MozartBiographicalEssay:

WolfgangAmadeusMozart,infullJohannChrysostomWolfgangAmadeusMozart,baptizedasJohannes
ChrysostomusWolfgangusTheophilusMozart(bornJanuary27,1756,Salzburg,archbishopricof
Salzburg[Austria]diedDecember5,1791,Vienna)Austriancomposer,widelyrecognizedasoneofthe
greatestcomposersinthehistoryofWesternmusic.WithHaydnandBeethovenhebroughttoitsheight
theachievementoftheVienneseClassicalschool.Unlikeanyothercomposerinmusicalhistory,he
wroteinallthemusicalgenresofhisdayandexcelledineveryone.Histaste,hiscommandofform,and
hisrangeofexpressionhavemadehimseemthemostuniversalofallcomposers;yet,itmayalsobe
saidthathismusicwaswrittentoaccommodatethespecifictastesofparticularaudiences.
Earlylifeandworks
Theboysearlytalentformusicwasremarkable.Atthreehewaspickingoutchordsontheharpsichord,
atfourplayingshortpieces,atfivecomposing.Thereareanecdotesabouthisprecisememoryofpitch,
abouthisscribblingaconcertoattheageoffive,andabouthisgentlenessandsensitivity(hewasafraid
ofthetrumpet).Justbeforehewassix,hisfathertookhimandNannerl,alsohighlytalented,toMunich
toplayattheBavariancourt,andafewmonthslatertheywenttoViennaandwereheardatthe
imperialcourtandinnoblehouses.
AfterlittlemorethanninemonthsinSalzburgtheMozartssetoutforViennainSeptember1767,where
(apartfroma10weekbreakduringasmallpoxepidemic)theyspent15months.Mozartwroteaoneact
Germansingspiel,BastienundBastienne,whichwasgivenprivately.Greaterhopeswereattachedtohis
prospectofhavinganItalianoperabuffa,Lafintasemplice(TheFeignedSimpleton),doneatthecourt
theatrehopesthatwere,however,frustrated,muchtoLeopoldsindignation.Butasubstantial,festal
masssetting(probablyK139/47a)wassuccessfullygivenbeforethecourtatthededicationofthe
OrphanageChurch.Lafintasemplicewasgiventhefollowingyear,1769,inthearchbishopspalacein
Salzburg.InOctoberMozartwasappointedanhonoraryKonzertmeisterattheSalzburgcourt.
Stillonly13,Mozarthadbynowacquiredconsiderablefluencyinthemusicallanguageofhistime,and
hewasespeciallyadeptatimitatingthemusicalequivalentoflocaldialects.TheearlyParisandLondon
sonatas,theautographsofwhichincludeLeopoldshelpinghand,showachildlikepleasureinpatterns
ofnotesandtextures.ButtheLondonandTheHaguesymphoniesattesttohisquickandinventive
responsetothemusichehadencountered,as,withtheirenrichmentoftextureandfullerdevelopment,
dothoseheproducedinVienna(suchasK43and,especially,K48).AndhisfirstItalianoperashowsa
readygraspofthebuffostyle.
TheItaliantours
MasteryoftheItalianoperaticstylewasaprerequisiteforasuccessfulinternationalcomposingcareer,
andtheAustrianpoliticaldominionovernorthernItalyensuredthatdoorswouldbeopenthereto
Mozart.ThistimeMozartsmotherandsisterremainedathome,andthefamilycorrespondence

providesafullaccountofevents.Thefirsttour,begunonDecember13,1769,andlasting15months,
tookthemtoallthemainmusicalcentres,butasusualtheypausedatanytownwhereaconcertcould
begivenoranoblemanmightwanttohearMozartplay.InVeronaMozartwasputthroughstringent
testsattheAccademiaFilarmonica,andinMilan,aftertestsofhiscapacitiesindramaticmusic,hewas
commissionedtowritethefirstoperaforthecarnivalseason.AfterastopinBologna,wheretheymet
theesteemedtheoristGiovanniBattistaMartini,theyproceededtoFlorenceandontoRomeforHoly
Week.ThereMozartheardtheSistineChoirinthefamousMiserereofGregorioAllegri(15821652),
whichwasconsideredthechoirsexclusivepreservebutwhichMozartcopiedoutfrommemory.They
spentsixweeksinNaples;returningthroughRome,Mozarthadapapalaudienceandwasmadeaknight
oftheorderoftheGoldenSpur.ThesummerwaspassednearBologna,whereMozartpassedthetests
foradmissiontotheAccademiaFilarmonica.InmidOctoberhereachedMilanandbeganworkonthe
newopera,Mitridate,rdiPonto(Mithradates,KingofPontus).Hehadtorewriteseveralnumbersto
satisfythesingers,but,afteraseriesofrehearsals(Leopoldslettersprovidefascinatinginsightsasto
theatreprocedures),thepremiereattheRegioDucalTeatroonDecember26wasanotablesuccess.
Mozart,inthetraditionalway,directedthefirstthreeofthe22performances.Afterabriefexcursionto
VeniceheandhisfatherreturnedtoSalzburg.
PlanshadalreadybeenlaidforfurtherjourneystoItaly:foratheatricalserenatacommissionedfora
royalweddinginMilaninOctober1771andforafurtheropera,againforMilan,atcarnivaltimein
177273.MozartwasalsocommissionedtowriteanoratorioforPadua;hecomposedLaBetulia
liberataduring1771,butthereisnorecordofaperformance.ThesecondItalianvisit,betweenAugust
andDecember1771,sawthepremiereofhisAscanioinAlba,which,Leopoldgleefullyreported,
completelyovershadowedtheothernewworkfortheoccasion,anopera(Ruggiero)byJohann
AdolphHasse,themostrespectedoperaseriacomposerofthetime.ButhopesthatLeopoldhad
entertainedofhissonssecuringanappointmentinMilanweredisappointed.BackinSalzburg,Mozart
hadaprolificspell:hewroteeightsymphonies,fourdivertimentos,severalsubstantialsacredworks,
andanallegoricalserenata,IlsognodiScipione.ProbablyintendedasatributetotheSalzburgprince
archbishop,CountSchrattenbach,thisworkmaynothavebeengivenuntilthespringof1772,andthen
forhissuccessorHieronymus,CountColloredo;Schrattenbach,atolerantemployergenerousinallowing
leave,diedattheendof1771.
