Wolfgang Amadeus Mozart is one of classical music’s most beloved composers and most recognizable names. Mozart was born on January 27th, 1756 in Salzburg, now a part of Austria, but at the time located within the Holy Roman Empire. His father Leopold, a deputy Kapellmeister of the court orchestra and a composer himself, took it upon himself to see to young Wolfgang’s education, instructing his son, not only in music, but in languages and academic subjects as well. Beginning in 1762, the Mozart family began to make several trips across the European continent, beginning with an exhibition at the court of Prince-elector Maximillian III of Bavaria in Munich. Leopold proudly showcased young Wolfgang and his older sister, Maria Anna, as child prodigies. A lengthy concert tour, spanning three and a half years, then followed, taking Mozart and his family to Mannheim, London, The Hague, Zurich, to Paris twice, and back again to Munich. The voyage, though arduous and twice threatened by near-fatal illness, nevertheless afforded Wolfgang an opportunity to meet prominent musicians of the day, including Johann Christian Bach in London, and to experience the music of other composers.
ITALY
After visiting Vienna in 1767-68, Leopold and Wolfgang travelled to Italy in 1769. In Bologna, he met G.B. Martini, a prominent composer and theorist. In Rome, Mozart famously wrote out Gregorio Allegri’s Miserere after hearing it performed twice in the Sistine Chapel. Allegri’s Miserere had long been a closely guarded secret of the Vatican, forbidden to be transcribed and never performed outside of the Sistine Chapel. Only three authorized copies had ever been made of the work, of which one was, ironically, in the possession of Martini.
Three months after making his illicit transcription, Mozart was summoned before Pope Clement XIV. However, the Pope did not excommunicate him, but instead praised his musical genius, and awarded Mozart the Chivalric Order of the Golden Spur. In 1770, Mozart composed and premiered the opera Mitridate, re di Ponto in Milan to much success. This led to further opera commissions and two more trips to Milan, one in 1771 and another in 1772-73. However, to the disappointment of his father, neither of these trips led to professional appointments for Mozart.
ADDITIONAL TRAVELS
After his return from Italy, Mozart was employed as a court musician in his native Salzburg. The position allowed Mozart ample opportunity to explore many different musical genres, particularly violin and piano concerti. However, Mozart yearned to compose operas and there were scant opportunities for such in Salzburg. It wasn’t long before Mozart began looking for opportunities elsewhere. With his father, Mozart made two lengthy, yet unsuccessful, trips to Vienna and Munich in an effort to find employment. In 1777, Mozart resigned from his position in Salzburg and set out again to seek his fortunes elsewhere, visiting Augsburg, Mannheim, Paris, and again Munich. The expedition, like the last, was unsuccessful. While Mozart chased fleeting prospects, his father worked to find him better employment in Salzburg. With no hope of employment elsewhere, Mozart reluctantly accepted a new appointment in Salzburg. Mozart’s discontentment, however, was undiminished and mounting tensions with his employer would in time motivate Mozart to abandon once again his hometown.
In March 1781, following the success of Idomeneo, Mozart was summoned to Vienna where his employer, Archbishop Colloredo, was attending the festivities for the accession of Joseph II to the Austrian throne. Mozart saw this as an opportunity to gain the attention of the soon-to-be emperor, and he immediately sought opportunities for performance. Most of these, however, were thwarted by Colloredo, including a chance to perform before the Emperor for a fee equivalent to half his yearly salary in Salzburg. Mozart was rightfully indignant at his employer, and in May attempted to resign from the Archbishop’s service. His resignation was at first refused. To make matters worse, Mozart’s father sided with the Archbishop and pleaded for his son to reconcile and return to Salzburg. Nevertheless, Mozart persisted, and the following month was quite literally given the boot. Free from both the Archbishop and his father, Mozart remained in Vienna as a freelance composer and performer.
