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April 4, 2024

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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

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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

Mozart: A Life at Amazon

Related pages

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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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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Written by Zak Parker

Journalist, writer, musician, professional procrastinator. I'll add more here later.

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Wolfgang Amadeus Mozart (1756–1791)

Johannes Chrystostomus Wolfgangus Theophilus Mozart (1756–1791) was arguably the most gifted musician in the history of classical music. His inspiration is often described as 'divine', but he worked assiduously, not only to become the great composer he was, but also a conductor, virtuoso pianist, organist and violinist. Mozart's music embraces opera, symphony, concerto, chamber, choral, instrumental and vocal music, revealing an astonishing number of imperishable masterpieces.

Mozart was born in Salzburg, in 1756. Mozart's father, Leopold, was an ambitious composer and violinist. Though he was and still is considered a genius, he was also tactless, arrogant and had a scatological sense of humour. Mozart composed his first opera, Apollo et Hyacinthus when he was only 11. A year later the Emperor Joseph II commissioned him to write La finta semplice. In August 1782 he married Constanze Weber. The Mozarts' marriage seemed to be a happy one. Constanze was easy-going, free-spending and usually pregnant. Only two of their six children survived. Post-marriage, some of Mozart's best started to appear -the Haffner and Linz symphonies and five string quartets, for example. Between 1784 and 1786, he composed nine piano concertos and three of these concurrently with The Marriage of Figaro. The year 1787 saw the premiere of Mozart's second opera, Don Giovanni. Mozart had a great run of successes in his final years - Eine Kleine Nachtmusik and the Clarinet Quintet in A, three of his 41 symphonies; Cosí fan Tutte, three piano trios, the Coronation piano concerto, two piano sonatas and three string quartets. His health began to fail and his work rate slowed in 1790. He got better, though, and in 1791 alone composed the most famous The Magic Flute, the Requiem (unfinished), and the Clarinet Concerto. Mozart did not live long enough to complete his Requiem. He died in Vienna, in 1791, before his 36th birthday.

The Fast and Friendly Guide to Mozart

Top Mozart pieces

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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
• #219 in Classical Musician Biographies
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• #2,946 in Historical European Biographies (Books)

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Wolfgang Amadeus Mozart

Today’s protagonist was called ‘the highest, [and] the culminating point that beauty has attained in the sphere of music’. Or even “The musical Christ”

These opinions do not come from just any classical music enthusiast, but from some guy called Tchaikovsky, who knew one thing or two about composition. He was referring to Wolfgang Amadeus Mozart, possibly the greatest musical genius to ever grace our ears and souls.

Here at Biographics, we admit that we don’t have the necessary knowledge to analyze in depth Mozart’s compositions. We will do our best however to cover his short, yet incredibly eventful life … and we will also debunk a couple of myths along the way.

Young Prodigies

Wolfgang Amadeus Mozart was born in Salzburg on January 27, 1756. He was the seventh child of Anna Maria and Leopold, composer for the local prince-archbishop, Count Schrattenbach.

The Prince-Archbishopric of Salzburg was one of many small sovereign states within the Holy Roman Empire, and an extremely wealthy one. The environment may have been provincial compared to other large European capitals, but arts and music enjoyed the patronage of the court.

Leopold soon realized that ‘Wolferl’ was endowed with an extraordinary musical talent. At the age of three, he could play his first pieces on the piano. At four, the violin.

Wolferl’s sister, Nannerl, displayed similar abilities. Soon, Leopold was dedicating most of his energies to developing their natural skills.

The boy appeared to be the most gifted of the two, absorbing musical theory with much appetite and little effort. Under Leopold’s loving but inflexible guidance, Wolferl composed his first piano concerto aged four, followed by a minuet and a trio for keyboard at six.

In between those two stages, the young Mozart discovered the joys of singing and performing live.

In 1761, the five-year old had a minor role in the musical drama ‘Sigismund King of Hungary’. This first experience of the theatrical stage may have influenced his love of opera in later life. Around this time, Leopold realized that Salzburg was too small for Wolferl and Nannerl. The dad became an impresario and planned a trip to the Imperial Court in Vienna, in October of 1762.

