Wolfgang Amadeus Mozart - SpeedyLook encyclopedia

Johannes Chrysostomus Wolfgang Theophilus Mozart , more known under the name of Wolfgang Amadeus Mozart (born with Salzburg, Principality of the Holy Germanic Roman Empire, the January 27th 1756 - died with Vienna the December 5th 1791) is generally regarded as one of largest the Compositeur S of the European Classical music . Although died in thirty-five years, it leaves an important work (626 works are indexed in the Catalog Köchel) which embraces all the musical genres of its time. According to the testimony of its contemporaries it was, with the Piano as with the Violon, a virtuoso.

One generally recognizes that it carried at a point of perfection the Concerto, the Symphonie, and the sonata which become after him the principal forms of the classical music and which it is one of the largest Masters of the opera. Its success was never contradicted.

Biography

Its childhood (1756 - 1773)

The child prodigy

Born with Salzburg, which is at the time the capital of a ecclesiastical Principauté German, Mozart is the son of a German type-setter, Leopold Mozart (1719 - 1787), vice-Master of vault at the court of the prince-archbishop of Salzburg, and his wife Anna Maria Pertl (1720 - 1778).

Wolfgang is the seventh child of the couple. Three children died in low age before the birth of his/her sister Maria Anna (called Nannerl , born in 1751), and two others still died between the birth of this older sister and his.

He is baptized Joannes Chrysost Wolfgangus Theophilus . meaning Theophilus loved gods has equivalents German ( Gottlieb ), Italian ( Amedeo ) and Latin ( Amadeus ). It is however certain that Wolfgang Amadé forever called Amadeus of alive sound.

Mozart reveals extraordinary gifts for the Musique as of the three years age: it with the Absolute pitch and certainly a eidetic Memory (at fourteen years, he would have perfectly retranscribed the Miserere of Gregorio Allegri, piece which lasts approximately 15 minutes, by listening to it only once). Its faculties disconcert its entourage, and encourage his/her father to teach him the Clavecin as of its fifth year. The Mozart young person learns thereafter the Violon, the Orgue and the composition. He can decipher a partition and play in measurement before even of knowing to read, write or count. At the six years age (1762), it composes already its first works (minuets KV.2, 4 and 5; allegro KV.3).

The traveller

Between 1762 and 1766, it leaves in round with his/her father (employed by the Schrattenbach prince-archbishop) and his Maria-Anna older sister, initially with Munich, then with Vienna, before leaving the June 9th 1763 for a long round in Europe, which will take it along to Munich, Augsburg, Mannheim, Frankfurt, Brussels, Paris, London, $the Hague, Amsterdam, Dijon, Lyon, Geneva, Lausanne. Its exhibitions impress the listeners and allow him to collect new musical influences. It makes the meeting of two musicians who will mark it for always: Johann Schobert in Paris, and Johann Christian Bach (wire junior by Jean-Sebastien Bach) in London. This last makes him discover the Pianoforte , invented at the beginning of the century, and the opera Italy N, and learns how to him to build a Symphonie.

In 1767, at the eleven years age, it writes its first opera Apollo and Hyacinthus (K.38), a Latin comedy intended to be interpreted by the pupils of the college depend on the University of Salzburg. Of return in Austria, it goes regularly to Vienna, and composes two other operas, Bastien and Bastienne and the finta semplice , during the summer 1768, at the twelve years age. The following year, it is named Master in concert by the prince-archbishop. His/her father obtains a leave without balance in order to make him discover the Italy. Of 1769 with 1773, Mozart goes there regularly, and there studies the opera, forms musical in which he will excel ( the nozze di Figaro ( the Marriages of Figaro ), Don Giovanni , Così fan tutte ( Ainsi does he all ), Die Zauberflöte ( the Magic Flute )…). Thanks to its work on the vocal Harmony S and its control of the Polyphony, it will give its noble letters to this kind. In Italy, it binds to the scientist Padre Martini, becomes member of the Accademia Filarmonica of Bologna - which admits in theory only old members of more than twenty years. The pope Clément XIV names it Cavaliere LED lo speron of oro (Knight of the gold spur).