ThethirdandlastItalianjourneylastedfromOctober1772untilMarch1773.LucioSilla(LuciusSulla),
thenewopera,wasgivenonDecember26,1772,andafteradifficultpremiere(itbeganthreehours
lateandlastedsix)itprovedevenmoresuccessfulthanMitridate,with26performances.Thisisthe
earliestindicationofthedramaticcomposerMozartwastobecome.HefollowedLucioSillawithasolo
motetwrittenforitsleadingsinger,thecastratoandcomposerVenanzioRauzzini,Exsultate,jubilate(K
165),anappealingthreemovementpiececulminatinginabrilliantAlleluia.Theinstrumentalmusicof
theperiodaroundtheItalianjourneysincludesseveralsymphonies;afewofthemaredoneinalight,
Italianatestyle(e.g.,K95andK97),butothers,notablythesevenfrom1772,treadnewgroundinform,
orchestration,andscale(suchasK130,K132,andthechambermusicalK134).Therearealsosixstring
quartets(K155160)andthreedivertimentos(K136138),inalively,extrovertedvein.

Earlymaturity
Moresymphoniesanddivertimentos,aswellasamass,followedduringthesummerof1773.Then
Leopold,doubtlessseekingagainabettersituationforhissonthantheSalzburgcourt(nowundera
muchlesssympatheticarchbishop)waslikelytooffer,tookhimtoVienna.Nopositionmaterialized,but
MozartscontactwiththenewestViennesemusicseemstohavehadaconsiderableeffectonhim.He
producedasetofsixstringquartetsinthecapital,showinginthemhisknowledgeofHaydnsrecent
Opus20inhisfullertexturesandmoreintellectualapproachtothemedium.Soonafterhisreturnhe
wroteagroupofsymphonies,includingtwothatrepresentanewlevelofachievement,theLittleG
Minor(K183)andtheAMajor(K201).AlsodatingfromthistimewasMozartsfirsttruepianoconcerto
(inD,K175;earlierkeyboardconcertoswerearrangementsofmovementsbyothercomposers).
Theyear1774sawthecompositionofmoresymphonies,concertosforbassoonandfortwoviolins(ina
stylerecallingJ.C.Bach),serenades,andseveralsacredworks.Mozartwasnowasalariedcourt
Konzertmeister,andthesacredmusicinparticularwasintendedforlocaluse.ArchbishopColloredo,a
progressivechurchman,discouragedlavishmusicandsetaseveretimelimitonmasssettings,which
Mozartobjectedtobutwasobligedtoobserve.Attheendoftheyearhewascommissionedtowritean
operabuffa,Lafintagiardiniera(TheFeignedGardenerGirl),fortheMunichcarnivalseason,whereit
wasdulysuccessful.ItshowsMozart,inhisfirstcomicoperasincehischildhood,findingwaysofusing
theorchestramoreexpressivelyandofgivingrealpersonalitytothepasteboardfiguresofItalianopera
buffa.
Mozart,ViolinConcertoNo.1inBflatMajor,K207Aperiodoftwoandahalfyears(fromMarch1775)
beganinwhichMozartworkedsteadilyinhisSalzburgpost.Theworkwasforhimundemandingandby
nomeanscompatiblewithhisabilities.Duringthisperiodhewroteonlyonedramaticwork(the
serenatalikeIlrpastore,TheShepherdKing,foranarchducalvisit),buthewasproductiveinsacred
andlighterinstrumentalmusic.HismostimpressivepieceforthechurchwastheLitaniaedevenerabili
altarissacramento(K243),whichembracesawiderangeofstyles(fugues,chorusesofconsiderable
dramaticforce,floridarias,andaplainchantsetting).Theinstrumentalworksincludeddivertimentos,
concertos,andserenades,notablytheHaffner(K250),whichinitsuseofinstrumentsanditsrichnessof
workingcarriedtheserenadestyleintothesymphonicwithoutprejudicingitstraditionalwarmthand
highspirits.Thefiveconcertosforviolin,allfromthisperiod(No.1maybeslightlyearlier),showa
remarkablegrowthoverafewmonthsinconfidenceinhandlingthemedium,withincreasinglyfanciful
ideasandattractiveandnaturalcontextsforvirtuosodisplay.Theuseofpopularthemesinthefinalesis
typicallysouthGerman.Healsowroteaconcertoforthreepianosandthreepianoconcertos,thelastof
them,K271,showinganewlevelofmaturityintechniqueandexpressiverange.
MannheimandParis
ItmusthavebeenabundantlyclearbythistimetoMozartaswellashisfatherthatasmall,provincial
courtlikethatatSalzburgwasnoplaceforageniusofhisorder.In1777hepetitionedthearchbishop
forhisreleaseand,withhismothertowatchoverhim,setouttofindnewopportunities.The
correspondencewithhisfatheroverthe16monthshewasawaynotonlygivesinformationastowhat

hewasdoingbutalsocastsasharplightontheirchangingrelationship;Mozart,now21,increasinglyfelt
theneedtofreehimselffrompaternaldomination,whileLeopoldsanxietiesabouttheirfuture
assumedalmostpathologicaldimensions.
