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- Aloysia Weber
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Alsergrund
Alsergrund is the ninth district of Vienna, Austria (). It is located just north of the first, central district, Innere Stadt. Alsergrund was incorporated in 1862, with seven suburbs. The area is densely populated, with a lot of government-built housing. According to the census of 2001, there were 37,816 inhabitants over 2.99 square km (1.15 sq. mi).
http://wn.com/Alsergrund -
Bavaria
Bavaria, formally the Free State of Bavaria (, ; ; ), is a state of Germany, located in the southeast of the country. With an area of , it is by far the largest German state by area, forming almost 20% of the total land area of Germany. Bavaria is Germany's second most populous state (after North Rhine Westphalia) with almost 12.5 million inhabitants, more than any of the three sovereign states on its borders. Bavaria's capital is Munich.
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British Library
The British Library (BL) is the national library of the United Kingdom and the world's largest library in terms of total number of items. The library is one of the world's major research libraries, holding over 150 million items in all known languages and formats: books, journals, newspapers, magazines, sound and music recordings, patents, databases, maps, stamps, prints, drawings and much more. The Library's collections include around 14 million books (second only to the American Library of Congress), along with substantial holdings of manuscripts and historical items dating back as far as 300 BC.
http://wn.com/British_Library -
Getreidegasse
Getreidegasse (also known as Grain Lane) is a busy shopping street in the Old-Town section of Salzburg. The house at no. 9 Getreidegasse is the place where Wolfgang Amadeus Mozart was born and where he lived until the age of 17. Originally called Trabegasse (derived from "to trot"), its name was changed several times before it became the Grain Lane.
http://wn.com/Getreidegasse -
Hofburg Palace
http://wn.com/Hofburg_Palace -
Opera
Opera is an art form in which singers and musicians perform a dramatic work combining text (called a libretto) and musical score. Opera is part of the Western classical music tradition. Opera incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble.
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Prague
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Salzburg Cathedral
The Salzburg Cathedral () is a 17th century baroque cathedral of the Roman Catholic Archdiocese of Salzburg in the city of Salzburg, dedicated to Saint Rupert of Salzburg.
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Salzburg University
http://wn.com/Salzburg_University -
Sistine Chapel
Sistine Chapel () is the best-known chapel in the Apostolic Palace, the official residence of the Pope in Vatican City. It is famous for its architecture, evocative of Solomon's Temple of the Old Testament, and its decoration that has been frescoed throughout by the greatest Renaissance artists including Michelangelo, Raphael, Bernini, and Sandro Botticelli. Under the patronage of Pope Julius II, Michelangelo painted of the chapel ceiling between 1508 and 1512. He resented the commission, and believed his work only served the Pope's need for grandeur. However, today the ceiling, and especially The Last Judgement, are widely believed to be Michelangelo's crowning achievements in painting.
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St. Marx Cemetery
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The Hague
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Versailles
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Vienna
Vienna (; ; ) is the capital of the Republic of Austria and one of the nine states of Austria. Vienna is Austria's primary city, with a population of about 1.7 million (2.3 million within the metropolitan area, more than 25% of Austria's population), and is by far the largest city in Austria, as well as its cultural, economic, and political centre. It is the 10th largest city by population in the European Union. Vienna is host to many major international organizations such as the United Nations and OPEC.
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Alfred Einstein
Alfred Einstein (December 30, 1880 – February 13, 1952) was a German-American musicologist and music editor. He was noted as one of the widest-ranging music historians in the first half of the 20th century.
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Aloysia Weber
Maria Aloysia Louise Antonia Weber (c. 1760 – 8 June 1839) was a German soprano, remembered primarily for her association with the composer Wolfgang Amadeus Mozart.
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Anton Walter
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Antonio Salieri
Antonio Salieri (18 August 1750 - 7 May 1825) was an Italian classical composer, conductor and teacher born in the Republic of Venice, but who spent his adult life and career as a faithful subject of the Habsburg Monarchy.