EARLY YEARS
Mozart's early years in Vienna were quite successful. He frequently performed on the piano, including a famous competition before the Emperor with Muzio Clementi, and he soon earned the title of the "finest keyboard player in Vienna." His opera Die Entführung aus dem Serail ("The Abduction from the Seraglio") was premiered with much success and fully established Mozart's reputation as a first-rate composer. Between 1782 and 1785, Mozart gave numerous concerts, presenting three or four new piano concerti, with himself as soloist, every season. Given in unusual venues, such as a large room in an apartment building and the ballroom of a restaurant, these concerts were quite popular. The proceeds, combined with the success of his music abroad, allowed Mozart and his wife, Constanze, to adopt a comfortable, lavish lifestyle.
Following the success of his piano concerti, Mozart returned to opera in 1786 and began his famous collaboration with the librettist Lorenzo Da Ponte. The next two years saw the production of two successful operas, which remain today staples of the repertoire: The Marriage of Figaro and Don Giovanni. Both premiered to much success, though Don Giovanni was somewhat less enthusiastically received by Viennese audiences. In December 1787, Mozart also finally secured a steady post. Following the death of Christoph Gluck, Emperor Joseph II appointed Mozart as his “chamber composer.” The duties were light—Mozart was only required to compose dances for the annual balls held at the imperial palace—and the pay was a much-welcomed relief when he fell on hard times.
FINALE
Despite these successes, Mozart’s circumstances were gradually declining in the late 1780s. He was appearing less frequently in public as a performer and his income consequently shrank. Furthermore, Viennese musicians in general struggled during this time due to Austria’s conflict with the Ottoman Empire. Mozart made several trips during 1789-90, to Berlin, Leipzig and other German cities, but was awarded with only fleeting, isolated moments of success. None brought any relief to his financial woes and Mozart was forced to borrow money from his friends.
However, in 1791, Mozart's last year, things began to finally look up. Until his final illness, the year was marked by great productivity. In quick succession came two operas, The Magic Flute and La clemenza di Tito, the final piano concerto, the Clarinet Concerto, the last string quintet, the motet Ave verum corpus, and the unfinished Requiem. Mozart’s finances were also beginning to improve, and he even began repaying his debts.
Mozart fell ill in September while in Prague for the premiere of La clemenza di Tito. He continued to work despite his failing health, and even conducted the premiere of The Magic Flute later that month. On November 20th, Mozart’s health took a dramatic turn for the worst and he became bedridden. An hour past midnight on December 5th Mozart passed away. According to Viennese custom at the time, Mozart was unceremoniously buried on the December 7th in a common grave at St. Marx cemetery, purportedly with no mourners present. However, this modest funeral is not an adequate portrayal of the sympathy of the Viennese public following the composer’s death. Memorial services and concerts were held in Vienna and Prague, and a sudden new enthusiasm emerged for his music from both the public and publishers alike.
Notable Works:
- Die Entführung aus dem Serail (The Abduction for the Seraglio), K.384
- The Magic Flute, K.620
- Don Giovanni, K.527
- Le nozze di Figaro (The Marriage of Figaro), K.492
- Piano Sonata No. 11 in A, K.331 – 3rd Movement: Rondo alla turca
- Piano Sonata No. 16 in C, K.545
- Symphony No. 38 in D, K.504 (“Prague”)
- Symphony No. 40 in G minor, K.550
- Symphony No. 41 in C, K.551 (“Jupiter”)
- Piano Concerto No. 21 in C, K.467 (“Elvira Madigan”)
- Piano Concerto No. 27 in B-flat, K.595
- Sinfonia concertante in E-flat for Violin and Viola, K.364
- Clarinet Concerto in A, K.622
- Serenade for Winds in B-flat, K.361 (“Gran Partita”)
- Serenade in G, K.525 (“Eine kleine nachtmusik”)
- String Quartet No. 9 in C, K.465 (“Dissonant”)
- Clarinet Quintet in A (“Stadler”), K.581
- Requiem in D minor, K.626
- Ave verum corpus, K.618