Mozart circa 1780, by Johann Nepomuk della Croce.

Mozart's signature.

Wolfgang Amadeus Mozart (German: [ˈvɔlfɡaŋ amaˈdeus ˈmoːtsaʁt], English see fn.),^[1] baptismal name Johannes Chrysostomus Wolfgangus Theophilus Mozart^[2] (27 January 1756 – 5 December 1791), was a prolific and influential composer of the Classical era. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers.

Mozart showed prodigious ability from his earliest childhood in Salzburg. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, he was engaged as a court musician in Salzburg, but grew restless and travelled in search of a better position, always composing abundantly. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons.

Mozart learned voraciously from others, and developed a brilliance and maturity of style that encompassed the light and graceful along with the dark and passionate. His influence on subsequent Western art music is profound. Beethoven wrote his own early compositions in the shadow of Mozart, and Joseph Haydn wrote that "posterity will not see such a talent again in 100 years."^[3]

Biography[link]

Mozart's birthplace at Getreidegasse 9, Salzburg, Austria.

Family and early years[link]

Wolfgang Amadeus Mozart was born to Leopold and Anna Maria Mozart at 9 Getreidegasse in Salzburg, capital of the sovereign Archbishopric of Salzburg in what is now Austria, but then was part of the Holy Roman Empire. His only sibling to survive infancy was his elder sister Maria Anna (1751–1829), nicknamed "Nannerl". Mozart was baptized the day after his birth at St. Rupert's Cathedral. The baptismal record gives his name in Latinized form as Joannes Chrysostomus Wolfgangus Theophilus Mozart. He generally called himself "Wolfgang Amadè Mozart"^[4] as an adult, but there were many variants.

His father (1719–1787) was from Augsburg. A minor composer and an experienced teacher, he was deputy Kapellmeister to the court orchestra of the Archbishop of Salzburg. In the year of Mozart's birth, his father published a violin textbook, Versuch einer gründlichen Violinschule, which achieved success.

Anonymous portrait of the child Mozart, possibly by Pietro Antonio Lorenzoni; painted in 1763 on commission from Leopold Mozart

When Nannerl was seven, she began keyboard lessons with her father while her three-year-old brother looked on. Years later, after her brother's death, she reminisced:

He often spent much time at the clavier, picking out thirds, which he was ever striking, and his pleasure showed that it sounded good. [...] In the fourth year of his age his father, for a game as it were, began to teach him a few minuets and pieces at the clavier. [...] He could play it faultlessly and with the greatest delicacy, and keeping exactly in time. [...] At the age of five, he was already composing little pieces, which he played to his father who wrote them down.^[5]

These early pieces, K. 1–5, were recorded in the Nannerl Notenbuch.

Biographer Maynard Solomon^[6] notes that, while Mozart's father was a devoted teacher to his children, there is evidence that Mozart was keen to progress beyond what he was taught. His first ink-spattered composition and his precocious efforts with the violin were of his own initiative and came as a surprise to his father.^[7] Mozart's father eventually gave up composing when his son's musical talents became evident.^[8] In his early years, Mozart's father was his only teacher. Along with music, he also taught his children languages and academic subjects.^[6]

The Mozart family on tour: Leopold, Wolfgang, and Nannerl. Watercolor by Carmontelle, ca. 1763^[9]

1762–1773: Years of travel[link]

During Mozart's youth, his family made several European journeys in which he and Nannerl performed as child prodigies. These began with an exhibition, in 1762, at the court of the Prince-elector Maximilian III of Bavaria in Munich, and at the Imperial Court in Vienna and Prague. A long concert tour spanning three and a half years followed, taking the family to the courts of Munich, Mannheim, Paris, London, The Hague, again to Paris, and back home via Zurich, Donaueschingen, and Munich.

During this trip, Mozart met a great number of musicians and acquainted himself with the works of other composers. A particularly important influence was Johann Christian Bach, whom Mozart visited in London in 1764 and 1765. The family again went to Vienna in late 1767 and remained there until December 1768. In 1767, during this period, Mozart composed the Latin drama Apollo et Hyacinthus first performed in Salzburg University.

These trips were often difficult and travel conditions were primitive.^[10] The family had to wait for invitations and reimbursement from the nobility and they endured long, near-fatal illnesses far from home: first Leopold (London, summer 1764)^[11] then both children (The Hague, autumn 1765).^[12]

After one year in Salzburg, father and son set off for Italy, leaving Mozart's mother and sister at home. This travel lasted from December 1769 to March 1771. As with earlier journeys, Mozart's father wanted to display his son's abilities as a performer and a rapidly maturing composer. Mozart met G. B. Martini, in Bologna, and was accepted as a member of the famous Accademia Filarmonica. In Rome, he heard Gregorio Allegri's Miserere twice in performance in the Sistine Chapel and wrote it out from memory, thus producing the first unauthorized copy of this closely guarded property of the Vatican.^[13][14]

In Milan, Mozart wrote the opera Mitridate, re di Ponto (1770), which was performed with success. This led to further opera commissions. He returned with his father later twice to Milan (August–December 1771; October 1772 – March 1773) for the composition and premieres of Ascanio in Alba (1771) and Lucio Silla (1772). Mozart's father hoped these visits would result in a professional appointment for his son in Italy, but these hopes were never realized.^[15]

Toward the end of the final Italian journey, Mozart wrote the first of his works to be still widely performed today, the solo motet Exsultate, jubilate, K. 165.

1773–1777: The Salzburg court[link]

After finally returning with his father from Italy on 13 March 1773, Mozart was employed as a court musician by the ruler of Salzburg, Prince-Archbishop Hieronymus Colloredo. The composer had a great number of friends and admirers in Salzburg^[16] and had the opportunity to work in many genres, composing symphonies, sonatas, string quartets, serenades, and a few minor operas. Between April and December 1775, Mozart developed an enthusiasm for violin concertos, producing a series of five (the only ones he ever wrote), which steadily increased in their musical sophistication. The last three — K. 216, K. 218, K. 219 — are now staples of the repertoire. In 1776 he turned his efforts to piano concertos, culminating in the E-flat concerto K. 271 of early 1777, considered by critics to be a breakthrough work.^[17]

Despite these artistic successes, Mozart grew increasingly discontented with Salzburg and redoubled his efforts to find a position elsewhere. One reason was his low salary, 150 florins a year;^[18] Mozart also longed to compose operas, and Salzburg provided only rare occasions for these. The situation worsened in 1775 when the court theater was closed, especially since the other theater in Salzburg was largely reserved for visiting troupes.^[19]

Two long expeditions in search of work interrupted this long Salzburg stay: Mozart and his father visited Vienna from 14 July to 26 September 1773, and Munich from 6 December 1774 to March 1775. Neither visit was successful, though the Munich journey resulted in a popular success with the premiere of Mozart's opera La finta giardiniera.^[20]

1777–1778: The Paris journey[link]

Circa 1777; Portrait of Mozart wearing the Order of the Golden Spur, received in 1770 from Pope Clement XIV in Rome.^[21]

In August 1777, Mozart resigned his Salzburg position^[22] and, on September 23, ventured out once more in search of employment, with visits to Augsburg, Mannheim, Paris, and Munich.^[23]

Mozart became acquainted with members of the famous orchestra in Mannheim, the best in Europe at the time. He also fell in love with Aloysia Weber, one of four daughters in a musical family. There were prospects of employment in Mannheim, but they came to nothing, and Mozart left for Paris on 14 March 1778^[24] to continue his search. One of his letters from Paris hints at a possible post as an organist at Versailles, but Mozart was not interested in such an appointment.^[25] He fell into debt and took to pawning valuables.^[26] The nadir of the visit occurred when Mozart's mother took ill and died on 3 July 1778.^[27] There had been delays in calling a doctor — probably, according to Halliwell, because of a lack of funds.^[28]

While Mozart was in Paris, his father was pursuing opportunities for his son back in Salzburg.^[29] With the support of local nobility, Mozart was offered a post as court organist and concertmaster. The yearly salary was 450 florins,^[30] but he was reluctant to accept.^[31] After leaving Paris on in September 1778, he tarried in Mannheim and Munich, still hoping to obtain an appointment outside Salzburg. In Munich, he again encountered Aloysia, now a very successful singer, but she was no longer interested in him.^[32] Mozart finally reached home on 15 January 1779 and took up the new position, but his discontent with Salzburg was undiminished.