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Arthur Mendel
Arthur Mendel (June 6, 1905 – October 14, 1979) was an American musicologist.
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Benedikt Schack
Benedikt Schack () (7 February, 1758December 10, 1826) was a composer and tenor of the Classical era, a close friend of Mozart and the first performer (1791) of the role of Tamino in Mozart's opera The Magic Flute.
http://wn.com/Benedikt_Schack -
Charles Rosen
Charles Rosen (born May 5, 1927) is an American pianist and author on music.
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Cliff Eisen
Cliff Eisen (born in Toronto, 21 January 1952) is a Canadian musicologist and a Mozart expert. He has been based, since 1997, in the Department of Music at King's College London. As part of the Department's strong connections with the Royal Academy of Music, Eisen also leads courses there. He has studied at the University of Toronto and at Cornell University, and has taught at the University of Western Ontario and New York University.
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Constanze Mozart
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Cäcilia Weber
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Dora Stock
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Edward Greenfield
Edward Greenfield (born Westcliff-on-Sea, England, 1928) is an English music critic and broadcaster. He joined the Manchester Guardian in 1953, working as a lobby correspondent in the House of Commons. He has been a record critic for the newspaper since 1955, a music critic since 1964, and was chief music critic from 1977 until his retirement in 1993. He has contributed to Gramophone magazine since 1960, and has been joint editor of The Stereo Record Guide since 1960. A regular broadcaster on the BBC, for many years he presented classical music programmes on the World Service, including The Greenfield Collection.
http://wn.com/Edward_Greenfield -
Emily Anderson
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Fernando Sor
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Franz Xaver Gerl
Franz Xaver Gerl (1764 1827) was a bass singer and composer of the classical era. He sang the role of Sarastro in the premiere of Mozart's opera The Magic Flute.
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Frédéric Chopin
http://wn.com/Frédéric_Chopin -
Gregorio Allegri
Gregorio Allegri (1582 – 17 February 1652) was an Italian composer of the Roman School and brother of Domenico Allegri; he was also a priest and a singer. He lived mainly in Rome, where he would later die.
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H. C. Robbins Landon
Howard Chandler Robbins Landon (March 6, 1926November 20, 2009) was an American musicologist.
http://wn.com/H_C_Robbins_Landon -
Johann Georg Mozart
http://wn.com/Johann_Georg_Mozart -
Joseph Haydn
Franz Joseph Haydn (31 March 173231 May 1809), known as Joseph Haydn (; ), was an Austrian composer, one of the most prolific and prominent composers of the classical period. He is often called the "Father of the Symphony" and "Father of the String Quartet" because of his important contributions to these genres. He was also instrumental in the development of the piano trio and in the evolution of sonata form.
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Joseph Lange
http://wn.com/Joseph_Lange -
Joseph Leutgeb
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Josepha Weber
(Maria) Josepha Weber (later Josepha Hofer, Josepha Mayer; 1758 – December 29, 1819) was a German soprano of the classical era. She was a sister-in-law of Wolfgang Amadeus Mozart, and the first to perform the role of The Queen of the Night in Mozart's opera The Magic Flute.
http://wn.com/Josepha_Weber -
Leopold Mozart
http://wn.com/Leopold_Mozart -
Lorenzo Da Ponte
Lorenzo Da Ponte (10 March 1749 - 17 August 1838) was a Venetian opera librettist and poet. He wrote the librettos for 28 operas by 11 composers, including Mozart.
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Ludwig van Beethoven
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Maria Anna Mozart
Maria Anna Walburga Ignatia Mozart (30 July 1751 – 29 October 1829), nicknamed "Nannerl", was an Austrian musician. She was the older sister of Wolfgang Amadeus Mozart and daughter of Leopold and Anna Maria Mozart.