TheywentfirsttoMunich,wheretheelectorpolitelydeclinedtoofferMozartapost.Nexttheyvisited
Augsburg,stayingwithrelatives;thereMozartstruckupalivelyfriendshipwithhiscousinMariaAnna
Thekla(theylaterhadacorrespondenceinvolvingmuchplayful,obscenehumour).Attheendof
OctobertheyarrivedatMannheim,wherethecourtoftheElectorPalatinewasmusicallyoneofthe
mostfamousandprogressiveinEurope.Mozartstayedthereformorethanfourmonths,althoughhe
soonlearnedthatagainnopositionwastobehad.HebecamefriendlywiththeMannheimmusicians,
undertooksometeachingandplaying,acceptedandpartlyfulfilledacommissionforflutemusicfroma
Germansurgeon,andfellinlovewithAloysiaWeber,asoprano,thesecondoffourdaughtersofamusic
copyist.Healsocomposedseveralpianosonatas,somewithviolin.Heputtohisfatheraschemefor
travelingtoItalywiththeWebers,which,naiveandirresponsible,metwithanangryresponse:Offwith
youtoParis!andthatsoon,findyourplaceamonggreatpeopleautCaesarautnihil.Theplanhad
beenthathewouldgoonalone,butnowLeopoldfeltthathewasnottobetrustedandmadetheill
fateddecisionthathismothershouldgotoo.TheyreachedParislateinMarch1778,andMozartsoon
foundwork.Hismostimportantachievementwasthesymphony(K297)composedfortheConcert
Spirituel,abrilliantDMajorworkinwhichhemetthetasteoftheParisianpublic(andmusicians)for
orchestraldisplaywithoutsacrificeofintegrity;indeedheexploitedthedevicestheyadmired(suchas
theopeningcoupdarchetaforceful,unanimousmusicalgesture)tonewformalends.
Bythetimeofitspremiere,onJune18,hismotherwasseriouslyill,andonJuly3shedied.Mozart
handledthesituationwithconsideration,firstwritingtohisfatherofhergraveillness,thenaskingan
abbfriendinSalzburgtobreakthenews.HewenttostaywithFriedrichMelchior,BaronvonGrimm,a
Germanfriend.Soonafter,GrimmwrotepessimisticallytoLeopoldabouthissonsprospectsinParis,
andLeopoldnegotiatedabetterpostforhiminSalzburg,wherehewouldbecourtorganistratherthan
violinistasbefore,thoughstillnominallyKonzertmeister.MozarthadinfactsecuredapositioninParis
thatmightwellhavesatisfiedhisfatherbutwhichclearlydidnotsatisfyMozarthimself;thereisno
evidence,inanycase,thatheinformedhisfatherofeithertheofferorhisdecisiontorefuseit.
Summonedhome,Mozartreluctantlyobeyed,tarryingenrouteinMannheimandinMunichwhere
theMannheimmusicianshadnowmostlymovedandwherehewascoollyreceivedbyAloysiaWeber.
HereachedSalzburginmidJanuary1780.
SalzburgandMunich
Mozart,MassinCMajor(CoronationMass),K317BackinSalzburg,Mozartseemstohavebeeneagerto
displayhiscommandofinternationalstyles:ofthethreesymphonieshewrotein177980,K318inG
MajorhasaParisianpremiercoupdarchetandcrescendosofthetypefavouredinMannheim,andK
338inCMajorshowsmanyfeaturesofthebrilliantParisianmanner.Hisoutstandingorchestralworkof
thisperiodwas,however,thesinfoniaconcertanteforviolinandviolaK364;thegenrewaspopularin
bothcities,andtherearemanyfeaturesoftheMannheimstyleintheorchestralwriting,butthe
characterofthework,itsingeniousinstrumentalinterplay,anditsdepthoffeelingareunmistakably

Mozartian.Alsofromthistimecamethecheerfultwopianoconcertoandthetwopianosonata,aswell
asanumberofsacredworks,includingthebestknownofhiscompletemasses,theCoronationMass.
ButitwasdramaticmusicthatattractedMozartaboveall.Hehadlatelywrittenincidentalmusictoa
playbyTobiasPhilippvonGebler,andduring177980hecomposedmuchofasingspiel,knownas
Zaide,althoughwithnosureprospectsofperformance.SoMozartmusthavebeendelighted,inthe
summerof1780,toreceiveacommissiontocomposeaseriousItalianoperaforMunich.Thesubject
wastobeIdomeneus,kingofCrete,andthelibrettistthelocalclericGiambattistaVaresco,whowasto
followaFrenchtextof1712.MozartcouldstartworkinSalzburgashealreadyknewthecapacitiesof
severalofthesingers,buthewenttoMunichsome10weeksbeforethedatesetforthepremiere.
LeopoldremainedathomeuntilclosetothetimeofthepremiereandactedasalinkbetweenMozart
andVaresco;theircorrespondenceisaccordinglyrichlyinformativeabouttheprocessofcomposition.
FourmattersdominateMozartslettershome.First,hewasanxious,asalways,toassurehisfatherof
theenthusiasmwithwhichthesingersreceivedhismusic.Second,hewasconcernedaboutcuts:the
librettowasfartoolong,andMozarthadsetitspaciously,sothatmuchtrimmingoftherecitative,of
thechoralscenes,andevenoftwoariasinthefinalactswasneeded.Third,hewasalwayseagerto
makemodificationsthatrenderedtheactionmorenaturalandplausible.Andfourth,hewasmuch
occupiedwithaccommodatingthemusicandtheactiontotheneedsandthelimitationsofthesingers.