Among the better known works that Mozart wrote on the Paris journey are the A minor piano sonata K. 310/300d and the "Paris" Symphony (no. 31); these were performed in Paris on 12 and 18 June 1778.^[33]

The Mozart family circa 1780. The portrait on the wall is of Mozart's mother.

1781: Departure to Vienna[link]

In January 1781, Mozart's opera Idomeneo premiered with "considerable success" in Munich.^[34] The following March the composer was summoned to Vienna, where his employer, Archbishop Colloredo, was attending the celebrations for the accession of Joseph II to the Austrian throne. Mozart, fresh from the adulation he had earned in Munich, was offended when Colloredo treated him as a mere servant and particularly when the archbishop forbade him to perform before the Emperor at Countess Thun's for a fee equal to half of his yearly Salzburg salary. The resulting quarrel came to a head in May: Mozart attempted to resign and was refused. The following month, permission was granted but in a grossly insulting way: the composer was dismissed literally "with a kick in the arse", administered by the archbishop's steward, Count Arco. Mozart decided to settle in Vienna as a freelance performer and composer.^[35]

The quarrel with the archbishop went harder for Mozart because his father sided against him. Hoping fervently that he would obediently follow Colloredo back to Salzburg, Mozart's father exchanged intense letters with his son, urging him to be reconciled with their employer. Mozart passionately defended his intention to pursue an independent career in Vienna. The debate ended when Mozart was dismissed by the archbishop, freeing himself both of his employer and his father's demands to return. Solomon characterizes Mozart's resignation as a "revolutionary step", and it greatly altered the course of his life.^[36]

Early Vienna years[link]

Mozart's new career in Vienna began well. He performed often as a pianist, notably in a competition before the Emperor with Muzio Clementi on 24 December 1781,^[35] and he soon "had established himself as the finest keyboard player in Vienna".^[35] He also prospered as a composer, and in 1782 completed the opera Die Entführung aus dem Serail ("The Abduction from the Seraglio"), which premiered on 16 July 1782 and achieved a huge success. The work was soon being performed "throughout German-speaking Europe",^[35] and fully established Mozart's reputation as a composer.

1782 portrait of Constanze Mozart by her brother-in-law Joseph Lange.

Near the height of his quarrels with Colloredo, Mozart moved in with the Weber family, who had moved to Vienna from Mannheim. The father, Fridolin, had died, and the Webers were now taking in lodgers to make ends meet.^[37] Aloysia, who had earlier rejected Mozart's suit, was now married to the actor and artist Joseph Lange. Mozart's interest shifted to the third Weber daughter, Constanze. The courtship did not go entirely smoothly; surviving correspondence indicates that Mozart and Constanze briefly separated in April 1782.^[38] Mozart also faced a very difficult task in getting his father's permission for the marriage.^[39] The couple were finally married on 4 August 1782 in St. Stephen's Cathedral, the day before his father's consent arrived in the mail.^[39]

The couple had six children, of whom only two survived infancy:

• Raimund Leopold (17 June – 19 August 1783)
• Karl Thomas Mozart (21 September 1784 – 31 October 1858)
• Johann Thomas Leopold (18 October – 15 November 1786)
• Theresia Constanzia Adelheid Friedericke Maria Anna (27 December 1787 – 29 June 1788)
• Anna Maria (died soon after birth, 25 December 1789)
• Franz Xaver Wolfgang Mozart (26 July 1791 – 29 July 1844)

In the course of 1782 and 1783, Mozart became intimately acquainted with the work of Johann Sebastian Bach and George Frideric Handel as a result of the influence of Gottfried van Swieten, who owned many manuscripts of the Baroque masters. Mozart's study of these scores inspired compositions in Baroque style, and later influenced his personal musical language, for example in fugal passages in Die Zauberflöte ("The Magic Flute") and the finale of Symphony No. 41.^[40]

In 1783, Mozart and his wife visited his family in Salzburg. His father and sister were cordially polite to Constanze, but the visit prompted the composition of one of Mozart's great liturgical pieces, the Mass in C minor. Though not completed, it was premiered in Salzburg, with Constanze singing a solo part.^[41]

Mozart met Joseph Haydn in Vienna around 1784, and the two composers became friends. When Haydn visited Vienna, they sometimes played together in an impromptu string quartet. Mozart's six quartets dedicated to Haydn (K. 387, K. 421, K. 428, K. 458, K. 464, and K. 465) date from the period 1782 to 1785, and are judged to be a response to Haydn's Opus 33 set from 1781.^[42] Haydn in 1785 told Mozart's father: "I tell you before God, and as an honest man, your son is the greatest composer known to me by person and repute, he has taste and what is more the greatest skill in composition."^[43] (See also: Haydn and Mozart)

From 1782 to 1785 Mozart mounted concerts with himself as soloist, presenting three or four new piano concertos in each season. Since space in the theaters was scarce, he booked unconventional venues: a large room in the Trattnerhof (an apartment building), and the ballroom of the Mehlgrube (a restaurant).^[44] The concerts were very popular, and the concertos he premiered at them are still firm fixtures in the repertoire. Solomon writes that during this period Mozart created "a harmonious connection between an eager composer-performer and a delighted audience, which was given the opportunity of witnessing the transformation and perfection of a major musical genre".^[44]

With substantial returns from his concerts and elsewhere, Mozart and his wife adopted a rather plush lifestyle. They moved to an expensive apartment, with a yearly rent of 460 florins.^[45] Mozart also bought a fine fortepiano from Anton Walter for about 900 florins, and a billiard table for about 300.^[45] The Mozarts sent their son Karl Thomas to an expensive boarding school,^[46][47] and kept servants. Saving was therefore impossible, and the short period of financial success did nothing to soften the hardship the Mozarts were later to experience.^[48][49]

On 14 December 1784, Mozart became a Freemason, admitted to the lodge Zur Wohltätigkeit ("Beneficence").^[50] Freemasonry played an important role in the remainder of Mozart's life: he attended meetings, a number of his friends were Masons, and on various occasions he composed Masonic music. (See also: Mozart and Freemasonry)

1786–1787: Return to opera[link]

Despite the great success of Die Entführung aus dem Serail, Mozart did little operatic writing for the next four years, producing only two unfinished works and the one-act Der Schauspieldirektor. He focused instead on his career as a piano soloist and writer of concertos. However, around the end of 1785, Mozart moved away from keyboard writing^{[51][page needed]} and began his famous operatic collaboration with the librettist Lorenzo Da Ponte. 1786 saw the successful premiere of The Marriage of Figaro in Vienna. Its reception in Prague later in the year was even warmer, and this led to a second collaboration with Da Ponte: the opera Don Giovanni, which premiered in October 1787 to acclaim in Prague, and also met with success in Vienna in 1788. The two are among Mozart's most important works and are mainstays of the operatic repertoire today, though at their premieres their musical complexity caused difficulty for both listeners and performers. These developments were not witnessed by Mozart's father, who had died on 28 May 1787.