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Max Reger
Johann Baptist Joseph Maximilian Reger (born 19 March 1873 in Brand, died 11 May 1916 in Leipzig) was a German composer, conductor, pianist, organist, and academic teacher.
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Maynard Solomon
Maynard Solomon (born January 5, 1930) has carried out a multiple career: he was a co-founder of Vanguard Records as well as a music producer, and later became a musicologist.
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Michael von Puchberg
__NOTOC__
http://wn.com/Michael_von_Puchberg -
Mikhail Glinka
Mikhail Ivanovich Glinka () (), was the first Russian composer to gain wide recognition inside his own country, and is often regarded as the father of Russian classical music. Glinka's compositions were an important influence on future Russian composers, notably the members of The Five, who took Glinka's lead and produced a distinctive Russian style of music.
http://wn.com/Mikhail_Glinka -
Muzio Clementi
http://wn.com/Muzio_Clementi -
Otto Erich Deutsch
Otto Erich Deutsch (September 5, 1883 – November 23, 1967) was an Austrian musicologist. He is best known for compiling the first comprehensive catalogue of the works of Franz Schubert, first published in 1951 in English, new edition in 1978 in German. It is from this that the D. numbers used to identify Schubert's pieces are drawn. Following his studies of art history and literature in Vienna and Graz, he worked as a lecturer at the Department of Art History of the University of Vienna and as a librarian at the musical archive of Anthony van Hoboken. He also wrote many articles on Schubert and Mozart, and compiled "documentary biographies" (collections of contemporary documents concerning the subject) on Schubert, Mozart and Handel.
http://wn.com/Otto_Erich_Deutsch -
Pope Clement XIV
Pope Clement XIV (31 October 1705 – 22 September 1774), born Giovanni Vincenzo Antonio Ganganelli, was Pope from 1769 to 1774. At the time of his election, he was the only Franciscan friar in the College of Cardinals.
http://wn.com/Pope_Clement_XIV -
Robert Schumann
Robert Schumann, sometimes known as Robert Alexander Schumann, (8 June 181029 July 1856) was a German composer, aesthete and influential music critic.
http://wn.com/Robert_Schumann -
Sophie Weber
http://wn.com/Sophie_Weber -
Stanley Sadie
Stanley Sadie CBE (30 October 1930 – 21 March 2005) was a leading British musicologist, music critic, and editor. He was editor of the sixth edition of the Grove Dictionary of Music and Musicians (1980), which was published as the first edition of the New Grove Dictionary of Music and Musicians.
http://wn.com/Stanley_Sadie
Mozart, Wolfgang Amadeus Filmography
- Die Zauberflote (2006)
- Ra gatsinebs?! (1996)
- Patrice Chéreau, Pascal Greggory, une autre solitude (1995)
- La porte de l'enfer d'Auguste Rodin (1992)
- London 1991 (1992)
- The Best of Vecírek (1992)
- Jalousie (1991)
- La clemenza di Tito (1991)
- La finta giardiniera (1988)
- Mozart: La clemenza di Tito (1987)
- Joseph M (1986)
- K.491... In Preparation (1983)