Mozart,Idomeneo,rdiCreta,K366InIdomeneo,rdiCretaMozartdepictedserious,heroicemotion
witharichnessunparalleledelsewhereinhisoperas.ThoughinfluencedbyChristophGluckandby
NiccolPiccinniandothers,itisnotareformopera:itincludesplainrecitativeandbravurasinging,
butalwaystoadramaticpurpose,and,thoughthetextureismorecontinuousthaninMozartsearlier
operas,itsplan,becauseofitsFrenchsource,isessentiallytraditional.GivenonJanuary29,1781,just
afterMozarts25thbirthday,itmetwithduesuccess.MozartandhisfatherwerestillinMunichwhen,
onMarch12,hewassummonedtojointhearchbishopsretinueinVienna,wheretheaccessionof
JosephIIwasbeingcelebrated.
Vienna:theearlyyears
FreshfromhistriumphsinMunich,wherehehadmixedfreelywithnoblemen,Mozartnowfound
himselfplaced,attableinthelodgingsforthearchbishopsentourage,belowthevaletsifabovethe
cooks.Furthermore,thearchbishoprefusedhimpermissiontoplayatconcerts(includingoneattended
bytheemperoratwhichMozartcouldhaveearnedhalfayearssalaryinanevening).Hewasresentful
andinsulted.MatterscametoaheadataninterviewwithArchbishopColloredo,who,accordingto
Mozart,usedunecclesiasticallanguage;Mozartrequestedhisdischarge,whichwaseventuallygranted
atastormymeetingwiththecourtstewardonJune9,1781.
Mozart,DieEntfhrungausdemSerail(TheAbductionfromtheSeraglio)Mozart,whonowwenttolive
withhisoldfriendstheWebers(Aloysiawasmarriedtoacourtactorandpainter),setaboutearninga
livinginVienna.Althougheagerforacourtappointment,heforthemomentwasconcernedtotakeon
somepupils,towritemusicforpublication,andtoplayinconcerts(whichinViennaweremoreoftenin
noblemenshousesthaninpublic).Healsoembarkedonanopera,DieEntfhrungausdemSerail(The

AbductionfromtheSeraglio).(JosephIIcurrentlyrequiredthatGermanopera,ratherthanthe
traditionalItalian,begivenatthecourttheatre.)Inthesummerof1781,rumoursbegantocirculate,as
farasSalzburg,thatMozartwascontemplatingmarriagewiththethirdoftheWeberdaughters,
Constanze;buthehotlydeniedtheminalettertohisfather:Ihaveneverthoughtlessofgetting
marriedbesides,Iamnotinlovewithher.Hemovedlodgingstoscotchthegossip.ButbyDecember
hewasaskingforhisfathersblessingonamarriagewithConstanze,withwhomhewasnowinloveand
towhom,probablythroughthemachinationsofhermotherandherguardian,hewasinsomedegree
committed.BecauseConstanzelaterdestroyedLeopoldsletters,forreasonsthatareeasytoimagine,
onlyonesideofthecorrespondenceexists;Leopoldsreactionscan,however,bereadilyinferred,andit
wouldseemthatthisperiodmarkedalowpointintherelationshipbetweenfatherandson.
Musically,MozartsmainpreoccupationwaswithDieEntfhrungintheearlypartof1782.Theopera,
aftervariousdelays,reachedtheBurgtheaterstageonJuly16.Thestoryoftheemperorssayingvery
manynotes,mydearMozartmaynotbeliterallytrue,butthetaleissymptomatic:theworkdoeshave
farmorenotesthananyotherthenintheGermanrepertory,withfullertextures,moreelaboration,and
longerarias.Mozartsletterstohisfathergiveinsightintohisapproachtodramaticcomposition,
explaining,forexample,hisuseofaccompanyingfiguresandkeyrelationshipstoembodymeaning.He
alsohadtheoriginaltextsubstantiallymodifiedtostrengthenitsdramaandallowbetteropportunities
formusic.NoteworthyfeaturesaretheTurkishcolouring,createdbyexoticturnsofphraseand
chromaticismsaswellasjanissaryinstruments;theextendedAct2finale,alongthelinesofthosein
operabuffabutlackingthedramaticpropulsionoftheItaliantype;theexpressiveandpowerfulariasfor
theheroine(coincidentallycalledConstanze);andwhatMozartcalledconcessionstoViennesetastein
thecomicmusic,suchastheduetVivatBacchus.
DieEntfhrungenjoyedimmediateandcontinuingsuccess;itwasquicklytakenupbytravelingand
provincialcompaniesasLafintagiardinierahadbeen,toalesserdegreeandcarriedMozarts
reputationwidelyaroundtheGermanspeakingcountries.Hecomplained,however,thathehadnot
madeenoughmoneyfromtheopera,andhebegantodevotemoretimeandenergyinotherdirections.
Laterintheyearheworkedonasetofthreepianoconcertosandbeganasetofsixstringquartets,the
latterinspiredbyHaydnsrevolutionaryOpus33.Healsostartedworkonamasssetting,inCMinor,
whichhehadvowedtowriteonhismarriage(avowherenewedwhenhiswifesurvivedadifficult
childbirth)butofwhichonlythefirsttwosections,KyrieandGloria,werecompleted.Amongthe
influencesonthismusic,besidestheAustrianecclesiasticaltradition,wasthatoftheBaroquemusic
(Bach,Handel,andothers)thatMozarthadbecomeacquaintedwith,probablyforthefirsttime,atthe
houseofhispatronBaronGottfriedvanSwieten,amusiccollectorandantiquarian.TheBaroque
influenceisnoticeableespeciallyinthesparetexturesandausterelinesofcertainofthesolonumbers,
thoughothersaresquarelyinthedecorative,southGermanlateRococomanner(thisinterestinold
fashionedcounterpointcanalsobeseeninsomeofMozartspianomusicofthetimeandinhisstring
arrangementsofmusicfromBachsTheWellTemperedClavier).MozartandhiswifevisitedSalzburgin
thesummerandautumnof1783,whenthecompletedmovementswereperformed,with(asalways
intended)Constanzesingingthesolosopranoparts,atSt.PetersAbbey.OnthewaybacktoVienna

MozartpausedatLinz,wherehehastilywrotethesymphonyknownbythatcitysnameforaconcerthe
gavethere.