In December 1787, Mozart finally obtained a steady post under aristocratic patronage. Emperor Joseph II appointed him as his "chamber composer", a post that had fallen vacant the previous month on the death of Gluck. It was a part-time appointment, paying just 800 florins per year, and required Mozart only to compose dances for the annual balls in the Redoutensaal (see Mozart and dance). However, even this modest income became important to Mozart when hard times arrived. Court records show that Joseph's aim was to keep the esteemed composer from leaving Vienna in pursuit of better prospects.^[52]

In 1787 the young Ludwig van Beethoven spent several weeks in Vienna, hoping to study with Mozart.^[53] No reliable records survive to indicate whether the two composers ever met. (See also section "Influence" below)

1788–1790[link]

Drawing of Mozart in silverpoint, made by Dora Stock during Mozart's visit to Dresden, April 1789

Toward the end of the decade, Mozart's circumstances worsened. Around 1786 he had ceased to appear frequently in public concerts, and his income shrank.^[54] This was a difficult time for musicians in Vienna because Austria was at war, and both the general level of prosperity and the ability of the aristocracy to support music had declined.^[51]

By mid-1788, Mozart and his family had moved from central Vienna to the suburb of Alsergrund.^[54] Although it has been thought that Mozart reduced his rental expenses, recent research shows that by moving to the suburb, Mozart had certainly not reduced his expenses (as claimed in his letter to Puchberg), but merely increased the housing space at his disposal.^[55] Mozart began to borrow money, most often from his friend and fellow Mason Michael Puchberg; "a pitiful sequence of letters pleading for loans" survives.^[56] Maynard Solomon and others have suggested that Mozart was suffering from depression, and it seems that his output slowed.^[57] Major works of the period include the last three symphonies (Nos. 39, 40, and 41, all from 1788), and the last of the three Da Ponte operas, Così fan tutte, premiered in 1790.

Around this time, Mozart made long journeys hoping to improve his fortunes: to Leipzig, Dresden, and Berlin in the spring of 1789, and to Frankfurt, Mannheim, and other German cities in 1790. The trips produced only isolated success and did not relieve the family's financial distress. (See also: Mozart's Berlin journey)

1791[link]

Mozart's last year was, until his final illness struck, a time of great productivity — and by some accounts a time of personal recovery.^[58] He composed a great deal, including some of his most admired works: the opera The Magic Flute; the final piano concerto (K. 595 in B-flat); the Clarinet Concerto K. 622; the last in his great series of string quintets (K. 614 in E-flat); the motet Ave verum corpus K. 618; and the unfinished Requiem K. 626.

Mozart's financial situation, a source of extreme anxiety in 1790, finally began to improve. Although the evidence is inconclusive,^[59] it appears that wealthy patrons in Hungary and Amsterdam pledged annuities to Mozart in return for the occasional composition. He probably also benefited from the sale of dance music written in his role as Imperial chamber composer.^[59] Mozart no longer borrowed large sums from Puchberg, and made a start on paying off his debts.^[59]

He experienced great satisfaction in the public success of some of his works, notably The Magic Flute (performed many times in the short period between its premiere and Mozart's death)^[60] and the Little Masonic Cantata K. 623, premiered on 15 November 1791.^[61]

Final illness and death[link]

Posthumous painting by Barbara Krafft in 1819

Mozart fell ill while in Prague for the 6 September 1791 premiere of his opera La clemenza di Tito, written in that same year on commission for the Emperor's coronation festivities.^[62] He was able to continue his professional functions for some time, and conducted the premiere of The Magic Flute on 30 September. The illness intensified on 20 November, at which point Mozart became bedridden, suffering from swelling, pain, and vomiting.^[63]

Mozart was nursed in his final illness by his wife and her youngest sister, and was attended by the family doctor, Thomas Franz Closset. It is clear that he was mentally occupied with the task of finishing his Requiem. The evidence, however, that he actually dictated passages to his student Süssmayr is minimal.^[64][65]

Mozart died at 1 am on 5 December 1791 at the age of 35. The New Grove gives a matter-of-fact description of his funeral:

Mozart was buried in a common grave, in accordance with contemporary Viennese custom, at the St. Marx Cemetery outside the city on 7 December. If, as later reports say, no mourners attended, that too is consistent with Viennese burial customs at the time; later Jahn (1856) wrote that Salieri, Süssmayr, van Swieten and two other musicians were present. The tale of a storm and snow is false; the day was calm and mild.^[66]

The cause of Mozart's death cannot be known with certainty. The official record has it as "hitziges Frieselfieber" ("severe miliary fever", referring to a rash that looks like millet seeds), a description that does not suffice to identify the cause as it would be diagnosed in modern medicine. Researchers have posited at least 118 causes of death, including trichinosis, influenza, mercury poisoning, and a rare kidney ailment.^[67] The most widely accepted hypothesis is that Mozart died of acute rheumatic fever.^[68]

Mozart's modest funeral did not reflect his standing with the public as a composer: memorial services and concerts in Vienna and Prague were well attended. Indeed, in the period immediately after his death, Mozart's reputation rose substantially: Solomon describes an "unprecedented wave of enthusiasm"^[69] for his work; biographies were written (first by Schlichtegroll, Niemetschek, and Nissen; see Biographies of Mozart); and publishers vied to produce complete editions of his works.^[69]

Appearance and character[link]

Unfinished portrait of Mozart by his brother-in-law Joseph Lange

Mozart's physical appearance was described by tenor Michael Kelly, in his Reminiscences: "a remarkably small man, very thin and pale, with a profusion of fine, fair hair of which he was rather vain". As his early biographer Niemetschek wrote, "there was nothing special about [his] physique. [...] He was small and his countenance, except for his large intense eyes, gave no signs of his genius." His facial complexion was pitted, a reminder of his childhood case of smallpox. He loved elegant clothing. Kelly remembered him at a rehearsal: "[He] was on the stage with his crimson pelisse and gold-laced cocked hat, giving the time of the music to the orchestra." Of his voice his wife later wrote that it "was a tenor, rather soft in speaking and delicate in singing, but when anything excited him, or it became necessary to exert it, it was both powerful and energetic".^[70]

Mozart usually worked long and hard, finishing compositions at a tremendous pace as deadlines approached. He often made sketches and drafts; unlike Beethoven's these are mostly not preserved, as his wife sought to destroy them after his death.^[71] He was raised a Roman Catholic and remained a member of the Church throughout his life. (See also: Mozart and Roman Catholicism)

Mozart lived at the center of the Viennese musical world, and knew a great number and variety of people: fellow musicians, theatrical performers, fellow Salzburgers, and aristocrats, including some acquaintance with the Emperor Joseph II. Solomon considers his three closest friends to have been Gottfried von Jacquin, Count August Hatzfeld, and Sigmund Barisani; others included his older colleague Joseph Haydn, singers Franz Xaver Gerl and Benedikt Schack, and the horn player Joseph Leutgeb. Leutgeb and Mozart carried on a curious kind of friendly mockery, often with Leutgeb as the butt of Mozart's practical jokes.^[72]

He enjoyed billiards and dancing, and kept pets: a canary, a starling, a dog, and also a horse for recreational riding.^[73] He had a startling fondness for scatological humor, which is preserved in his surviving letters, notably those written to his cousin Maria Anna Thekla Mozart around 1777–1778, but also in his correspondence with his sister and parents.^[74] Mozart even wrote scatological music, a series of canons that he sang with his friends. (See also: Mozart and scatology)

Works, musical style, and innovations[link]

Style[link]

Mozart's signature.