Emperor Francis I and Empress Maria Teresa welcomed the tiny performers at their lavish Schoenbrunn Palace. Maria Teresa was astonished at Wolfgang’s skills, spoiling him with compliments and presents. To express his gratitude, the boy jumped on the Empress’ lap and kissed her.

But the Emperor wanted to challenge the boy even further. He asked him to play with the piano keys covered by a screen, and then to play using only one finger.

Wolfgang accepted – and won the challenge! Now a celebrity, the boy became a sort of mascot for the ladies at court.

One day he was strolling with two Archduchesses, when he slipped to the floor. One of the ladies lifted him and spoke kindly to soothe his ‘booboo’. Wolferl told her “You are a dear good lady, and you shall be my wife”

That good lady was Marie Antoinette, the future Queen of France.

Taking Europe by Storm

Leopold had hit upon a winning idea.

Courts around Europe would pay good money to see his children perform! From then on, the Mozarts continued their triumphal, albeit exhausting tour of Europe. Leopold’s tactics may appear akin to exploitation of child labor. But it appears that his children, and especially Wolfgang, greatly enjoyed their travels and their performances.

For the future composer, they were also an occasion to hone his skills and explore new musical genres. So, in 1763 Leopold, Wolferl, and Nannerl toured Germany, then France. In April of 1764 they reached London, where George III, a competent musician, heaped praise on the boy.

The prodigy came under the attention of lawyer Daines Barrington, who challenged him to improvising two Arias in the popular style of Italian Opera. After a short moment of reflection, Wolfgang hammered at the harpsichord, delivering both a ‘Love Song’, and a ‘Song of Rage’.

The anecdote proves how the young talent could effectively internalize the standard conventions of popular genres of the time. And according to musicologist John Rice, this may be the first time Amadeus performed in the operatic style.

The Tour resumed with stops in Flanders, France, Switzerland, and Salzburg before the Mozarts returned to Vienna in 1768.

The new emperor, Joseph II commissioned the 12-year-old Mozart to compose an opera, ‘La Finta Semplice’. As with many compositions of this kind, the libretto, or script, was written in Italian. The work attracted the praise of the undisputed Italian master of librettos, Pietro Metastasio. Not bad for a pre-teen.

But the hype around the opera attracted the envy of other composers and impresarios in the Imperial entourage. Due to their scheming, the opera did not reach the stage.

But Leopold and Wolfgang had set their minds on conquering the operatic world. To do so, they had to take by storm the cradle of lyrical theater, Italy.

A Magical Ring?

In December of 1769, they crossed the Alps for a tour of Northern Italy, where Wolfgang continued to impress audiences with his operatic improvisations. According to a newspaper published in Verona: “Four verses were submitted to him, on which he composed on the spot an aria in the best taste, in the very act of singing it”

Eventually Wolfgang received another commission for an opera. At the age of 14, he saw his ‘Mithridates, King of Ponto’ opening in Milan, to rave reviews.

The success was quickly followed by another Milanese debut, ‘Ascanio in Alba’.

The Italian tour continued from strength to strength.

While in Bologna, he attended the lessons of Giambattista Martini, a master in counterpoint, or the art of combining different melodic lines in a musical composition. Martini was impressed, and he encouraged Mozart to take the entrance exam for the Philharmonic Society.

He was given a musical theme and was instructed to build a fugue for four instruments around it. A fugue is a composition where a theme is introduced at the beginning, and then repeated at different pitches.

Half an hour later, Wolfgang had completed the composition, performed it, and bagged his diploma. Next stage of the tour: Rome and the Vatican, where Wolfgang performed another stunt. He attended a performance of a choral work, a Miserere by Allegri. No printed copies of the composition existed, and the Pope himself had forbidden for it to be transcribed.

But he memorized the entire score, and put it to paper in secret, after the performance. The next day he played and sang it flawlessly to an audience of gasping musicians. He was now the talk of Rome, although some envious souls gossiped that his talents lay in a magical ring, a sort of talisman he wore all the time.

Easy peasy, lemon squeezy, our genius removed the ring and proved that he could still rock those ivory keys.

No magic involved, what a surprise (!)

The triumph was now complete: young Mozart was granted an audience with Pope Clement XIV, who appointed him Knight of the Order of the Golden Spur.