ThecentralVienneseperiod
Mozart,PianoConcertoNo.22inEflatMajor,K482In178283Mozartwrotethreepianoconcertos(K
413415),whichhepublishedin1785withstringandoptionalwindparts(sothattheyweresuitablefor
domesticuse)anddescribedasahappymediumbetweenwhatistooeasyandtoodifficult.Sixmore
followedin1784,threeeachin1785and1786andoneeachin1788and1791.Withthe1784grouphe
establishedanewlevelofpianoconcertowriting;theseconcertosareatoncesymphonic,melodically
rich,andorchestrallyingenious,andtheyalsoblendthevirtuosoelementeffectivelyintothemusical
andformaltextureofthework.Muchmelodicmaterialisassignedtothewindinstruments,anda
uniquemelodicstyleisdevelopedthatlendsitselftopatternsofdialogueandinstrumentalinterplay.
Aftertherelativelyhomogeneous1784group(K449,450,451,453,456,and459),allofwhichbegin
withthemesstatedfirstbytheorchestraandlatertakenupbythepiano,Mozartmovedoninthe
concertosof1785(K466,467,and482)tomakethepianosoloareinterpretationoftheopeningtheme.
TheseconcertosareincreasinglyindividualincharacteroneastormyandromanticDMinorwork,the
nextacloselyarguedconcertoinCMajorwithaslowmovementremarkableforitstroubledbeauty,and
thethird,inEflatMajor,notableforitsmilitaryrhythmsandwindcolouring.The1786groupbegins
withtherefinedbutconservativelylyricalK488,butthenfollowtwoconcertoswithanewlevelof
symphonicunityandgrandeur,thatinCMinor(K491),usingthelargestorchestraMozarthadyetcalled
forintheconcerthall,andtheimperiousconcertoinCMajor(K503).Thetwofinalconcertos(K537and
595)representnonewdepartures.
Mozartsotherimportantcontributionsofthistimecomeinthefieldsofchamberandpianomusic.The
outpouringof1784includedthefinepianosonataK457andthepianoandviolinsonataK454(written
foravisitingviolinvirtuoso,itwasproducedinsuchhastethatMozartcouldnotwriteoutthepiano
partandplayedfromblankpaperatthepremiere).Healsowrote,inastyleclosetothatofthe
concertos,aquintetforpianoandwindinstruments(K452),whichheconsideredhisfinestworkto
date;itwasfirstheardataconcertinthehouseofhispupilBarbaraPloyer,forwhomtwoofthe1784
concertoshadbeenwritten(K449and453).Thesixstringquartetsonwhichhehadembarkedin1782
werefinishedinthefirstdaysof1785andpublishedlaterthatyear,dedicatedtoHaydn,nowafriendof
Mozarts.In1785HaydnsaidtoLeopoldMozart,onavisittohissoninVienna,Yoursonisthegreatest
composerknowntomeinpersonorbyname;hehastaste,andwhatismorethegreatestknowledgeof
composition.ItwasduringLeopoldsvisitthatMozartperformedhisDMinorconcerto(K466),whichis
markedbyaparticularlywillfulpianopartthatresistsconformitymoreinsistentlythaninanyother
Mozartconcerto;smallwonderthatMozartwouldreturntoDMinortosethismostintransigent
operaticheroDonGiovanniandthatthiswouldbeBeethovensfavouriteamongMozartsconcertos.
FromFigarotoDonGiovanni
Inspiteofhissuccessasapianistandcomposer,Mozarthadseriousfinancialworries,andthey
worsenedasthefamouslyfickleViennesefoundotheridols.Onemaycalculatehislikelyincomeduring

hislastfiveyears,178691,asbeingfarlargerthanthatofmostmusiciansthoughmuchbelowthatof
thesectionofsocietywithwhichhewantedtobeassociated;Leopoldsearlyadvicetobealoof(likean
Englishman)withhisfellowmusiciansbutfriendlywiththearistocracyhaditsprice.Hissenseofbeing
asgoodamanasanyprivilegednoblemanledhimandhiswifeintotastesthatforhisactualstationin
life,andhisincome,wereextravagant.Hesawacourtappointmentasapossiblesourceofsalvationbut
knewthattheItalianmusicalinfluenceatcourt,undertheKapellmeisterAntonioSalieri,waspowerful
andexclusiveevenifheandSalieriwereneveronlessthanfriendlytermspersonally.
FigaroreachedthestageonMay1,1786,andwaswarmlyreceived.Therewerenineperformancesin
1786andafurther26whenitwasrevivedin178990asuccess,butamodestonecomparedwith
certainoperasofMartnySolerandGiovanniPaisiello(towhoseIlbarbierediSivigliaitwasasequel,
andplannedindirectcompetition).Theoperadid,however,enjoyoutstandingpopularityinPrague,and
attheendoftheyearMozartwasinvitedtogototheBohemiancapital;hewentinJanuary1787and
gaveanewsymphonythere,thePrague(K504),ademandingworkthatreflectshisadmirationforthe
capabilitiesofthatcitysmusicians.AfteracceptingafurtheroperaticcommissionforPrague,he
returnedtoViennainFebruary1787.
MozartsconcertactivitiesinViennawerenowonamodestscale.NoVienneseappearancesatallare
recordedfor1787.InAprilheheardthathisfatherwasgravelyill.Mozartwrotehimaletterof
consolationputtingforwardaviewofdeath(thisbestandtruestfriendofmankind)basedonthe
teachingsofFreemasonry,whichhehadembracedattheendof1784.LeopolddiedinMay1787.