Mozart's music, like Haydn's, stands as an archetype of the Classical style. At the time he began composing, European music was dominated by the style galant, a reaction against the highly evolved intricacy of the Baroque. Progressively, and in large part at the hands of Mozart himself, the contrapuntal complexities of the late Baroque emerged once more, moderated and disciplined by new forms, and adapted to a new aesthetic and social milieu. Mozart was a versatile composer, and wrote in every major genre, including symphony, opera, the solo concerto, chamber music including string quartet and string quintet, and the piano sonata. These forms were not new, but Mozart advanced their technical sophistication and emotional reach. He almost single-handedly developed and popularized the Classical piano concerto. He wrote a great deal of religious music, including large-scale masses, but also dances, divertimenti, serenades, and other forms of light entertainment.

The central traits of the Classical style are all present in Mozart's music. Clarity, balance, and transparency are the hallmarks of his work, but simplistic notions of its delicacy mask the exceptional power of his finest masterpieces, such as the Piano Concerto No. 24 in C minor, K. 491; the Symphony No. 40 in G minor, K. 550; and the opera Don Giovanni. Charles Rosen makes the point forcefully:

"It is only through recognizing the violence and sensuality at the center of Mozart's work that we can make a start towards a comprehension of his structures and an insight into his magnificence. In a paradoxical way, Schumann's superficial characterization of the G minor Symphony can help us to see Mozart's daemon more steadily. In all of Mozart's supreme expressions of suffering and terror, there is something shockingly voluptuous."^[75]

Especially during his last decade, Mozart exploited chromatic harmony to a degree rare at the time, with remarkable assurance and to great artistic effect.

Mozart always had a gift for absorbing and adapting valuable features of others' music. His travels helped in the forging of a unique compositional language.^[76] In London as a child, he met J.C. Bach and heard his music. In Paris, Mannheim, and Vienna he met with other compositional influences, as well as the avant-garde capabilities of the Mannheim orchestra. In Italy he encountered the Italian overture and opera buffa, both of which deeply affected the evolution of his own practice. In London and Italy, the galant style was in the ascendent: simple, light music with a mania for cadencing; an emphasis on tonic, dominant, and subdominant to the exclusion of other harmonies; symmetrical phrases; and clearly articulated partitions in the overall form of movements.^[77] Some of Mozart's early symphonies are Italian overtures, with three movements running into each other; many are homotonal (all three movements having the same key signature, with the slow middle movement being in the relative minor). Others mimic the works of J.C. Bach, and others show the simple rounded binary forms turned out by Viennese composers.

As Mozart matured, he progressively incorporated more features adapted from the Baroque. For example, the Symphony No. 29 in A major K. 201 has a contrapuntal main theme in its first movement, and experimentation with irregular phrase lengths. Some of his quartets from 1773 have fugal finales, probably influenced by Haydn, who had included three such finales in his recently published Opus 20 set. The influence of the Sturm und Drang ("Storm and Stress") period in music, with its brief foreshadowing of the Romantic era, is evident in the music of both composers at that time. Mozart's Symphony No. 25 in G minor K. 183 is another excellent example.

Mozart would sometimes switch his focus between operas and instrumental music. He produced operas in each of the prevailing styles: opera buffa, such as The Marriage of Figaro, Don Giovanni, and Così fan tutte; opera seria, such as Idomeneo; and Singspiel, of which Die Zauberflöte is the most famous example by any composer. In his later operas he employed subtle changes in instrumentation, orchestral texture, and tone color, for emotional depth and to mark dramatic shifts. Here his advances in opera and instrumental composing interacted: his increasingly sophisticated use of the orchestra in the symphonies and concertos influenced his operatic orchestration, and his developing subtlety in using the orchestra to psychological effect in his operas was in turn reflected in his later non-operatic compositions.^[78]

Influence[link]

Mozart's most famous pupil, whom the Mozarts took into their Vienna home for two years as a child, was probably Johann Nepomuk Hummel, a transitional figure between Classical and Romantic eras.^[79] More important is the influence Mozart had on composers of later generations. Ever since the surge in his reputation after his death, studying his scores has been a standard part of the training of classical musicians.

Ludwig van Beethoven, Mozart's junior by fifteen years, was deeply influenced by his work, with which he was acquainted as a teenager. He is thought to have performed Mozart's operas while playing in the court orchestra at Bonn,^[80] and he traveled to Vienna in 1787 hoping to study with the older composer. Some of Beethoven's works have direct models in comparable works by Mozart, and he wrote cadenzas (WoO 58) to Mozart's D minor piano concerto K. 466.

A number of composers have paid homage to Mozart by writing sets of variations on his themes. Beethoven wrote four such sets (Op. 66, WoO 28, WoO 40, WoO 46). Others include Frédéric Chopin's Variations on "Là ci darem la mano" from Don Giovanni (1827); Max Reger's Variations and Fugue on a Theme by Mozart (1914), based on the variation theme in the piano sonata K. 331;^[81] Fernando Sor's Introduction and Variations on a Theme by Mozart (1821); and Mikhail Glinka's Variations on a Theme from Mozart's Opera Die Zauberflöte in E♭ major (1822). Pyotr Ilyich Tchaikovsky wrote his Orchestral Suite No. 4 in G, "Mozartiana" (1887), as a tribute to Mozart.

Köchel catalogue[link]

For unambiguous identification of works by Mozart, a Köchel catalogue number is used. This is a unique number assigned, in regular chronological order, to every one of his known works. A work is referenced by the abbreviation "K." followed by this number. The first edition of the catalogue was completed in 1862 by Ludwig von Köchel. It has since been repeatedly updated, as scholarly research improves knowledge of the dates and authenticity of individual works.

See also[link]

	Book: Wolfgang Amadeus Mozart
Wikipedia books are collections of articles that can be downloaded or ordered in print.