Back in Salzburg

In the spring of 1772, Mozart returned to Salzburg, looking for permanent employment. He found it at the court of the new prince-archbishop, Count Colloredo, who hired him as concertmaster with a rather low salary of 150 guilders.

The composer was not over the moon, yet these were productive years: the musician penned further operas and his first piano concerto. He also perfected his technique, as he studied the works of Joseph Haydn and the Imperial court composer Antonio Salieri.

Let me take a break here.

Antonio Salieri is remembered by most as the ‘Saint Patron of Mediocrity’, a fashionable composer whose work did not stand the test of time. Consumed by jealousy, he was embroiled in a bitter rivalry against Mozart. A feud which resulted in Salieri accelerating Mozart’s death.

At least, that’s the plot of the film ‘Amadeus’ by Milos Forman. Which is based on the play of the same name, by Peter Shaffer. Which is based on the work ‘Mozart and Salieri’ by Alexander Pushkin.

Which is based on hogwash and codswallop.

Bull manure.

I will get to this later, but rest assured that the two composers largely respected each other, and that our friend Antonio never killed anyone. In 1777, the only one who had a beef with Mozart was his employer, Count Colloredo. Unappreciative of his compositions, and operating on a tight budget, the Prince of Salzburg laid off his concertmaster.

Now aged 21, Mozart set off on a new voyage, in search of patronage. This time his father had to stay and work in Salzburg, so mum Anna Maria was to accompany the musical marvel.

How would Wolfgang fare without Leopold’s invasive yet steadying influence?

‘Dear dad, I’m doing great (not)’

In 1777 and 1778 Wolfgang and mum sought work in Augsburg, Munich and Mannheim, but work remained elusive.

There are many reasons for this.

First, Wolfgang had grown into a playful, yet exceedingly confident young man. A confidence which bordered in arrogance. He lacked the diplomacy to function at an aristocratic court, and spoke his mind to wealthy patrons. This resulted in him being snubbed in favor of more accommodating rivals.

The second surprising reason is that Mozart was going through a massive composer’s block. In 1777 and 78, he would write to his father that he was working on numerous projects, and that he and Anna Maria were living ‘like royalty’ to the point that he had ‘grown slightly fat’.

But not as fat as the fib he was telling dad!

The musician was going through exceptional difficulties in writing new pieces! For example: In late 1777, Mozart had been commissioned three flute concertos by a Dutch patron.

After trudging through the first composition, he got stuck. Urged by his father to honor the contract, Mozart simply retrieved a previous work – an oboe concerto – and changed the solo part to that of a flute! But he never managed to deliver the third concerto, and he had to forfeit the substantial payment of 200 guilders.

Mozart’s ‘flutegate’ debunks the myth that the composer could crank out new music effortlessly and would conceive entire new works in his head, before transcribing them without revisions or afterthoughts.

The myth originates from a letter attributed to Mozart, published by magazine editor Johann Rochlitz decades after his death. In this letter, he claims “the whole [piece], though it be long, stands almost finished and complete in my mind, so that I can survey it, like a fine picture or a beautiful statue, at a glance”

So, Mozart’s music came from a higher plane and reached his mind fully formed, through a stroke of divine inspiration.

No, it didn’t.

The letter was a forgery. The secret to Mozart’s genius was constant practice, study, repetition, practice, revision, more study, and more practice, from a very early age. Even if he conceived his main themes in his head, Mozart still had to sit at the keyboard to refine them, work out variations, accompaniment, and orchestration.

A long, back-breaking, mind shattering process which day after day was bound to cause mental fatigue.

By his own admission, Mozart struggled the most with string quartets. When writing an orchestral piece for example, he would first create the main theme for the main treble instrument. Next, he nailed the bass lines, and finally the inner parts and orchestrations.

But when tackling a quartet, he wrote the four parts at the same time, bar by bar, placing a great deal of effort in building a complex counterpoint. This is what made him sweat the most!

Wolfgang Amadeus Mozart was an exceptionally talented and hard-working human, but a human after all.

And as any other 21-year-old, he was prone to another source of distraction.