The December 16th 1771, the Schrattenbach prince-archbishop dies. The Colloredo prince-archbishop becomes his new employer.

With the service of the prince-archbishop Colloredo (1773 - 1781)

Mozart is unhappy in his birthplace. Its new employer does not like to see it leaving on a journey, and the shape of the parts imposes to him which it must write for the religious ceremonies. At seventeen years, it has evil to accept these constraints, and its relations with the prince-archbishop are degraded during the three years which follow. It makes knowledge with Vienna of Joseph Haydn with which it will maintain a correspondence and a friendship tinted admiration (reciprocal), throughout his life. Joseph Haydn in Leopold Mozart: I say it to you in front of God, as an honest man, your son is the largest type-setter whom I know, in person or of name, it has taste, and moreover the greatest science of the composition. Wolfgang Amadeus Mozart in connection with Joseph Haydn: He only has the secrecy to make me laugh and to be touched with deepest of my âme.

In 1776, Mozart is twenty years old, and decides to leave Salzburg. However, the prince-archbishop refuses to let leave his father, and forces to him to resign of its post of Master in concert. After one year of preparations, it leaves with his mother, first of all with Munich, where it does not obtain a station, then with Augsburg and finally with Mannheim where it binds friendship with many musicians. However, its steps to obtain a station remain unfruitful there too. It is in Mannheim also that it falls passionately in love with the professional singer Aloysia Weber, which starts the anger of his/her father who asks him not to forget his career. Covered of debts, Mozart understands that it must take again his research and leaves for Paris in March 1778.

He hopes to find of the assistance near Melchior Grimm, which had been occupied of its round when he was seven years old, but without success. He does not find a station, and has even evil to be made pay his works in France in crisis. His/her mother falls ill lasting this stay, and dies the July 3rd. Mozart returns then to Salzburg, where his/her father convinced the prince-archbishop to take again it with his service, while passing by Munich where saw the Weber family. But Aloysia loves another man, and it is a depressed Mozart who arrives at Salzburg the January 29th 1779 where it finds his old station.

In November 1780, it receives an order for the opera of Munich, and it leaves as its contract authorizes there. Creation, the January 29th 1781 of Idomeneo, Re di Creta ( Idoménée, king de Crète ) is accommodated triumphantly by the public. Of return to Salzburg, Mozart must follow his employer to Vienna, where the prince-archbishop treats it publicly hooligan and of cretin before congédier. Mozart settles then in the Austrian capital as independent type-setter, in the pension of Mrs Weber.

Vienna (1782 - 1791)

Independence

Mozart can finally compose more freely, removed from the authority of his father and his employer. In 1782, the emperor Joseph II orders an opera to him. It will be Die Entführung aus dem Serail (Removal with the seraglio) , in language German E, which will encourage Gluck, type-setter and director in the public concerts in Vienna, to congratulate Mozart.

Mozart became acquainted with the third girl of Mrs Weber, Constanze, and decides to marry it without awaiting the written assent of his father. The marriage is celebrated the August 4th 1782, in the Cathédrale Saint-Etienne. A little later the baron von Svieten makes him discover two type-setters who will become famous but completely unknown at that time, Bach and Haendel. Mozart, man of theater, just like Haendel, admire the musical effects created by this last to accentuate the dramatic character of his works. It moreover is fascinated by the art of the counterpoint of Bach, which directly influences its Grande mass in minor C KV.427, and many its works thereafter. The same year, it begins a series of six quartets dedicated to his friend Joseph Haydn, who will finish in 1785.

In 1784, Mozart enters the Franc-maçonnerie, and quickly climbs the levels to become Maître in April 1785. He writes several works for his brothers masons, of which the Maurerische Trauermusik (maconnic funeral music) K.477 and especially the Magic Flute (known as opera maconnic) Kv 620 which is a description of initiation to freemasonry.

In 1786, Mozart becomes acquainted with the librettist Lorenzo da Ponte, poet official of the theater of Vienna. This last convinces the emperor to authorize the creation of an opera based on the Marriage of Barber of Beaumarchais, whereas the emperor prohibited the part, considered to be subversive. Mozart puts in music the booklet of Lorenzo da Ponte, and the first of the nozze di Figaro (Marriages of Figaro) takes place on May 1st 1786 in Vienna. Its success does not prevent its fast withdrawal of the poster. Mozart leaves then to Prague where the nozze is a phenomenal success. In homage to this city, it composes the Symphonie 38 in major D .