- Il flauto magico (1978)
- Le roi du Luxembourg (1967)
- Le naufrage de Robinet (1967)
- Paris au temps des cerises: La commune (1966)
- Zaida (1965)
- Mozart, le rossignol et la mort (1964)
- Te (1963)
- Le nozze di Figaro (1963)
Matching books:
String Quartet No. 17 in B flat major, \"Hunt\", K. 458
Mozart: the man and the artist, as revealed in his own words
The Letters of Wolfgang Amadeus Mozart \u2014 Volume 01
Theme from Mozart's Piano Sonata in A major, K.331
String Quartet No. 3 in G Major, K. 156
String Quartet No. 1 in G major, K. 80
String Quartet No. 2 in D major, K. 155
RELEASE
ALBUMS
BBC Music, Volume 19, Number 4: Mozart - Mass in C minor, Symphony No. 40 (feat. David Robertson: conductor, Gianandrea Noseda, conductor)
Released [2011]
Released [2011]
- Mass in C minor, K427 (417a): I. Kyrie
- Mass in C minor, K427 (417a): II. Gloria - Gloria in Excelsis
- Mass in C minor, K427 (417a): Laudamus te
- Mass in C minor, K427 (417a): Gratias
- Mass in C minor, K427 (417a): Domine Deus
- Mass in C minor, K427 (417a): Qui tollis
- Mass in C minor, K427 (417a): Quoniam tu solus Sanctus
- Mass in C minor, K427 (417a): Jesu Christe
- Mass in C minor, K427 (417a): Cum sancto spiritu
- Mass in C minor, K427 (417a): III. Credo
- Mass in C minor, K427 (417a): Et incarnatus est
- Mass in C minor, K427 (417a): IV. Sanctus
- Mass in C minor, K427 (417a): V. Benedictus
- Symphony No. 40 in G minor, K550: I. Molto allegro
- Symphony No. 40 in G minor, K550: II. Andante
- Symphony No. 40 in G minor, K550: III. Menuetto Allegretto
- Symphony No. 40 in G minor, K550: IV. Finale: Allegro assai
- Symphony, No. 2 in, D major, Op. 73: I. Allegro non troppo
- Symphony, No. 2 in, D major, Op. 73: II. Adagio non troppo
- Symphony, No. 2 in, D major, Op. 73: III. Allegretto grazioso (Quasi andantino)
- Symphony, No. 2 in, D major, Op. 73: IV. Allegro con spirito
- Maurerische trauermusik (Masonic funeral music), for orchestra in C minor, KV 477 (K. 479a)
- Metamorphosen, study for 23 solo strings, o.Op. 142 (Trv 290, AV 142)
Mozart: Sinfonia Concertante for Violin and Viola, Violin Concertos Nos. 1 & 3 (feat. Lara St John: Violin, Scott St John: Violin and Viola, the Knights)
Released [2010]
Released [2010]
- Sinfonia Concertante for Violin and Viola in E-flat major, K. 364: I. Allegro maestoso
- Sinfonia Concertante for Violin and Viola in E-flat major, K. 364: II. Andante
- Sinfonia Concertante for Violin and Viola in E-flat major, K. 364: III. Presto
- Violin Concerto No. 1 in B-flat major, K. 207: I. Allegro moderato
- Violin Concerto No. 1 in B-flat major, K. 207: II. Adagio
- Violin Concerto No. 1 in B-flat major, K. 207: III. Presto
- Violin Concerto No. 3 in G major, K. 216: I. Allegro
- Violin Concerto No. 3 in G major, K. 216: II. Adagio
- Violin Concerto No. 3 in G major, K. 216: III. Rondeau (Allegro)
- Le Nozze di Figaro, K. 492: Overture
- Le Nozze di Figaro, K. 492: Act I. "Cinque...dieci...venti...trenta" (Figaro, Susanna)
- Le Nozze di Figaro, K. 492: Act I. "Cosa stai misurando (Susanna, Figaro)
- Le Nozze di Figaro, K. 492: Act I. "Se a caso madama" (Figaro, Susanna)