MozartsmusicfromthistimeincludesthetwostringquintetsK515516,arguablyhissupreme
chamberworks.Clearlythisgenre,withtheopportunitiesitofferedforrichnessofsonorityandpatterns
ofsymmetry,hadaparticularappealforhim.ThequintetinCMajor(K515)isthemostexpansiveand
mostrichlydevelopedofallhischamberworks,whiletheGMinor(K516)hasalwaysbeenrecognized
foritsdepthoffeeling,whichinthecircumstancesitistemptingtoregardaselegiac.Fromthisperiod
comeanumberofshortbutappealingliederandthreeinstrumentalworksofnote:theMusikalischer
Spass(MusicalJoke),agoodhumouredparodyofbadmusic,inaveinLeopoldwouldhaveliked(itwas
thoughttohavebeenprovokedbyhisdeathuntilitwasfoundthatitwasbegunmuchearlier);Eine
kleineNachtmusik,theexquisiteandmuchlovedserenade,probablyintendedforsolostringsand
writtenforapurposethatremainsunknown(thoughithasbeenspeculatedthatitwasperformed
duringthemusicalgatheringshostedbyGottfriedvonJacquin);andafinepianoandviolinsonata,K
526.
Mozart,WolfgangAmadeus:DonGiovanniButMozartschiefoccupationduring1787wasthe
compositionofDonGiovanni,commissionedforproductioninPrague;itwasgivenonOctober29and
warmlyreceived.DonGiovanniwasMozartssecondoperabasedonalibrettobyDaPonte,whoused
ashismodelalibrettobyGiovanniBertati,setbyGiuseppeGazzanigaforVeniceearlierin1787.Da
Ponterewrotethelibretto,insertingnewepisodesintotheoneactoriginal,whichexplainscertain
structuralfeatures.AdifferenceinMozartsapproachtotheworkadrammagiocosointhetraditionof
CarloGoldonithat,becauseofitsmoreserioustreatmentofcharacter,hadagreaterexpressive
potentialthananoperabuffaisseenintheextendedspansofthescore,withsetpiecenumbersoften

runningintooneanother.AsinFigaro,thetwoactfinalesareagainremarkable:thefirstforthethree
stagebandsthatplaydancesfordifferentsocialsegmentsasuggestedsocialcompatibilitythatis
shatteredbytheDonsattemptedrapeofthepeasantZerlinathesecondforthesupperscenein
whichthecommendatoresstatueconsignsGiovannitodamnation,withtrombonestosuggestthe
supernaturalandwithhieraticdottedrhythms,extremechromaticism,andwildlylurchingharmonyas
Giovanniisovercome.Butitremainsacomicopera,asismadeclearthroughthefigureofLeporello,
whofromunderatableoffersthecommonmanswryorfacetiousobservations;andattheendthe
survivingcharactersdrawthemoralinacheerfulsextetthathasseemedjarringtolatersensibilities
morereadytoidentifywiththerebelliousGiovannithanwiththerestorationofsocialorderthatthe
sextetcelebrates.Thedemoniccharacteroftheoperahascausedittoexerciseaspecialfascination
foraudiences,andithasgivenrisetoalargecritical,interpretative,andsometimespurelyfanciful
literature.
Thelasttravels
OnhisreturnfromPragueinmidNovember1787,Mozartwasatlastappointedtoacourtpost,as
Kammermusicus,inplaceofGluck,whohaddied.Itwaslargelyasinecure,theonlyrequirementbeing
thatheshouldsupplydancemusicforcourtballs,whichhedid,inabundanceandwithsomedistinction,
overhisremainingyears.Thesalaryof800guldenseemstohavedonelittletorelievetheMozarts
chronicfinancialtroubles.Theirdebts,however,wereneverlarge,andtheywerealwaysableto
continueemployingservantsandowningacarriage;theiranxietiesweremoreamatterofwhetherthey
couldliveastheywishedthanwhethertheywouldstarve.In1788aseriesoflettersbeggingloansfrom
afellowFreemason,MichaelPuchberg,began;Puchbergusuallyobliged,andMozartseemsgenerallyto
haverepaidhimpromptly.Hewasdeeplydepressedduringthesummer,writingofblackthoughts;it
hasbeensuggestedthathemayhavehadacyclothymicpersonality,linkedwithmanicdepressive
tendencies,whichcouldexplainnotonlyhisdepressionbutalsootheraspectsofhisbehaviour,
includinghisspellsofhecticcreativity.
Mozart,SymphonyNo.39inEflatMajor,K543DuringthetimeofthisdepressionMozartwasworking
onaseriesofthreesymphonies,inEflatMajor(K543),GMinor(K550),andCMajor(theJupiter,K
551),usuallynumbered39,40,and41;these,withtheworkwrittenforPrague(K504),representthe
summaofhisorchestraloutput.Itisnotknownwhytheywerecomposed;possiblyMozarthada
summerconcertseasoninmind.ThePragueworkwasaclimaxtohislongseriesofbrilliantDMajor
orchestralpieces,butthecloselyworked,evenmotivicformgivesitanewpowerandunity,adding
particularforcetoitsfrequentlydarktone.TheEflatMajorwork,scoredwithclarinetsandmorelyrical
intemper,makesfewerdepartures,exceptintheintensityofitsslowmovement,whereMozartuseda
newpaletteofdarkerorchestralcolours,andtheepigrammaticwitofitsfinale.IntheGMinorworkthe
toneofpassionandperhapsofpathos,initsconstantfallingfigures,isstillmorepronounced.The
Jupiter(thenamedatesfromtheearly19thcentury)summarizedtheseriesofCMajorsymphonies,
withtheiratmosphereofmilitarypompandceremony,butitwentfarbeyondtheminitsassimilationof
operabuffastyle,profundityofexpression(initsandante),andrichnessofworkingespeciallyinthe
finale,whichincorporatesfugalproceduresandendswithagrandapotheosisinfivevoicefugal
counterpoint.