It then receives from the director of the theater of Prague the ordering of an opera for the following season. Mozart again calls upon Lorenzo da Ponte to create the booklet of Don Giovanni . The May 28th 1787, his/her Leopold father dies. This death upsets Mozart, and then will influence the composition of its opera in building site. Don Giovanni is created with the Théâtre of the States of Prague the October 28th 1787 with a great success, which will not be confirmed in Vienna.

Difficulties, the disease and premature end

During the last years of his life, Mozart often sick, and is chronically involved in debt in spite of many successes remunerated very well, because it carries out large way of life. It composes much: sonatas, concertos, symphonies, operas (of which Così fan tutte , his last collaboration with Lorenzo da Ponte). The year 1790, which sees the death of the emperor Joseph II (his successor Leopold II is not favorable to the freemasons) and the departure of Joseph Haydn for London, is not very productive.

In 1791, Emanuel Schikaneder, one of his/her friends freemasons, director of a small popular theater of Vienna, orders an opera to him. It provides the booklet of it, and Mozart writes the music of his last opera Die Zauberflöte (the Magic Flute) . Its creation the September 30th is a triumph. In July, an unknown orders a Requiem to him (Kv 626), which must remain anonymous. It is known today that it was financed by the count Walsegg, and it is supposed that this one wished either to make guess with his/her friends the name of the author, or to allot paternity of it. Mozart, weakened by the disease and the deprivations, must moreover face an extra work, because it received (beginning August) the ordering of an opera ( Clemenza di Tito , Kv 621) for the crowning of the king of Bohemia Léopold II, which it will have to write in three weeks.

He dies the December 5th 1791 at fifty-five midnight, at the 35 years age without to have been able to complete this Requiem (which will be finished at the request of Constanze by one of its pupils, Franz Xavier Süssmayer). According to a legend, it would have been poisoned with arsenic by the freemasons.

The legend, included in the film '' Amadeus '' of Milos Forman, which wants that Mozart composed this Requiem in premonition of his nearest death raises more romantic imagery than of reality. Mozart is buried with the cemetery St Marx in the suburbs of Vienna, in a Common grave.

That corresponds to a burial of 3° class whose expenses are divided by the Mozart family and the friends. The cemetery is far away from the city according to the decrees of the emperor Joseph II relating to the sanitary arrangements. Contrary to what is often said, Mozart was thus not buried in a common grave. The Community pits were pits paid in advance for 10 people (8 adults and 2 children). A commemorative service takes place with Prague the December 14th, in front of thousands of people. Emanuel Schikaneder organizes some in Vienna during which the beginning of the Requiem (Introitus and Kyrie) could be played.

Family

Mozart married Constanze Mozart (1763-1842) the August 4th 1782. They had 6 children in nearly 9 years:

Raimund Leopold Mozart (1783)
Karl Thomas Mozart (1784-1858)
Johann Leopold Mozart (1786)
Theresia Mozart (1787)
Anna Mozart (1789)
Franz Xaver Wolfgang Mozart (1791-1844).

Only 2 of the children, Karl Thomas and Franz Xaver Wolfgang, survived last early childhood. Like a result of its frequent pregnancies, Constanze is famous weak and to be often confined in its bed.

Its work

Style

Gallant style and erudite style

Mozart is, with Haydn and Beethoven one of the principal representatives of the traditional style Viennese . But that is not certainly enough to define it. In one time dominated by the gallant Style, Mozart carries out the synthesis with contrapuntic complexities suitable for the late Baroque, and with innovative forms influenced in particular by the wire Bach or Haydn. If Mozart is the best representing traditional style , its style goes however well beyond and is one of most personal and more immediately recognizable with the ear.