- Le Nozze di Figaro, K. 492: Act I. "Or bene, ascolta e taci" (Susanna, Figaro)
- Le Nozze di Figaro, K. 492: Act I. "Se vuol ballare (Figaro)
- Le Nozze di Figaro, K. 492: Act I. "Ed aspettaste il giorno" (Bartolo, Marcellina)
- Le Nozze di Figaro, K. 492: Act I. "La vendetta, oh la vendetta" (Bartolo)
- Le Nozze di Figaro, K. 492: Act I. "Tutto ancor non ho perso" (Marcellina, Susanna)
- Le Nozze di Figaro, K. 492: Act I. "Via resti servita" (Marcellina, Susanna)
- Le Nozze di Figaro, K. 492: Act I. "Va là, vecchia pedante" (Susanna, Cherubino)
- Le Nozze di Figaro, K. 492: Act I. "Non so più cosa son cosa faccio" (Cherubino)
- Le Nozze di Figaro, K. 492: Act I. "Taci, vien gente" (Susanna, Count, Basilio)
- Le Nozze di Figaro, K. 492: Act I. "Cosa sento!" (Count, Basilio, Susanna)
- Le Nozze di Figaro, K. 492: Act I. "Basilio, in traccia tosto di Figaro volate" (Count, Susanna, Cherubino, Basilio)
- Le Nozze di Figaro, K. 492: Act I. "Giovani liete, fiori spargete" (Peasants)
- Le Nozze di Figaro, K. 492: Act I. "Cos'è questa commedia?" (Count, Figaro, Susanna)
- Le Nozze di Figaro, K. 492: Act I. "Giovani liete, fiori spargete" (Peasants)
- Le Nozze di Figaro, K. 492: Act I. "Evviva! Evviva!" (Figaro, Susanna, Basilio, Cherubino, Count)
- Le Nozze di Figaro, K. 492: Act I. "Non più andrai" (Figaro)
- Symphony No. 38 in D 'Prague': I. Adagio - Allegro
- Symphony No. 38 in D 'Prague': II. Andante
- Symphony No. 38 in D 'Prague': III. Presto
- Rondo C-Dur KV 373 I. Allegretto grazioso
- Vier Arien aus der „Zauberflöte“: Der Vogelfänger bin ich ja
- Vier Arien aus der „Zauberflöte“: Dies Bildnis ist bezaubernd schön
- Vier Arien aus der „Zauberflöte“: Alles fühlt der Liebe Freuden
- Vier Arien aus der „Zauberflöte“: Ein Mädchen oder Weibchen
- Flötenkonzert G-Dur KV 313: Allegro maestoso
- Flötenkonzert G-Dur KV 313: Adagia ma non troppo
- Flötenkonzert G-Dur KV 313: Rondo. Tempo di Menuetto
- Vier Arien aus „Don Giovanni“: Là ci darem la mano
- Vier Arien aus „Don Giovanni“: Non mi dir, bell'idol mio
- Vier Arien aus „Don Giovanni“: Canzonetta: Deh, vieni alla finestra
- Vier Arien aus „Don Giovanni“: Fin ch'han dal vino
- Oboenkonzert C-Dur KV 314: Allegro aperto
- Oboenkonzert C-Dur KV 314: Adagio non troppo
- Oboenkonzert C-Dur KV 314: Rondo. Allegretto
Concertos for Violin and Orchestra No. 1 - 5 (Orchestra Mozart feat. conductor: Claudio Abbado, violin: Giuliano Carmignola)
Released [2008]
Released [2008]
- Concerto for Violin and Orchestra No. 1 in B-flat major, K. 207: I. Allegro moderato
- Concerto for Violin and Orchestra No. 1 in B-flat major, K. 207: II. Adagio
- Concerto for Violin and Orchestra No. 1 in B-flat major, K. 207: III. Presto
- Concerto for Violin and Orchestra No. 2 in D major, K. 211: I. Allegro moderato
- Concerto for Violin and Orchestra No. 2 in D major, K. 211: II. Andante
- Concerto for Violin and Orchestra No. 2 in D major, K. 211: III. Rondeau. Allegro
- Concerto for Violin and Orchestra No. 3 in G major, K. 216 "Strassburg": I. Allegro aperto
- Concerto for Violin and Orchestra No. 3 in G major, K. 216 "Strassburg": II. Adagio