After Germany, Anna Maria and Wolfgang were due to visit Versailles. But the trip was thwarted when Mozart met the first great love of his life: the young and beautiful singer Aloysia Weber. He followed her in a tour to The Hague, and even supported her family financially, to Leopold’s increasing concern.

Dad sent Anna Maria to retrieve him and the two finally set off for Paris.

But their French experience was a terrible one. They were expecting to be welcomed at court, but all Mozart could find were some teaching jobs. He could only afford a sleazy hotel.

As they spiraled into poverty, Anna Maria fell gravely ill and eventually died on the 3rd of July 1778.

Things Pick Up Again

As if the death of his mother was not enough, Mozart was rebuffed by Aloyisia, whose career was on an upward trajectory. This period was one of the composer’s darkest hours, but it also contributed to developing his maturity, on a personal and professional level.

According to author David P. Schroeder, because of these ordeals, Mozart would impart a clear, mature footprint on the plot, characters, and narrative of his later operas – as opposed to just the music, as expected from a composer.

Thankfully, Leopold came to the rescue: he secured Wolfgang another post at the Salzburg court in 1779, which in turn, earned him new work. In 1780, Mozart composed his best opera so far, ‘Idomeneo King of Crete’, which attracted the attention of the Court in Vienna.

Wolfgang returned to the Austrian capital in 1781, and to save on rent money, he lodged with the Webers. It was at their home that he met Aloysia’s sister, Costanze.

The composer was smitten. He had to marry the girl!

On one hand, he did not dare inform his father, as Leopold considered the Webers below his standing.

On the other hand, Costanze’s mother pressured them to formalize their affair.

But before tying the knot, Mozart had business to do. In July of 1782, he completed one of his most famous operas “The Abduction from the Seraglio.”

This exotic work, set in the Ottoman Empire, is the first opera in which Mozart left his mark on the plot and characters. He established certain recurring elements, such as the complexity of the female characters, who were better developed than their male counterparts; and the dramatic action never resolving into a fully positive outcome.

Even off-stage, the outcome was not as positive as expected: despite the success and rave reviews, Mozart received a reduced fee of 100 guilders, not enough to grant financial security.

Nonetheless, Wolfgang and Costanze got married on the 4th of August in St Stephen’s Cathedral.

In June of 1783 the Mozarts welcomed their first child, Raimund Leopold. Sadly, he died in August. The couple went on to have five more children, but only two survived infancy. The grief of losing so many children weighed on Costanze, already beset by chronic ulcerated varicose veins.

Wolfgang needed cash to pay the medical bills, as well as to sustain a lifestyle which was well beyond his means. Thus, he plunged into one of his most productive periods, earning at least 460 guilders a year.

But Mozart was still not satisfied. He was craving for new material to compose his next opera, but the narrative and musical conventions of the time did not provide for exciting inspiration. Librettists of the time also complained about the fact that the musician wanted to meddle in their ‘realm’, criticizing and rewriting their scripts.

The right occasion arrived when Mozart met Lorenzo Da Ponte, a librettist who had already worked for Salieri.

Da Ponte had previously worked with Salieri, so the Italian court composer may have held some grudge against the younger rival for poaching his star librettist.

But that grudge never developed into the quasi-homicidal hatred portrayed in theater and film.

Actually, Salieri had a very good chance to get back at Mozart and Salieri.

In 1786, Joseph II challenged Mozart and Salieri to knock their operatic socks off at a special event: a double feature show, in which two one-act operas would be performed one after the other. The audience would crown their favorite performance!

Mozart’s piece was ‘The Impresario’, a musical comedy … about the production of a musical comedy! How ‘meta’. Salieri composed a stage, a more ambitious piece, an opera set in the world of opera! Again, how meta!

At the end of the evening, Salieri was crowned the winner by the emperor and the audience.

So why would he hold a grudge beyond that? In any case, Salieri was always the most successful and better remunerated of the two rivals. The two respected each other’s music, Salieri frequently directed Mozart’s compositions and was even happy to hand over projects to Wolfgang when he was too busy.

So, Mozart and Da Ponte really needn’t worry about Salieri scheming in the shadows.