• The Complete Mozart Edition, 180 compact discs arranged into 45 themed volumes released by Philips Classics Records in 2000.
• Mozart effect
• Mozart family
• Mozart in fiction
• Mozartkugel
• Mozarteum
• Mozarthaus Vienna
• Sociological and cultural aspects of Tourette syndrome – for discussion of the discredited view that Mozart suffered from Tourette's syndrome

Notes[link]

References[link]

Cited sources

• Abert, Hermann (2007). W. A. Mozart. Cliff Eisen (ed.), Stewart Spencer (trans.). New Haven: Yale University Press. ISBN 978-0-300-07223-5. OCLC 70401564. http://books.google.com/books?id=l6I6BwTMJ3sC. 
• Barry, Barbara R (2000). The Philosopher's Stone: Essays in the Transformation of Musical Structure. Hillsdale, New York: Pendragon Press. ISBN 1-57647-010-5. OCLC 466918491. http://books.google.com/books?id=whSIM4Snh7YC. 
• Deutsch, Otto Erich (1965). Mozart: A Documentary Biography. Peter Branscombe, Eric Blom, Jeremy Noble (trans.). Stanford: Stanford University Press. ISBN 978-0-8047-0233-1. OCLC 8991008. http://books.google.com/books?id=e8AtwaddUW4C. 
• Einstein, Alfred (1965). Mozart: His Character, His Work. Galaxy Book 162. Arthur Mendel, Nathan Broder (trans.) (6th ed.). New York City: Oxford University Press. ISBN 0-304-92483-0. OCLC 456644858. http://books.google.com/books?id=U0KVSgAACAAJ. 
• Eisen, Cliff; et al. "Mozart". Grove Music Online (Subscription required). http://www.oxfordmusiconline.com/subscriber/article/grove/music/40258pg3. Retrieved 15 September 2010. 
• (German) Haberl, Dieter (2006). "Beethovens erste Reise nach Wien: die Datierung seiner Schülerreise zu W. A. Mozart". Neues Musikwissenschaftliches Jahrbuch (14). OCLC 634798176. 
• Fradkin, Robert A. (1996) The well-tempered announcer: a pronunciation guide to classical music. Bloomington: Indiana University Press. ISBN 0-253-21064-X.
• Halliwell, Ruth (1998). The Mozart Family: Four Lives in a Social Context. New York City: Clarendon Press. ISBN 978-0-19-816371-8. OCLC 36423516. http://books.google.com/books?id=TUMyCTKlAr0C. 
• Heartz, Daniel (2003). Music in European Capitals: The Galant Style, 1720–1780 (1st ed.). New York City: W. W. Norton & Company. ISBN 0-393-05080-7. OCLC 50693068. http://books.google.com/books?id=Sq7rU0BGyREC. 
• Holmes, Edward (2005). The Life of Mozart. New York: Cosimo Classics. ISBN 1-59605-147-7. OCLC 62790104. http://books.google.com/books?id=V6dBeXZ3GTwC&pg=PA268. 
• Landon, Howard Chandler Robbins (1990). 1791: Mozart's Last Year. London: Flamingo. ISBN 978-0-00-654324-4. OCLC 20932333. http://books.google.com/books?id=oXdNwE0mQ9UC. 
• Lorenz, Michael (9 August 2010). "Mozart's Apartment on the Alsergrund". http://homepage.univie.ac.at/michael.lorenz/alsergrund/. Retrieved 27 September 2010. 
• March, Ivan; Greenfield, Edward; Layton, Robert (2005). Czajkowski, Paul. ed. Penguin Guide to Compact Discs And DVDs, 2005–2006 (30th ed.). London: Penguin. ISBN 0-14-102262-0. OCLC 416204627. http://books.google.com/books?id=_H6KQgAACAAJ. 
• Mozart, Wolfgang; Mozart, Leopold (1966). Anderson, Emily. ed. The Letters of Mozart and his Family (2nd ed.). London: Macmillan. ISBN 0-393-02248-X. OCLC 594813. http://books.google.com/books?id=VMkuAAAAIAAJ. 
• Mozart, Wolfgang (1972). Mersmann, Hans. ed. Letters of Wolfgang Amadeus Mozart. New York: Dover Publications. ISBN 0-486-22859-2. OCLC 753483. http://books.google.com/books?id=KpjYoajWID8C&pg=PR8. 
• "Mozart, Mozart's Magic Flute and Beethoven". Raptus Association for Music Appreciation. http://www.raptusassociation.org/beethmoze.html. Retrieved 27 September 2010. 
• Rosen, Charles (1998). The Classical Style: Haydn, Mozart, Beethoven (2nd ed.). New York City: W. W. Norton & Company. ISBN 0-393-31712-9. OCLC 246977555. http://books.google.com/books?id=aAFUOreO-nMC. 
• Sadie, Stanley, ed. (1998). The New Grove Dictionary of Opera. New York: Grove's Dictionaries of Music Inc.. ISBN 978-0-333-73432-2. OCLC 39160203. 
• Sadie, Stanley, ed. (1980). The New Grove Dictionary of Music and Musicians (6th ed.). London: Macmillan. ISBN 0-333-23111-2. OCLC 5676891. 
• Solomon, Maynard (1995). Mozart: A Life (1st ed.). New York City: HarperCollins. ISBN 978-0-06-019046-0. OCLC 31435799. http://books.google.com/books?id=UuEHAQAAMAAJ. 
• Steptoe, Andrew (1990). The Mozart-Da Ponte Operas: The Cultural and Musical Background to Le nozze di Figaro, Don Giovanni, and Così fan tutte. Oxford: Clarendon Press. ISBN 0-19-816221-9. OCLC 22895166. http://books.google.com/books?id=s7394NpN0YQC. 
• Till, Nicholas (1995). Mozart and the Enlightenment: Truth, Virtue and Beauty in Mozart's Operas. New York City: W. W. Norton & Company. ISBN 0-393-31395-6. OCLC 469628809. http://books.google.com/books?id=xCyegHQr2TwC. 
• "Award of the Papal Equestrian Order of the "Golden Spur" to Wolfgang Amadeus Mozart". Vatican Secret Archives. 4 July 1770. http://asv.vatican.va/en/doc/1770.htm. Retrieved 27 September 2010. 
• Wakin, Daniel J. (24 August 2010). "After Mozart’s Death, an Endless Coda". The New York Times. ISSN 0362-4331. http://www.nytimes.com/2010/08/25/arts/music/25death.html. 

Other sources

• Cairns, David (2006). Mozart and His Operas. Berkeley, California: University of California Press. ISBN 0-520-22898-7. OCLC 62290645. http://books.google.com/books?id=4rNjwC5HShkC. 
• Eisen, Cliff; Keefe, Simon P, eds. (2006). The Cambridge Mozart Encyclopedia. Cambridge: Cambridge University Press. ISBN 0-521-85659-0. OCLC 60245611. http://books.google.com/books?id=8o6mVjlSzM4C. 
• Gutman, Robert (2000). Mozart: A Cultural Biography. London: Harcourt Brace. ISBN 978-0-15-601171-6. OCLC 45485135. http://books.google.com/books?id=wKm3sCZeyr8C. 
• "New Mozart Pieces Unveiled (VIDEO)". The Huffington Post. 8 February 2009. http://www.huffingtonpost.com/2009/08/02/new-mozart-pieces-unveile_n_249532.html. Retrieved 29 September 2010. 