- Concerto for Violin and Orchestra No. 3 in G major, K. 216 "Strassburg": III. Rondeau. Allegro - andante - allegretto
Concertos for Violin and Orchestra No. 1 - 5 (Orchestra Mozart feat. conductor: Claudio Abbado, violin: Giuliano Carmignola)
Released [2008]
Released [2008]
- Concerto for Violin and Orchestra No. 1 in B-flat major, K. 207: I. Allegro moderato
- Concerto for Violin and Orchestra No. 1 in B-flat major, K. 207: II. Adagio
- Concerto for Violin and Orchestra No. 1 in B-flat major, K. 207: III. Presto
- Concerto for Violin and Orchestra No. 2 in D major, K. 211: I. Allegro moderato
- Concerto for Violin and Orchestra No. 2 in D major, K. 211: II. Andante
- Concerto for Violin and Orchestra No. 2 in D major, K. 211: III. Rondeau. Allegro
- Concerto for Violin and Orchestra No. 3 in G major, K. 216 "Strassburg": I. Allegro aperto
- Concerto for Violin and Orchestra No. 3 in G major, K. 216 "Strassburg": II. Adagio
- Concerto for Violin and Orchestra No. 3 in G major, K. 216 "Strassburg": III. Rondeau. Allegro - andante - allegretto
- Symphony No. 28 in C major, K. 200: I. Allegro spiritoso
- Symphony No. 28 in C major, K. 200: II. Andante
- Symphony No. 28 in C major, K. 200: III. Menuetto (Allegretto)
- Symphony No. 28 in C major, K. 200: IV. Presto
- Symphony No. 29 in A major, K. 201: I. Allegro moderato
- Symphony No. 29 in A major, K. 201: II. Andante
- Symphony No. 29 in A major, K. 201: III. Menuetto
- Symphony No. 29 in A major, K. 201: IV. Allegro con spirito
- Symphony No. 34 in C major, K. 338: I. Allegro vivace
- Symphony No. 34 in C major, K. 338: II. Andante di molto
- Symphony No. 34 in C major, K. 338: III. Finale. Allegro vivace
Mozart Chamber Music Smithson String Quartet (Jaap Schröder:violin, Judson Griffin: viola, Jaap ter Linden: cello, Michel Piguet: oboe)
Released [2006]
Released [2006]
- Divertimento for Violin, Viola & Cello in E-flat major. K. 563: 1. Allegro
- Divertimento for Violin, Viola & Cello in E-flat major. K. 563: 2. Adagio
- Divertimento for Violin, Viola & Cello in E-flat major. K. 563: 3. Menuetto (Allegretto)
- Divertimento for Violin, Viola & Cello in E-flat major. K. 563: 4. Andante
- Divertimento for Violin, Viola & Cello in E-flat major. K. 563: 5. Menuetto (Allegretto)
- Divertimento for Violin, Viola & Cello in E-flat major. K. 563: 6. Allegro
- Quartet for Oboe, Violin, Viola & Cello in F major K.370: 1. Allegro
- Quartet for Oboe, Violin, Viola & Cello in F major K.370: 2. Adagio
- Quartet for Oboe, Violin, Viola & Cello in F major K.370: 3. Rondeau: Allegro
- String Quartet in C K465 "Dissonance": I. Adagio - Allegro
- String Quartet in C K465 "Dissonance": II. Andante cantabile
- String Quartet in C K465 "Dissonance": III. Menuetto. Allegro - Trio
- String Quartet in C K465 "Dissonance": IV. Allegro molto
- String Quartet in D K499 "Hoffmeister": I. Allegretto
- String Quartet in D K499 "Hoffmeister": II. Menuetto. Allegro - Trio
- String Quartet in D K499 "Hoffmeister": III. Adagio
- String Quartet in D K499 "Hoffmeister": IV. Allegro