The first collaboration of this “dream team” is, in my humble opinion, Mozart’s finest work: ‘Le Nozze di figaro’, or ‘The Marriage of Figaro’. The source material was a comedy by French playwright Beaumarchais.

It had a revolutionary subtext, as it pits the commoner Figaro against the lustful Count of Almaviva. Mozart and Da Ponte toned down the anti-aristocratic themes to avoid censorship, but their work was still revolutionary – at least in musical terms!

And yet, the Viennese premiere on May 1, 1786 left the audience puzzled. The work was too complex, too ahead of its time.

But Mozart was invited to perform the opera in Prague. Here, the success was phenomenal! The piece remained on stage for three weeks without break, and Mozart was rewarded with 1,000 guilders!

The Prague scene commissioned another opera to Mozart and Da Ponte, the ‘Don Giovanni’.

Before it was completed, Leopold Mozart died, on May 28, 1787.

Life is Harder than a Quartet

Throughout his life, Leopold had been a constant presence in Wolfgang’s life. He had been his teacher, his manager, and even his friend and confidante.

It was evident that Leopold’s influence was always at risk of becoming overbearing. The father worried genuinely that his son could squander his talents, while courting a singer, playing billiards, or drinking heavily. In later years, Leopold was more worried that Wolfgang simply squandered his own fortune, as he lived well beyond his means!

While Wolfgang appreciated Leopold’s advice,  he had actively kept him at a distance, to protect his independence.

The composer poured his grief and unresolved issues onto his new composition.

The unrepentant seducer Don Juan can be considered as a proxy for Wolfgang. The libertine is eventually dragged to hell by an authoritative, paternal figure: the murdered father of one of his conquests, who returns as a ghost.

Again, the reception was terrific, and so was the pay. But Wolfgang and Costanze were now living beyond their means, and debts were accumulating. Not even the long-coveted appointment as imperial court composer, in December 1787, could help in balancing the books.

In 1788 and 1789, the struggling Mozart accepted the help of a fellow Freemason, Prince Lichnowsky.

The Prince organized a tour in Dresden and Berlin, but the German speaking world was less appreciative than Czech audiences. Eventually, the Prussian court offered a lucrative fee for a series of string quartets. But as we know, these did not come easy to Mozart, and he never completed the work.

The composer returned to Vienna, and to Costanze, in July of 1789. The couple welcomed their fifth child, but the baby girl survived only a few hours.

Costanze fell ill again, and the cost of treatments further weighed down on the family finances.

A Requiem for Himself

During those difficult days, Mozart finally had a break: the emperor himself, Joseph II, had commissioned a new opera from him and Da Ponte, ‘Cosí Fan Tutte’ or ‘Thus Do They All’. It premiered on the 26th of January 1790, but the emperor was not in attendance, already ill with tuberculosis. He died shortly afterwards, and his brother Leopold II ascended to the throne.

The new monarch was more conservative and less musically inclined.

In 1791, Mozart could not hope for any patronage from the court. With Costanze being treated in Baden, he felt depressed and lonely.

But he still had some friends.

One of them was singer, author, and Freemason brother Emanuel Schikaneder, and he had an idea. How about the two of them dabbled into a popular genre of the time, the ‘magical opera’ in German language? Wolfgang accepted the gauntlet, and the result was ‘The Magic Flute’. The opera outwardly presents itself as something of a fairy tale, but it is imbued with freemasonic symbolism and humanistic ideals.

Musically speaking, it is of course several notches above the magical operas of the time. The compositions are wildly imaginative, complex yet catchy and feature the astonishing Aria of the Queen of the Night .

The Magic Flute premiered on September 30, 1791. Iit became a huge success. One, alas, that Mozart could not fully enjoy. That summer, Costanze had returned home in better health, but it was now Wolfgang who was deteriorating.

He was beset with rheumatism, swelling, fevers and a persistent depression.

Moreover, he was overworked.

Whilst composing the Magic Flute, he had to accept the commission for another opera: ‘La Clemenza di Tito’. This was a project he could not refuse: the libretto was by his idol Metastasio and the patron was … Leopold II!

Not so much of a music hater after all, the emperor required the opera for his coronation in Prague.

Moreover: Mozart owed a large sum to Lichnowsky, and he needed the job!

