He re-used part of the oboe concerto’s final movement in one of the aria’s in his 1781 opera, Die Entführung aus dem Serail , and even re-wrote the entire concerto for the flute in a somewhat reluctant (some would say lazy) response to a commission!

W.A. Mozart – Oboe Concerto in C Major, KV 314 (WarsawPhil Orchestra, Kaspszyk, Ogrintchouk)

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Paul bettany to play salieri in ‘amadeus’ series opposite will sharpe as mozart.

"Deftly reimagined from Peter Shaffer’s award-winning stage play," the Sky limited event series adaptation will "expand and interrogate the mythic rivalry of the two composers."

By Georg Szalai

Georg Szalai

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Paul Bettany ( A Very British Scandal , WandaVision ) will star in Sky original series Amadeus , portraying composer Antonio Salieri opposite Will Sharpe ( Giri/Haji , The White Lotu s) in the titular role of Wolfgang Amadeus Mozart.

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On stage, Bettany most recently starred in the Broadway production of Anthony McCarten’s drama The Collaboration as Andy Warhol. 

“I can’t wait to work with Julian Farino, Joe Barton, Sky and Will Sharpe who, for my money, is hands down the most exciting actor of his generation,” said Bettany.

“Set within the musical hub of bustling Vienna at the end of the 18th century, 25-year-old Amadeus (Sharpe) arrives in the city no longer a child and determined to carve his own path,” reads a plot description. “Recently unemployed and without the management of his father, Amadeus finds an unlikely ally in a young singer who will become his wife, fiery Constanze Weber Mozart. Her connections help bring him into the orbit of the Italian opera powerhouse and court composer Antonio Salieri (Bettany), setting the three of them on a collision course that will ultimately define their lives and their legacies for years to come.”

Amadeus is produced by Two Cities Television , part of STV Studios, in association with Sky Studios. Megan Spanjian is the executive producer for Sky Studios; Michael Jackson ( Patrick Melrose ) and Stephen Wright ( Blue Lights ) serve as executive producers for Two Cities. Farino ( Giri/Haji ) and Alice Seabright ( Chloe, Sex Education ) will direct, with Barton, Sharpe and Farino also serving as executive producers. 

Bettany is repped by UTA and Affirmative Entertainment.

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