External links[link]

Wikimedia Commons has media related to: Wolfgang Amadeus Mozart

Wikiquote has a collection of quotations related to: Wolfgang Amadeus Mozart

Wikisource has original works written by or about: Wolfgang Amadeus Mozart

• Mozarthaus Salzburg
• Salzburg Tourist Office – Salzburg City Tourist Board website.
• Chronological-Thematic Catalog
• Works by or about Wolfgang Amadeus Mozart in libraries (WorldCat catalog)

Digitized, scanned material (books, sheet music)

• "Mozart" Titles; Mozart as author from archive.org
• "Mozart" Titles; Mozart as author from books.google.com
• Digital Mozart Edition (Internationale Stiftung Mozarteum)
• (French) "Mozart" titles from Gallica
• From the British Library
  • Mozart's Thematic Catalogue (view with "Turning the Pages")
  • Mozart's Musical Diary
  • Background information on Mozart and the Thematic Catalogue
• (German) Letters of Leopold Mozart und Wolfgang Amadeus Mozart (Badische Landesbibliothek)

Sheet music

• Complete sheetmusic (scores) from the Neue Mozart-Ausgabe (Internationale Stiftung Mozarteum)
• "Mozart" Titles from the Munich Digitisation Centre (MDZ)
• "Mozart" Titles from the University of Rochester
• Free scores by Wolfgang Amadeus Mozart at the International Music Score Library Project
• Free scores by Wolfgang Amadeus Mozart in the Choral Public Domain Library (ChoralWiki)
• Free scores by Wolfgang Amadeus Mozart in the Werner Icking Music Archive (WIMA)
• Free typeset sheet music of Mozart's works from Cantorion.org
• The Mutopia Project has compositions by Wolfgang Amadeus Mozart
• Mozart as author from archive.org
• Mozart as author from books.google.com

v t e Wolfgang Amadeus Mozart Family Leopold Mozart Anna Maria Mozart Maria Anna Mozart (Nannerl) Constanze Mozart Maria Anna Thekla Mozart (Bäsle) Franz Xaver Wolfgang Mozart Karl Thomas Mozart Johann Georg Mozart Joseph Lange Cäcilia Weber Josepha Weber Aloysia Weber Sophie Weber Georg Nissen Family trees Biography Name Grand tour Smallpox Scatology Italy Berlin Death Biographies Music Köchel catalogue List of compositions Works for solo piano Concert arias, songs, canons Masses Horn concertos Piano concertos Operas Dances Symphonies Sonatas Method and techniques Influences Haydn and Mozart Salieri and Mozart Mozart and Beethoven Mozart and Prague Mozart and Catholicism Mozart and Freemasonry

vep:Mocart Vol'fgang Amadeus

Salzburg
View of Salzburg City Centre
Coat of arms
Salzburg Location within Austria
Coordinates: 47°48′0″N 13°02′0″E / 47.8°N 13.033333°E / 47.8; 13.033333Coordinates: 47°48′0″N 13°02′0″E / 47.8°N 13.033333°E / 47.8; 13.033333
Country	Austria
State	Salzburg
District	Statutory city
Government
• Mayor	Heinz Schaden (SPÖ)
Area
• Total	65.678 km2 (25.358 sq mi)
Elevation	424 m (1,391 ft)
Population (1 January 2012)[1]
• Total	148,521
• Density	2,300/km2 (5,900/sq mi)
Time zone	CET (UTC+1)
• Summer (DST)	CEST (UTC+2)
Postal code	5020
Area code	0662
Vehicle registration	S
Website	www.stadt-salzburg.at

Historic Centre of the City of Salzburg *
UNESCO World Heritage Site
Country	Austria
Type	Cultural
Criteria	ii, iv, vi
Reference	784
Region **	Europe and North America
Inscription history
Inscription	1996 (20th Session)
* Name as inscribed on World Heritage List ** Region as classified by UNESCO

Salzburg ( /ˈsɔːlzˌbɜrɡ/, /ˈsɔːltsˌbɜrɡ/, /ˈsɑːlzˌbɜrɡ/, or /ˈsæltsˌbɜrɡ/;^[2][3] German pronunciation: [ˈzalt​͡sbʊɐ̯k] ( listen); Austro-Bavarian: Såizburg; literally: "Salt Castle") is the fourth-largest city in Austria and the capital city of the federal state of Salzburg.

Salzburg's "Old Town" (Altstadt) has internationally renowned baroque architecture and one of the best-preserved city centres north of the Alps. It was listed as a UNESCO World Heritage Site in 1997. The city is noted for its Alpine setting.

Salzburg was the birthplace of 18th-century composer Wolfgang Amadeus Mozart. His mother was born at at St Gilgen on the Wolfgangsee and his father in Augsburg. In the mid-20th century, the city was the setting for parts of the American musical and film The Sound of Music.

The capital city of the State of Salzburg (Land Salzburg), the city has three universities and a large population of students.

Geography[link]

Salzburg is on the banks of the Salzach River, at the northern boundary of the Alps. The mountains to Salzburg's south contrast with the rolling plains to the north. The closest alpine peak—the 1972 m Untersberg—is only a few kilometres from the city centre. The Altstadt, or "old town", is dominated by its baroque towers and churches and the massive Festung Hohensalzburg. This area is surrounded by two smaller mountains, the Mönchsberg and Kapuzinerberg, which act as the green lungs of the city. Salzburg is approximately 150 km east of Munich, 281 km northwest of Ljubljana, and 300 km west of Vienna.

Climate[link]

The climate of Salzburg is cool and humid (Köppen Cfb).

Population development[link]

In 1935, the population significantly increased when Salzburg absorbed adjacent municipalities. After World War II, numerous refugees found a new home in the city. New residential space was created for American soldiers of the postwar Occupation, and could be used for refugees when they left. In around 1950 Salzburg passed the mark of 100,000 citizens, and in 2006 it reached the mark of 150,000 citizens. In the agglomeration, about 210,000 are residing as of 2007.^{[citation needed]}

History[link]

Antiquity to Early Modern period[link]

Traces of human settlements have been found in the area dating to the Neolithic Age. The first settlements at Salzburg were apparently begun by the Celts around the 5th century BC.

Around 15 BC the separate settlements were merged into one city by the Roman Empire. At this time the city was called Juvavum and was awarded the status of a Roman municipium in 45 AD. Juvavum developed into an important town of the Roman province of Noricum. After the collapse of the Norican frontier, Juvavum declined so sharply that by the late 7th century it had become a "near ruin".

The Life of Saint Rupert credits the 8th-century saint with the city's rebirth. When Theodo of Bavaria asked Rupert to become bishop c. 700, Rupert reconnoitered the river for the site of his basilica. Rupert chose Juvavum, ordained priests, and annexed the manor Piding. Rupert named the city "Salzburg". He traveled to evangelise among pagans.

The name Salzburg means "Salt Castle". It derives its name from the barges' carrying salt on the Salzach River, which were subject to a toll in the 8th century, as was customary for many communities and cities on European rivers.

The Festung Hohensalzburg, the city's fortress, was built in 1077 and expanded during the following centuries.

Independence of Salzburg[link]

Independence from Bavaria was secured in the late 14th century. Salzburg was the seat of the Archbishopric of Salzburg, a prince-bishopric of the Holy Roman Empire.

Modern Era[link]

Religious conflict[link]

On 31 October 1731, the 214th anniversary of Martin Luther's nailing of his 95 Theses to the Wittenberg School door, Roman Catholic Archbishop Count Leopold Anton von Firmian signed an Edict of Expulsion, the Emigrationspatent, directing all Protestants to recant their non-Catholic beliefs or be banished from the city. (This is not to be confused with many similar edicts of expulsion issued against the Jews in various cities in Europe.)

Landowners were given two days to sell their lands and leave. Cattle, sheep, furniture and land all had to be dumped on the market, and the Salzburgers received little money from the well-to-do Catholic allies of Von Firmian. Von Firmian confiscated much of their land for his own family, and ordered all Protestant books and Bibles burned. Many children aged 12 and under were seized to be raised as Roman Catholics. But those who owned land benefited from one key advantage: the three-month deadline delayed their departure until after the worst of winter.