Born in a family from musicians, early accustomed to travel and meet instrumentalists and type-setters of different horizons and nationalities, Mozart becomes as of childhood a genious imitator and adapts all that he hears: he follows this method throughout his life, in particular when it is a question of being familiarized with the counterpoint, it erudite style (or severe ) so difficult to assimilate at the time where one opposes the gallant Style to him in which Mozart bathes since childhood. Mozart starts by transcribing several Fugue S of Bach for Trio with cords, on an ordering of Van Swieten (Kv 404a), then really devotes himself to compose of the Fugue S, not without difficulty: that started for the finale of the Sonate for Violon Kv 402 remains unfinished; while those of the Prelude and Running away Kv 394 composed in 1782 or of the continuation in the style of Haendel Kv 399 are of an extreme complexity, which translates the difficulties encountered by Mozart in the study of the counterpoint. However, this one nourishes the mass in minor C Kv 427 started at the same time, then in the following months one finds runnings away for winds (serenade Kv 388), for piano (Running away in C minor for 2 pianos Kv 426, transcribed thereafter for orchestra in the adagio and running away Kv 546), and later for organ (Kv 594 and Kv 608). Then, in the following years, Mozart gives up the simple imitation, but works profit from this work: it is the case of the finale of the quartet in G major (Kv 387) or of the finale of the symphony Jupiter (Kv 551), two movements where the superposition of the lines reaches an unequalled control.

A daring and diversified genius

Impossible to define Mozart by a precise kind. Opera, Symphony, Concerto, Chamber music, crowned Musique… Mozart is touch-with-all which adapts each kind, each form, each instrument for reinventing best. If the principal features of the traditional style are quite present in its works (clearness of the structure and its articulations, balances formation, simple Harmonie), if its innate gift for the melody is an obviousness, Mozart plays about it for better doing to arise such reason, such Dissonance, to surprise by audacities little appraisals of his contemporaries: some works at the time confidential carry from there the mark (like the imagination in minor C Kv 475 or the quartet Dissonance Kv 465 , whose introduction justifies the name).

Mozart was not therefore a revolutionist, and he is the author of an abundant production of divertimentos, Menuet S and airs very in conformity with conventions of the time, without never letting itself lock up in a register. When it composes its operas, it is always with an alternation between opera buffa ( the Marriages of Figaro , Così fan tutte …) and opera seriated ('' Idomeneo '', Don Giovanni …). And its last opera breaks with each one of these two styles since it is about a Singspiel , a German operetta in charge of symbolism and, to tell the truth, unclassable: the Magic Flute .

Cultivated, curious, always with the listening of the musical or artistic inventions of his time, Mozart knew until the end to make evolve/move his style with the liking of the discoveries, and one easily feels the beginner influence of the Sturm und German Drang in the last years mozartiennes (and not only in Don Giovanni or the Requiem ). The characteristic of the genius mozartien is there: to have known to take as a starting point its contemporaries without never following of other models that to it his clean.

The force and the grace, the power and the emotion, the pathetic one, humor, the most exquisite elegance met in its work to make of Mozart the artist in his perhaps most accomplished kind which ever existed.

The influence

Mozart obviously had a great importance on the history of the music, and this as of his contemporaries. Even its elder, Haydn, friend and admiror of Mozart, into sudden the influence in its last Symphony S and Mass S, and in its two Oratorio S.

The successors of Mozart do not escape from it. Beethoven, strongly impressed by Mozart whom it probably crossed in his youth. Schubert, which grows in Vienna at the time same where the genius of Mozart is finally unanimously recognized, a few years after its death. Other type-setters, less with the avant-garde of the romanticism, remain closer to the traditional mozartien spirit, in particular its pupil Johann Nepomuk Hummel or Louis Spohr. The operas of Gioacchino Rossini must much in Mozart, and it is not a chance if the latter chooses to put in music the barber of Seville of Beaumarchais, first shutter of the escapades of Figaro. Lastly, Mendelssohn, Chopin, Brahms, and even Busoni assumes the heritage of Mozart in most of their works, often with the same height as that of Bach.

More largely, the very whole music is heiress of Mozart, and of the whole pieces of its history owe him all. The German opera, for example, that of Weber and Wagner was strongly influenced by the Magic Flute .

Today still, the child cherished of Austria most popular of traditional, and probably is incontestably played the most.