Mozart accepted a further request by an anonymous messenger: the masked, cloaked stranger required Mozart to compose a Requiem – the music to a funeral mass. Wolfgang interpreted this as a sign of approaching doom. He was seriously convinced he was being poisoned! As he wrote in a letter “I know I have to die… I write (the requiem) for myself.”

By the way, the mysterious patron was not Antonio Salieri, as portrayed in the Amadeus play and film. He was an amateur composer, Count Franz Walsegg-Stuppach, who intended to present the Requiem as his own composition.

And nobody was poisoning Mozart!

To date, there are more than 130 theories on what exactly was the composer’s illness, ranging from mercury poisoning to syphilis. A 2009 study found that the mortality of young males in Vienna was well above average in 1791 and 1792. This may be linked to an epidemic of Streptococcal infection which caused kidney failure.

So, that may be the cause, and is compatible with Mozart’s symptoms.

By November of 1791, he was confined to bed, feverish, swollen and drained of energy. His conditions worsened on the evening of December 4, and he called for his doctor. When the physician drew some blood, the composer lost consciousness.

At 1am on the 5th of December, Wolfgang Amadeus Mozart died, aged 35.

A life cut too soon. He left behind an unfinished Requiem.

As per funeral regulations of the time, he was buried with very little ceremony, in a grave shared with four other bodies.

His final resting place has never been identified.

I feel like discussing his legacy is superfluous. What I would like to stress again is how Wolfgang Amadeus Mozart achieved apparent effortless purity and beauty in his music. As Albert Einstein put it “one feels he merely found it, that it has always existed as part of the inner beauty of the universe waiting to be revealed.”

But what he achieved, he did from a state of constant practice, inner struggle, and personal turmoil.

http://www.mozart.com/en/timeline/life/birth-family-and-childhood-salzburg-austria/

http://www.mozart.com/en/timeline/work/apollo-and-hyacinth/

• B. M. Measor. “Incidents in the Life of Mozart.” The Musical Times and Singing Class Circular 14, no. 322 (1869): 295–97 https://www.jstor.org/stable/pdf/3353093.pdf

Heartz, Daniel. “Mozart and Da Ponte.” The Musical Quarterly, vol. 79, no. 4, Oxford University Press, 1995, pp. 700–18 http://www.jstor.org/stable/742381

Mozart and Salieri https://www.theguardian.com/music/2003/dec/19/classicalmusicandopera.italy

Cause of death https://www.pbs.org/newshour/health/symphony-second-opinions-mozarts-final-illness#:~:text=Mozart’s%20personal%20physician%2C%20Thomas%20Franz,Frieselfieber%2C%20or%20acute%20miliary%20fever .

CREATIVE PROCESS AND STYLE

‘Mozart’s Piano Music’ by William Kinderman ISBN-13: 9780195100679 https://oxford.universitypressscholarship.com/view/10.1093/acprof:oso/9780195100679.001.0001/acprof-9780195100679-chapter-6

David P. Schroeder, ‘Mozart’s Compositional Processes and Creative Complexity’ https://dalspace.library.dal.ca/bitstream/handle/10222/63147/dalrev_vol73_iss2_pp166_174.pdf?sequence=1&isAllowed=y

Webster, James. “Mozart’s Operas and the Myth of Musical Unity.” Cambridge Opera Journal, vol. 2, no. 2, Cambridge University Press, 1990, pp. 197–218, http://www.jstor.org/stable/823682

Rice, John A. “Mozart on the Stage.” Proceedings of the American Philosophical Society, vol. 152, no. 2, American Philosophical Society, 2008, pp. 179–88 http://www.jstor.org/stable/25478485

https://www.invisionapp.com/inside-design/mozart-creative-success/

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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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Who Was Wolfgang Amadeus Mozart?

By yona zeldis mcdonough and who hq illustrated by carrie robbins, by yona zeldis mcdonough read by kevin pariseau, part of who was, category: children's nonfiction | children's middle grade books, category: children's nonfiction | audiobooks | children's middle grade books.