Tenant farmers, tradesmen, labourers and miners were given only eight days to sell what they could and leave. The first refugees marched north in desperately cold temperatures and snow storms, seeking shelter in the few cities of Germany controlled by Protestant princes. Their children walked or rode on wooden wagons loaded with baggage. As they travelled, the exiles' savings were quickly drained. They were set upon by highwaymen, who seized taxes, tolls and payment for protection by soldiers from robbers.

The story of their plight spread quickly as their columns marched north. Goethe wrote the poem "Hermann and Dorothea", which,though depicting disruptions caused in the aftermath of the French Revolution, was prompted by the story of the Salzburg exiles' march. Protestants and some Catholics were horrified at the cruelty of their expulsion in winter, and the courage they had shown by not renouncing their faith. Slowly at first, the refugees arrived at towns that welcomed them and offered them aid. But there was no place where so many refugees could settle.

Frederick William I welcomes the Salzburg Protestants in Berlin

Finally, in 1732 King Frederick William I of Prussia accepted 12,000 Salzburger Protestant emigrants, who settled in areas of East Prussia that had been devastated by the plague twenty years before.^[5] Other smaller groups made their way to Debrecen and the Banat regions of the Kingdom of Hungary, to what is now Hungary and Serbia; the Kingdom of Hungary recruited Germans to repopulate areas along the Danube River decimated by the plague and the Ottoman invasion. The Salzburgers also migrated to Protestant areas near Berlin and Hanover in Germany; and to the Netherlands.

On 12 March 1734, a small group of about sixty exiles from Salzburg, who had travelled to London first, arrived in the British North American colony of Georgia seeking religious freedom. Later in that year, they were joined by a second group, and, by 1741, a total of approximately 150 of the Salzburg exiles had founded the town of Ebenezer on the Savannah River (see John A. Treutlen).

The Protestant Salzburgers in Prussian Lithuania kept a distinct ethnic German identity over the following centuries, keeping their language in churches and schools. Their descendants were expelled after World War II.

The ethnic German refugees went to western Europe, the United States and other western nations. Those who settled in West Germany founded a community association to preserve their historic identity as Salzburgers.^[6]

Illuminism[link]

In 1772-1803, under archbishop Hieronymus Graf von Colloredo, Salzburg was a centre of late Illuminism.

The Electorate of Salzburg[link]

In 1803, the archbishopric was secularised by Emperor Napoleon and handed over to Ferdinand III of Tuscany, former Grand Duke of Tuscany, as the Electorate of Salzburg.

Austrian Annexation of Salzburg[link]

In 1805, Salzburg was annexed to the Austrian Empire together with Berchtesgaden.

Salzburg under Bavarian rule[link]

In 1809, the territory of Salzburg was transferred to the Kingdom of Bavaria after Austria's defeat at Wagram.

The division of Salzburg and the annexation by Austria and Bavaria[link]

At the Congress of Vienna in 1815, it was definitively returned to Austria, but without Rupertigau and Berchtesgaden, which passed to Bavaria. Salzburg was integrated into the Salzach province and Salzburgerland was ruled from Linz.^[7] In 1850, Salzburg's status was once more restored as the capital of the Duchy of Salzburg, a crownland of the Austrian Empire. The city became part of Austria-Hungary in 1866 as the capital of a crownland into the Austrian Empire.

Salzburg in 1914

20th Century[link]

World War I[link]

Salzburg, which was a capital of an Austro-Hungarian territory, became part of German Austria in 1918 and the First Austrian Republic in 1919, after the Treaty of Versailles.

Part of German Third Reich[link]

During the Anschluss, Austria, with Salzburg being a part of it, was annexed to the German Third Reich on 12 March 1938, one day before a scheduled referendum about Austria's independence. German troops were moved to the city. Political opponents, Jewish citizens and other minorities were subsequently arrested and deported. The synagogue was destroyed and several POW camps for prisoners from the Soviet Union and other nations were organized in the area.

World War II[link]

Young Austrians at celebrations just after the Anschluss

During World War II, the Salzburg-Maxglan concentration camp was located here. It was a Roma camp and provided slave labour to local industry.

Allied bombing destroyed 7,600 houses and killed 550 inhabitants. A total of 15 strikes destroyed 46 percent of the city's buildings especially around Salzburg train station. Although the town's bridges and the dome of the cathedral were demolished, much of its Baroque architecture remained intact. As a result, it is one of the few remaining examples of a town of its style. American troops entered Salzburg on 5 May 1945.

In the city of Salzburg there were several DP Camps following World War II. Among these were Riedenburg, Camp Herzl (Franz-Josefs-Kaserne), Camp Mülln, Bet Bialik, Bet Trumpeldor, and New Palestine. Salzburg was the centre of the American-occupied area in Austria.

Present Day[link]

After World War II Salzburg became the capital city of the State of Salzburg (Land Salzburg).

On 27 January 2006, the 250th anniversary of the birth of Wolfgang Mozart, all 35 churches of Salzburg rang their bells a little after 8:00 p.m. (local time) to celebrate the occasion. Major celebrations took place throughout the year.

The architecture of Salzburg[link]

Ensemble of Salzburg

Sigmund Haffner Gasse - Rathaus

Romanesque and Gothic[link]

The Romanesque and Gothic churches, the monasteries and the early carcass houses dominated the medieval city for a long time. The Cathedral of Archbishop Conrad of Wittelsbach was the largest basilica in the north of the Alps. The choir of the Franciscan Church Hall, construction began by Hans von Burghausen and completed by Stephan Krumenauer, is one of the most prestigious gothic constructions south of the German-speaking countries. At the end of the Gothic era the collegiate church “Nonnberg”, Margaret Chapel in St. Peter's Cemetery, the St. George's Chapel and the stately halls of the “Hoher Stock” in the Hohensalzburg Castle were constructed.

Renaissance and Baroque[link]

Archbishop Wolf Dietrich Raitenau began, inspired by Vincenzo Scamozzi, with the architectural change from an medieval town to the architectural ideals of the late Renaissance. The planned massive cathedral by Vincenzo Scamozzi was canceled because of the fall of the Archbishop. The following cathedral planned by Santino Solari was the first early Baroque church in Salzburg. He was an example for many other churches in Southern Germany and Austria. Markus Sittikus and Paris von Lodron continued the rebuilding of the city with major projects such as the Hellbrunn Palace, the prince's residence, the university buildings, fortifications, and many other buildings. Giovanni Antonio Daria managed in order of Guido von Thun the construction of the residential well. Giovanni Gaspare Zuccalli created in order of the same archbishop the Erhard and the Kajetaner church in the south of the town. The redesign of the city was completed with buildings designed by Johann Bernhard Fischer von Erlach, donated by Prince Archbishop Johann Ernst von Thun. After the era of Ernst Thun the expansion of the city stopped. Thats the reason why there are no churches built in the rococo style. Sigismund von Schrattenbach continued with the construction of “Sigmundstor” and the statue of holy Maria on the cathedral square. With the fall and division of the former Archbishop ruled “Fürsterzbistums Salzburg” to Upper Austria, Bavaria (Rupertigau) and Tyrol (Zillertal Matrei) began a long period of urban stagnancy. This era didn't end before the period of promoterism brought new live into the urban development. The builder dynasty Jakob Ceconi and Carl Freiherr von Schwarz filled major positions in shaping the city in this era. ^[8]

Classical modernism and post-war modernism[link]

The Red Bull Hangar-7

Residential and studio house Lechner in the old town

Buildings of classical modernism and in particular the post-war modernism are frequently encountered in Salzburg. Examples are the Zahnwurzen house (a house in the Linzergasse 22 in the right center of the old town), the “Lepi” (a public baths in Leopoldskron) (built 1964) and the original 1957 constructed congress center of Salzburg, which got replaced by a new building in 2001. An important and famous example of architecture of this era is the 1960 opened Großes Festspielhaus by Clemens Holzmeister.