Catalog Köchel (KV)

Major works

Crowned works

Veni sancte spiritus , Kv 47
Exsultate, jubilate , Kv 165
Vesperae of dominica , Kv 321
Krönungsmesse ( Mass of Crowning ) in major C, Kv 317 (1779)
Vesperae solennes of confessore , Kv 339
Great mass in minor C , Kv 427 (1782-83)

Ave verum corpus , Kv 618
Requiem in minor D, Kv 626 (1791, Vienna)

Operas

Bastien und Bastienne ( Bastien and Bastienne ), Kv 50 (1768, Vienna) It was only 12 years old at the time
Mitridate, D di Ponto ( Mithridate ), Kv 87 (1770, Milan)

Lucio Silla , Kv 135 (1772, Milan)
It Re pastore ( the King Pasteur ), Kv 208 (1775, Salzburg)
'' Idomeneo, Re di Creta '', Kv 366 (1781, Munich)
Die Entführung aus dem Seraglio ( Removal with the seraglio ), Kv 384 (1782, Vienna)
the nozze di Figaro ( the Marriages of Figaro ), Kv 492 (1786, Vienna)
Don Giovanni , Kv 527 (1787, Vienna and Prague)
Così fan tutte , Kv 588 (1790, Vienna)

Clemenza di Tito ( the Clemence of Titus ), Kv 621 (1791)
Die Zauberflöte ( the Magic Flute ), Kv 620 (1791, Vienna)

Symphonies

Symphony {{number}} 25 '' in minor ground, Kv 183 (at the end of 1773)

Symphony {{number}} 28 '' in major C, Kv 200 (November 1773)
Symphony {{number}} 29 '' in the major one, Kv 201 (at the beginning of 1774)

Symphony {{number}} 35 '' in major D, Kv 385 (July-August 1782)
Symphony {{number}} 36 '' {{quotation|Linz}} in major C, Kv 425 (November 1783)

Symphony {{number}} 38 '' {{quotation|Prague}} in major D, Kv 504 (at the end of 1786)

Symphony {{number}} 39 '' in major E flat, Kv 543 (July-August 1788)

Symphony {{number}} 40 '' in minor ground, Kv 550 (July-August 1788)
Symphony {{number}} 41 '' {{quotation|Jupiter}} in major C, Kv 551 (July-August 1788)

Other works for orchestra alone

Serenade Eine Kleine Nachtmusik ( a kleine Nachtmusik ) in G major, Kv 525 (1787, Vienna)
Adagio and running away in minor C, Kv 546 (transcription of Kv 426 per two pianos)

Concertos

Concertos for piano and orchestra:

Concerto for piano 9 in E flat Jeunehomme , KV.271 (1777)
Concerto for two pianos in major E flat, Kv 365 (1778)
Concerto for piano 12 in the major one, Kv 414 (1783)
Concerto for piano 13 in major C, Kv 415 (1783)
Concerto for piano 14 in major E flat, KV.449 (1783)
Concerto for piano 15 in major B flat, Kv 450 (1784)
Concerto for piano 16 in major D, Kv 451 (1784)
Concerto for piano 17 in G major, Kv 453
Concerto for piano 20 in minor D, Kv 466 (1785, Vienna)
Concerto for piano {{number}} 21 in major C Elvira Madigan , Kv 467 (1785, Vienna)
Concerto for piano 22 in major E flat, Kv 482
Concerto for piano 23 in the major one, Kv 488
Concerto for piano 24 in minor C, Kv 491
Concerto for piano 25 in major C, Kv 503
Concerto for piano 26 in major D crowning , Kv 537 (1788)
Concerto for piano 27 in major B flat, Kv 595

Concerto for clarinet in major Kv 622 (1791, Vienna)
Concertos for flute {{number}} 1 and 2 Kv 313 and 314 (1778, Mannheim)

Concerto for flute and toothing-stone in major C Kv 299 (1778, Paris)

Concertos for violin and orchestra:

Concerto for violin 1 in major B flat, Kv 207

Concerto for violin 3 in G major, Kv 216

Concerto for violin 5 in the major one, Kv 219

Other concerting works:

Sinfonia concerting for oboe, clarinet, horn, bassoon and orchestra in major E flat, Kv 297b