Earlyin1789MozartacceptedaninvitationtotraveltoBerlinwithPrinceKarlLichnowsky;theypaused
inPrague,Dresden(whereheplayedatcourt),andLeipzig(whereheimprovisedontheThomaskirche
organ).HeappearedatthePrussiancourtandprobablywasinvitedtocomposepianosonatasforthe
princessandstringquartetswithaprominentcellopartforKingFriedrichWilhelmII.Hedidinfactwrite
threequartets,inpartsofwhichheallowedtheindividualinstruments(includingtheroyalcello)special
prominence,andthereisonesonata(hislast,K576)thatmayhavebeenintendedforthePrussian
princess.ButitisunlikelythatMozarteversentthismusicorwaspaidforit.
Mozart,ConcertoforClarinetinAMajor,K622Thesummersawthecompositionoftheclarinetquintet,
inwhichatruechamberstyleiswarmlyandgracefullyreconciledwiththesolowriting.Thereafter
Mozartconcentratedoncompletinghisnextoperacommission,thethirdofhisDaPonteoperas,Cos
fantutte,whichwasgivenonJanuary26,1790;itsrunwasinterruptedafterfiveperformanceswhen
theatresclosedbecauseofthedeathofJosephII,butafurtherfiveweregiveninthesummer.This
opera,thesubtlest,mostconsistent,andmostsymmetricalofthethree,waslongreviled(from
Beethovenonward)onaccountofitssubject,femalefickleness;butamorecarefulreadingofit,
especiallyinlightoftheemotionaltextureofthemusic,whichgainscomplexityastheplotprogresses,
makesitclearthatitisnofrivolouspiecebutapenetratingessayonhumanfeelingsandtheirmature
recognition.ThemusicofAct1isessentiallyconventionalinexpression,andconventionalfeelingis
tellinglyparodiedincertainofthearias;buttheariasofAct2areonadeeperandmorepersonallevel.
FeaturesofthemusicofCosfantutteserenity,restraint,poise,ironymaybenotedasmarkersof
Mozartslatestyle,whichhaddevelopedsince1787andmaybelinkedwithhispersonaldevelopment
andthecircumstancesofhislife,includinghisMasonicassociations,hisprofessionalandfinancial
situation,andhismarriage.
Theyear1790wasdifficultandunproductive:besidesCosfantutte,Mozartcompletedtwoofthe
Prussianquartets,arrangedworksbyHandelforperformanceatvanSwietenshouse(hehadsimilarly
arrangedMessiahin1789),andwrotethefirstofhistwofantasylikepieces,inavarietyofpreludeand
fugueform,foramechanicalorgan(thisimposingwork,inFMinor[K594],isnowgenerallyplayedona
normalorgan).Intheautumn,anxioustobenoticedincourtcircles,hewenttoFrankfurtforthe
imperialcoronationofLeopoldII,butasanindividualratherthanacourtmusician.Hisconcert,which
includedtwopianoconcertosandpossiblyoneofthenewsymphonies,wasilltimed,poorlyattended,
andafinancialfailure.Anxietiesaboutmoneywerearecurrentthemeinhislettershome.
Thelastyear
But1791promisedtobeabetteryear.Musicwasflowingagain:foraconcertinMarchMozart
completedapianoconcerto(K595)begunsomeyearsbefore,reeledoffnumerousdancesforthe
Redoutensaal,andwrotetwonewstringquintets,theoneinD(K593)beingaworkofparticular
refinementandsubtlety.InAprilheappliedsuccessfullyfortheroleofunpaidassistanttotheelderly
KapellmeisterofSt.StephensCathedral,LeopoldHofmann(withtheexpectationofbeingduly
appointedhissuccessor,butHofmannwastoliveuntil1793).

Mozart,DieZauberflte(TheMagicFlute)AnoldfriendofMozarts,EmanuelSchikaneder,hadin1789
setupacompanytoperformsingspielsinasuburbantheatre,andin1791heengagedMozartto
composeascoretohisDieZauberflte(TheMagicFlute);Mozartworkedonitduringthespringand
earlysummer.Thenhereceivedanothercommission,anonymouslydelivered,forarequiem,tobe
composedunderconditionsofsecrecy.Inadditionhewasinvited,probablyinJuly,towritetheoperato
begivenduringLeopoldIIscoronationfestivitiesinSeptember.Constanzewasawaytakingacureat
Badenduringmuchofthesummerandautumn;inJulyshegavebirthtotheirsixthchild,oneofthetwo
tosurvive(CarlThomas,17841858,andFranzXaverWolfgang,17911844,acomposerandpianist).
MozartsletterstohershowthatheworkedfirstonDieZauberflte,althoughhemusthavewritten
someofthePragueopera,LaclemenzadiTito(TheClemencyofTitus),beforeheleftforthe
BohemiancapitalneartheendofAugust.Pressureofwork,however,wassuchthathetookwithhimto
Prague,alongwithConstanze,hispupilFranzXaverSssmayr,whoalmostcertainlycomposedtheplain
recitativesforthenewopera.Theworkitself,toanoldlibrettobyPietroMetastasio,condensedand
supplementedbytheDresdencourtpoetCaterinoMazzol,waslongdismissedasaproductofhaste
andacommissionunwillinglyundertaken;butinfactthesparescoring,theshortarias,andthegenerally
restrainedstylearebetterunderstoodintermsofMozartsreactiontotheneoclassicalthinkingofthe
timeandtheknownpreferencesofLeopoldII.Theoperawasindifferentlyreceivedbythecourtbut
quicklywonoverthePragueaudiencesandwentontobecomeoneofMozartsmostadmiredworks
overtheensuingdecades.