Apr 28, 2003 | ISBN 9780448431048 | 5-5/16 x 7-5/8 --> | Middle Grade (8-12) | ISBN 9780448431048 --> Buy

Apr 28, 2003 | ISBN 9781101640029 | Middle Grade (8-12) | ISBN 9781101640029 --> Buy

Mar 26, 2019 | 54 Minutes | Middle Grade (8-12) | ISBN 9780525629696 --> Buy

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Apr 28, 2003 | ISBN 9780448431048 | Middle Grade (8-12)

Apr 28, 2003 | ISBN 9781101640029 | Middle Grade (8-12)

Mar 26, 2019 | ISBN 9780525629696 | Middle Grade (8-12)

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About Who Was Wolfgang Amadeus Mozart?

A six-year-old who dazzled the empress of Austria with his piano brilliance A composer who wrote more than 600 concertos, sonatas, symphonies, and operas A serious musician who loved to tell silly jokes

Born in Austria in 1756, Wolfgang Amadeus Mozart composed his first piece of music, a minuet, when he was just five years old! Soon after, he was performing for kings and emperors. Although he died at the young age of thirty-five, Mozart left a legacy of more than 600 works. This fascinating biography charts the musician’s extraordinary career and personal life while painting a vivid cultural history of eighteenth-century Europe. Black-and-white illustrations on every spread explore such topics as the history of opera and the evolution of musical instruments. There is also a timeline and a bibliography. Illustrated by Carrie Robbins. Cover illustration by Nancy Harrison.

Born in Austria in 1756, Wolfgang Amadeus Mozart composed his first piece of music, a minuet, when he was just five years old! Soon after, he was performing for kings and emperors. Although he died at the young age of thirty-five, Mozart left a legacy of more than 600 works. This fascinating biography charts the musician’s extraordinary career and personal life while painting a vivid cultural history of eighteenth-century Europe.

Listen to a sample from Who Was Wolfgang Amadeus Mozart?

Also in who was.

About Yona Zeldis McDonough

Yona Zeldis McDonough is the author of novels such as A Wedding in Great Neck and You Were Meant for… More about Yona Zeldis McDonough

About Who HQ

Who HQ is your headquarters for history. The Who HQ team is always working to provide simple and clear answers to… More about Who HQ

Yona Zeldis McDonough is the author of novels such as A Wedding in Great Neck and You Were Meant for Me as well as dozens of books for children. She is the editor of and a contributor to The Barbie… More about Yona Zeldis McDonough