'' Sinfonia concerting '' for violin, viola and orchestra in major E flat, Kv 364

Music for keyboard

Sonatas for piano:

Sonata for piano {{number}} 6 in major D {{quotation|Durnitz}}, K. 284
Sonata for piano in minor Kv 310 (1778, Paris)
Sonata for piano Kv 330
Sonata for piano {{number}} 11 in major the Turca went Kv 331 (1781-83, Munich or Vienna), Media: RondoAllaTurca.mid
Sonata for piano Kv 333
Sonata for piano Kv 457
Sonata for piano Kv 544/494
Sonata for piano {{number}} 16 in major C Kv 545, Media: Kv545-allegro.mid
Sonata for piano in major Sib Kv 570
Sonata for piano Kv 576

Other parts for piano:

Twelve variations on Ah! I will say to you, Maman Kv 256
Prelude and running away in major C Kv 394
Imagination in minor C, Kv 475
Imagination in minor D, Kv 397
Rondo in major D, Kv 485
Rondo in the minor, Kv 511
Adagio in so minor, Kv 540

Parts for organ:

Adagio and allegro in minor F for mechanical organ, Kv 594
Imagination in minor F for mechanical organ, Kv 608
Andante in major F, Kv 616
Walk in major C, Kv 408/1

Chamber music

For cords:

Sonata for violin and piano in major C Kv 296
Quartets dedicated to Haydn :

Quartet in G major Kv 387 (1782, Vienna)
Quartet in minor D Kv 421 (1783, Vienna)
Quartet in major E flat Kv 428 (1783, Vienna)
Quartet in major B flat hunting Kv 458 (1784, Vienna)
Quartet in major Kv 464 (1785, Vienna)
Quartet in major C dissonances Kv 465 (1785, Vienna)

Quartets with piano :

Quartet with piano 1 in minor ground Kv 478 (1785)
Quartet with piano 2 in major E flat Kv 493 (1786)

For winds:

Serenade " Gran Partita" Kv 361 for wind instruments

Serenade for sextet with wind in major E flat Kv 375 (1781) 2 clarinets, 2 horns, 2 bassoons

Serenade for octuor with wind in minor C Kv 388 (1782, Vienna) 2 oboes, 2 clarinets, 2 horns, 2 bassoons

Divertimento for 3 basset horns Kv 439

Mixed:

Trio {{quotation|The Skittles}} in major E flat for piano, clarinet, and viola '' Kv 498 (1786, Vienna)
Quintet with clarinet in major Kv 581 (1789, Vienna)
Quintet for horn and cords in major E flat Kv 407
Quartet for oboe and cords in major F Kv 370 (1781)
Quintet for piano, oboe, clarinet, horn and bassoon in major E flat Kv 452
Adagio & Rondo for harmonica of glass, flute, oboe, viola & violoncello in major C Kv 617

Thoughts on Mozart…

Joseph Haydn: I say to you in front of God and as an honest man who your son is the largest type-setter of which I know the name or the person; it has taste and in more greatest science of the composition.
Joseph Haydn: I was out of me because of his death. I could not believe that providence had so early taken again the life of a man also indispensable.
Joseph Haydn: If I could print in the heart of each music lover, and mainly in that of large of this world, which I feel in front of inimitable work of Mozart, the nations would compete to have such a jewel in their murs.
last words of Gustav Mahler, in its bed of death, beating measurement for an invisible orchestra: Mozartl! Mozartl!

Writings

Mozart cannot truly be considered as writer. However, its abundant Correspondance, which was the subject of partial editions then complete, is not only one important source for the comprehension of the type-setter and his time, but also a work of a literary quality some.

Wolfgang Amadeus Mozart, Correspondence , edition of the Mozarteum International foundation, joined together and annotated by A. Bauer, O. Deutsch and J. Eibl, transl. by Genevieve Geffray. Flammarion, Paris, 1986-1999, 7 vol. ISBN 2-08-067782-9 (complete edition, under box).

See too

Austria regards Mozart as one of his most famous children: its effigy is reproduced on the parts of 1 euro emitted by this country.
François Devienne is called the French Mozart.
Mozart Meets Cuba , album of Klazz Brothers & Cuba Percussion

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