Contemporary Architecture[link]

Adding contemporary architecture to Salzburg's old town without risking its UNESCO World Heritage status is problematic. Yet some new structures have been added: the Mozarteum at the baroque Mirabell garden (Architecture Robert Rechenauer)^[9], the 2001 Congress house (Architecture: Freemasons), the 2011 Unipark Nonntal (Architecture: Storch Ehlers partners), the 2001 “Makartsteg” bridge (Architecture: HALLE1), and the “Residential and studio house” of the architects Christine & Horst Lechner in the middle of Salzburg's old town (winner of the architecture award of Salzburg 2010)^{[10] [11]}. Other examples of contemporary architecture also exist outside the old town: the Faculty of Science building (Universität Salzburg – Architecture Willhelm Holzbauer) built on the edge of free green space, the blob architecture of Red Bull Hangar-7 (Architecture: Volkmar Burgstaller^[12]) at Salzburg Airport, home to Dietrich Mateschitz's Flying Bulls and the Europark shopping mall. (Architecture: Massimiliano Fuksas)

Districts[link]

Districts of Salzburg

An aerial view of Salzburg

Salzburg has 24 urban districts and 3 extra-urban populations.

Urban districts (Stadtteile):

• Aigen
• Altstadt
• Elisabeth-Vorstadt
• Gneis
• Gneis-Süd
• Gnigl
• Itzling
• Itzling-Nord
• Kasern
• Langwied
• Lehen
• Leopoldskron-Moos
• Liefering
• Maxglan
• Maxglan-West
• Morzg
• Mülln
• Neustadt
• Nonntal
• Parsch
• Riedenburg
• Salzburg-Süd
• Taxham
• Schallmoos

Extra-urban populations (Landschaftsräume)

• Gaisberg
• Hellbrunn
• Heuberg

Main sights[link]

Gardens in Mirabell Palace

View of shoppers on Getreidegasse, which is one of the oldest streets in Salzburg

The Sunset at the Staatsbrücke

Salzburg is a tourist favourite, with the number of tourists outnumbering locals by a large margin in peak times. In addition to Mozart's birthplace noted above, other notable places include:

Old Town

• The entire Old Town of Salzburg was nominated as a World Heritage Site in 1996.
• The baroque architecture including the many churches are world famous.
• The Salzburg Cathedral (Salzburger Dom)
• The Hohensalzburg Castle (Festung Hohensalzburg) on a hill dominating the old town is one of the largest castles in Europe, with views over Salzburg.
• The Franziskanerchurch
• The St Peter's Abbey with the Petersfriedhof
• The Nonnberg Abbey a Benedictine monastery
• The Residenz Palace (the magnificent former Prince-Archbishop's residence), containing the Residenzgalerie
• Mozart's Birthplace
• Mozart's Residence
• The University Church
• The Siegmundstor (or Neutor)
• The Getreidegasse
• Sphaera, a sculpture of a man on a golden sphere (Stephan Balkenhol, 2007)

Outside the Inner Old Town

• Palace of Mirabell with its wide gardens full of flowers.
• St. Sebastian's cemetery (Sebastiansfriedhof)
• The palace of Leopoldskron is a rococo palace and a national historic monument in Leopoldskron-Moos, a southern district of the city of Salzburg.
• Hellbrunn with its parks and castles
• Tour companies operate tours of locations used in the film The Sound of Music.
• The Red Bull Hangar-7 - Multifunctional building with a collection of historical airplanes, helicopters and Formula One racing cars.

Within the greater Salzburg area

• Anif Castle
• The Basilika Maria Plain on the Calvary Hill, a late Baroque church, on the northern edge of Salzburg.
• Salzburger Freilichtmuseum Großgmain, an open-air museum containing old farmhouses/farm buildings from all over the state assembled in historic setting.
• The Schloss Klessheim Palace (today a Casino) was formerly used by Adolf Hitler.
• The Berghof, Hitler's mountain retreat of which only the Eagle's Nest remains, was in nearby Berchtesgaden.
• The Salzkammergut is an area of lakes in the Salzburg state, east of the city and further on into the provinces of Upper Austria and Styria.
• The Untersberg mountain is next to the city, straddling the German-Austrian border, and on a clear day provides panoramic views of the city and the Alps.
• Skiing is an attraction during winter. Salzburg itself has no skiing facilities, but it acts as a gateway to skiing areas to the south. During the winter months its airport receives charter flights from around Europe.

Zoo Salzburg

• The Salzburg Zoo is in the south of the city, in the municipality of Anif.

Notable citizens[link]

Mozart's birthplace at Getreidegasse 9

• The composer Wolfgang Amadeus Mozart was born and raised in Salzburg and worked for the archbishops from 1769 to 1781. His house of birth and residence are tourist attractions. His family is buried in a small church graveyard in the old town, and there are many monuments to "Wolferl" in the city.
• The composer Johann Michael Haydn, brother of the composer Joseph Haydn. His works were admired by Mozart and Schubert. He was also the teacher of Carl Maria von Weber and Anton Diabelli and is known for his sacred music.
• Christian Doppler, an expert on acoustic theory, was born in Salzburg. He is most known for his discovery of the Doppler effect.
• Josef Mohr was born in Salzburg. Together with Franz Gruber, he composed and wrote the text for "Silent Night". As a priest in neighbouring Oberndorf he performed the song for the first time in 1818.
• King Otto of Greece was born Prince Otto Friedrich Ludwig of Bavaria at the Palace of Mirabell, a few days before the city reverted from Bavarian to Austrian rule.
• Noted writer Stefan Zweig lived in Salzburg for about 15 years, until 1934.
• Maria Von Trapp (later Maria Trapp) and her family lived in Salzburg until they fled to the United States following the Nazi takeover.
• Salzburg is the birthplace of Hans Makart, a 19th-century Austrian painter-decorator and national celebrity. Makartplatz (Makart Square) is named in his honour.
• Writer Thomas Bernhard was raised in Salzburg and spent part of his life there.
• Herbert von Karajan was a notable musician and conductor. He was born in Salzburg and died in 1989 in neighbouring Anif.
• Anthropologist Udo Ludwig was born here.
• Roland Ratzenberger, Formula One driver, was born in Salzburg. He died in practice for the 1994 San Marino Grand Prix.
• Joseph Leutgeb, French horn virtuoso
• Klaus Ager, the distinguished contemporary composer and Mozarteum professor, was born in Salzburg on 10 May 1946.
• Alex Jesaulenko, Australian rules footballer and AFL Hall of Fame player with "Legend" status was born in Salzburg on 2 August 1945.
• Georg Trakl is one of the most important voices in German literature and he was also born in Salzburg.
• Theodor Herzl worked in the courts in Salzburg during the year after he earned his law degree in 1884.^[13]