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Mozart is the most performed, the most mythologised, the most deconstructed, and the most popular of composers. He excelled in opera and in abstract genres such as the symphony and string quartet. He was an entertainer from his early childhood. His teenage works are playful and untroubled, but even here there are richer, subtler shades. In the Romantic age, his mature music was either patronised for its prettiness or idealised as the emblem of a lost musical Eden. Yet at the same time we have an image of him as a demonically driven, tragic figure. Mozart grew up in a musical family; his father Leopold was a composer and noted violin teacher, and his older sister Marianne (‘Nannerl’) a gifted pianist. Leopold was ambitious for his son, but Mozart was a true wunderkind. He composed his first works, for harpsichord, when barely out of his cradle. On an extended European concert tour he was hailed as a child touched with divine powers. He wrote his earliest symphonies before he turned ten, perhaps with a little help from his father. In 1768 his Missa solemnis K.139 was performed in front of the imperial court in Vienna. Already Mozart had a command of the elevated church style. Two years later, on the first of three Italian journeys, he received a prestigious commission for a serious opera, Mitridate, for the Milan carnival. It was triumphantly received and confirmed the 14-year-old as a master of the operatic style of the day. Back in Salzburg between 1773 and 1777, Mozart found his duties at the court of the austere and autocratic Prince-Archbishop Colloredo increasingly irksome. He produced symphonies, five delightful violin concertos and a series of short masses in the cheerful, bustling idiom typical of Salzburg church music. In January 1777 he produced a groundbreaking masterpiece: the Piano Concerto No.9 in E Flat Major, K271, composed for the French virtuoso Victoire Jenamy. Here, for the first time, Mozart found the blend of virtuosity, vivid characterisation and elaborate organisation that underlies all his greatest concertos. By now he was desperate to escape Salzburg. That autumn, with Colloredo’s reluctant assent, he undertook a long tour to Mannheim, then famed for its orchestra, and Paris. He met his exuberant 19-year-old cousin, Maria Anna Thekla, en route. She shared his zany sense of humour, and the pair immediately hit it off. Mozart wrote her a series of smutty letters that sometimes hint at deeper feelings. But she was soon replaced in his affections by a 16-year-old soprano, Aloysia Weber, whom he met in Mannheim. Mozart exploited her stratospheric top notes in some spectacular concert arias. Whether or not she shared his feelings, she rebuffed him. Four years later, in Vienna, he would marry her younger sister Constanze. In Paris, Mozart failed to land a permanent job, much to his father’s exasperation. He also experienced personal tragedy when his mother died. Upon returning to Salzburg in 1779 he reluctantly submitted to a life of drudgery as court organist. His travels had made him a more profound musician, however, and he composed some superb music, including the Sinfonia Concertante for violin and viola, K.364, which exploits the viola’s husky melancholy and the rich orchestral textures Mozart had heard in Mannheim. Escape came in the form of a commission from Munich for a grand opera. The result, Idomeneo, is Mozart’s first real operatic masterpiece. Premiered in early 1781 it is a work of grand, heroic sweep, clearly influenced by the ‘reform operas’ of Gluck. In May of the same year Mozart departed the service of Archbishop Colloredo. His father was aghast, but for the next few years Mozart succeeded triumphantly in Vienna. He gave keyboard lessons, published his works and promoted himself as a composer-performer in subscription concerts. For these he wrote a glorious series of piano concertos, whose many delights include almost operatic duets between piano and woodwind. Chamber music and opera were also central to Mozart’s Viennese years. The string quartets published in 1785 and dedicated to his friend Joseph Haydn are magnificent. They combine the older composer’s thorough technique with Mozart’s expressive ambivalence and melodic subtlety. The Turkish harem opera Die Entführung aus dem Serail was Mozart’s greatest popular success. It was followed by three collaborations with librettist Lorenzo da Ponte: Le nozze di Figaro (The Marriage of Figaro), Don Giovanni and Così fan tutte. In these, comic opera was raised to a new level. In true Enlightenment spirit, forgiveness and reconciliation lie at their heart, an example being the Countess’s pardon of her errant husband in Figaro. This is often expressed in music of transfigured stillness; even in the outwardly cynical Così fan tutte, self-centred and absurd characters are humanised through the beauty of their music. Don Giovanni was triumphantly premiered in Prague in October 1787, but the years that followed were difficult. Although Mozart never knew real poverty, income from concerts and commissions was spasmodic, and he began to live beyond his means. It was not a simple case of declining popularity: in 1788–89 Viennese concert life was depleted by Austria’s costly war with the Ottoman Turks. Mozart’s own financial situation was almost certainly exacerbated by an addiction to gambling, shared by many of the Viennese aristocracy. In the summer of 1788 he wrote his last three symphonies, numbers 39–41. In 1789 and 1790, in poor health, he went on concert tours to Germany. As he told Constanze, these earned him much honour but little profit. These years were relatively fallow, although they did produce Così fan tutte and the Clarinet Quintet, K.581. But 1791, Mozart’s final year, was one of the most productive and lucrative of his life. There were major commissions for two operas, La clemenza di Tito and Die Zauberflöte (The Magic Flute), and a Requiem. Future prospects, not least an offer to compose operas for London, looked even better. Mozart’s premature death, probably from rheumatic fever and/or kidney failure, spawned a welter of myths and half-truths. The unfinished Requiem, commissioned by an anonymous Count who wanted to pass it off as his own, excited the febrile Romantic imagination. Then there was the scandal of the pauper’s grave – proof, surely, of Viennese neglect. The truth is less sensational. Mozart, in keeping with the custom for economical burials, was buried in a communal grave in St Marx’s cemetery. As far as we can ever know his private character, Mozart was a complex, restless man. His worldliness co-existed with high idealism, irresponsibility with shrewd business acumen, the bawdy and the antic with melancholy introspection. The exquisite surface of his music appeals to the most casual listener. His mercurial, ambivalent, ultimately elusive vision speaks with a unique poignancy and power to modern ears.