MozartwasbackinViennabythemiddleofSeptember;hisclarinetconcertowasfinishedbySeptember
29,andthenextdayDieZauberfltehaditspremiere.Again,earlyreactionswerecautious,butsoon
theoperabecamethemostlovedofallofMozartsworksforthestage.Schikanedertookitsplotfroma
collectionoffairytalesbyChristophMartinWielandbutdrewtooonotherliterarysourcesandon
currentthinkingaboutFreemasonryallviewedinthecontextofViennesepopulartheatre.Musicallyit
isdistinguishedfromcontemporarysingspielsnotmerelybythequalityofitsmusicbutalsobythe
seriousideasthatliebelowwhatmayseemtobemerelychildishpantomimeorlowcomedy,welding
togetherthestylisticallydiverseelements.
Mozart,WolfgangAmadeus:RequieminDMinor,K626MozarthadbeenillduringtheweeksinPrague,
buttojudgebyhisletterstoConstanzeinOctoberhewasingoodspiritsand,withsomecause,more
optimisticaboutthefuture.HewroteaMasoniccantataforhislodgeanddirectedaperformanceofit
onNovember18.Hewasalsoworkingsteadilyonthecommissionedrequiem.LaterinNovemberhe
wasillandconfinedtobed;someapparentimprovementonDecember3wasnotsustained,andon
December5hedied.Severemiliaryfeverwasthecertifiedcause;later,rheumaticinflammatory
feverwasnamed.Otherdiagnoses,takingaccountofMozartsmedicalhistory,havebeenputforward,
includingSchnleinHenochsyndrome.Thereisnoevidencetosupportthetalethathewaspoisoned
bySalieri(acolleagueandfriend,hardlyarealrival)oranyoneelse.Hewasburiedinamultiplegrave,
standardatthetimeinViennaforapersonofhissocialandfinancialsituation;asmallgroupoffriends
attendedthefuneral.
ConstanzeMozartwasanxioustohavetherequiemcompleted,asafeewasdue;ithadbeen
commissioned,inmemoryofhiswife,byCountvonWalseggStuppachtopassoffashisown.She

handeditfirsttoJosephEybler,whosuppliedsomeorchestrationbutwasreluctanttodomore,and
thentoSssmayr,whoproducedacompleteversion,writingseveralmovementshimselfthough
possiblybasingthemonMozartssketchesorinstructions.Subjecttocriticismforitsegregioustechnical
andexpressiveweaknesses(particularlyglaringintheSanctus/Benedictus),thishasnevertheless
remainedthestandardversionofthework,ifonlybecauseofitsfamiliarity.Thesombregrandeurofthe
work,withitsrestrainedinstrumentalcolouringanditsnoblechoralwriting,hintsatwhatmighthave
beenhadMozartlivedtotakeontheKapellmeistershipofSt.Stephens.
Mozartsplace
AtthetimeofhisdeathMozartwaswidelyregardednotonlyasthegreatestcomposerofthetimebut
alsoasaboldanddifficultone;DonGiovanniespeciallywasseenascomplexanddissonant,andhis
chambermusicascallingforoutstandingskillinitsinterpreters.Hissurvivingmanuscripts,which
includedmanyunpublishedworks,weremostlysoldbyConstanzetothefirmofAndrinOffenbach,
whichissuededitionsduringthe19thcentury.ButMozartsreputationwassuchthatevenbeforethe
endofthe18thcenturytwofirmshadembarkedonsubstantialcollectededitionsofhismusic.
Importantbiographiesappearedin1798and1828,thelatterbyConstanzessecondhusband;thefirst
scholarlybiography,byOttoJahn,wasissuedonMozartscentenaryin1856.Thefirsteditionofthe
Kchelcatalogfollowedsixyearslater,andthefirstcompleteeditionofhismusicbeganin1877.
Theworksmostsecureintherepertoryduringthe19thcenturywerethethreeoperasleastsusceptible
tochangesinpublictasteLenozzediFigaro,DonGiovanni,andDieZauberflteandtheorchestral
worksclosestinspirittotheRomanticeratheminorkeypianoconcertos(Beethovenwroteasetof
cadenzasfortheoneinDMinor)andthelastthreesymphonies.Itwasonlyinthe20thcenturythat
Mozartsmusicbegantobereexaminedmorebroadly.AlthoughuptothemiddleofthecenturyMozart
wasstillwidelyregardedashavingbeensurpassedinmostrespectsbyBeethoven,withtheincreased
historicalperspectiveofthelater20thcenturyhecametobeseenasanartistofaformidable,indeed
perhapsunequaled,expressiverange.Thetraditionalimageofthechildprodigyturnedrefineddrawing
roomcomposer,whocouldmiraculouslyconceiveanentireworkinhisheadbeforesettingpentopaper
(alwaysadistortionofthetruth),gavewaytotheimageoftheseriousandpainstakingcreativeartist
withacutehumaninsight,whosecomplexpsychologydemandedexplorationbywriters,historians,and
scholars.The1980playAmadeus(writtenbyPeterShaffer)andespeciallyitsfilmversionof1984
(directedbyMiloForman),althoughtheydidmuchtopromoteinterestinMozart,reinforcedcertain
mythsi.e.,thatevenasanadultMozartremainedaninappropriatelychildishvesselfordivinely
inspiredmusicandthathisprematuredeathwasbroughtaboutbySalieri.Yeteveninthisindulgent
appropriationofMozartslegacy,hisfullbloodedhumanityattimesemergeswithhauntingvividness.