- Symphony No.40 in G Minor, K550: I. Molto Allegro
- Symphony No.40 in G Minor, K550: II. Andante
- Symphony No.40 in G Minor, K550: III. Menuetto: Allegretto
- Symphony No.40 in G Minor, K550: IV. Allegro Assai
- Symphony No.41 in C Major, K.551 Jupiter: I. Allegro Vivace
- Symphony No.41 in C Major, K.551 Jupiter: II. Andante Cantabile
- Symphony No.41 in C Major, K.551 Jupiter: III. Menuetto: Allegretto
- Symphony No.41 in C Major, K.551 Jupiter: IV. Molto Allegro
The Mozart Collection - Great Mass in C Minor, K.427 - Adagio and Fugue for Strings, K.546
Released [2006]
Released [2006]
- Great Mass in C minor, K.427 - I. Kyrie - Andante moderato
- Great Mass in C minor, K.427 - II. Gloria - Gloria in excelsis Deo - Allegro vivace
- Great Mass in C minor, K.427 - II. Gloria - Laudamus te - Allegro aperto
- Great Mass in C minor, K.427 - II. Gloria - Gratias agimus tibi - Adagio
- Great Mass in C minor, K.427 - II. Gloria - Domine Deus - Allegro moderator
- Great Mass in C minor, K.427 - II. Gloria - Qui tollis peccato mundi - Largo
- Great Mass in C minor, K.427 - II. Gloria - Quoniam tu solus Sanctus - Allegro
- Great Mass in C minor, K.427 - II. Gloria - Jesu Christe - Adagio
- Great Mass in C minor, K.427 - II. Gloria - Cum Sancto spiritu
- Greta Mass in C minor, K.427 - III. Credo - Credo in unum - Allegro maestoso
- Great Nass in C minor, K.427 - III. Credo - Et incarnatus est - Andante
- Great Mass in C minor, K.427 - IV. Sanctus - Largo
- Great Mass in C minor, K.427 - V. Benedictus - Allegro comodo
- Adagio and Fugue for Strings, K.546
Mozart: Conciertos Para Piano (I) (Orchestre de Chambre de Lausanne, conductor: Christian Zacharias), (Christian Zacharias, piano)
Released [2006]
Released [2006]
- Concerto for Piano and Orchestra Nº 9 in E flat Major "Jeunehomme" "Jenamy", KV 271, I. Allegro
- Concerto for Piano and Orchestra Nº 9 in E flat Major "Jeunehomme" "Jenamy", KV 271, II. Andantino
- Concerto for Piano and Orchestra Nº 9 in E flat Major "Jeunehomme" "Jenamy", KV 271, II. Rondeau: Presto
- Concerto for Piano and Orchestra Nº 25 in C Major, KV 503, I. Allegro maestoso
- Concerto for Piano and Orchestra Nº 25 in C Major, KV 503, II. Andante
- Concerto for Piano and Orchestra Nº 25 in C Major, KV 503, III. Allegro vivace assai
- Piano Concerto No. 21 In C Major, K. 467, "Elvira Madigan": II. Andante
- Piano Concerto No. 21 In C Major, K. 467, "Elvira Madigan": III. Allegro Vivace Assai
- Concerto For 3 Pianos In F Major, K. 242, "Lodron": I. Allegro
- Concerto For 3 Pianos In F Major, K. 242, "Lodron": II. Adagio
- Concerto For 3 Pianos In F Major, K. 242, "Lodron": III. Rondo: Tempo Di Menuetto
- Concerto For 2 Pianos In E Flat Major, K. 365: I. Allegro
- Concerto For 2 Pianos In E Flat Major, K. 365: II. Andante
- Concerto For 2 Pianos In E Flat Major, K. 365: III. Rondo: Allegro
Concertos for Flute, Flute and Harp, Bassoon (Wiener Philharmoniker feat. conductor: Karl Böhm)
Released [2005]
Released [2005]
- Concerto for Flute, Harp, and Orchestra in C, K.299 - 1. Allegro
- Concerto for Flute, Harp, and Orchestra in C, K.299 - 2. Andantino
- Concerto for Flute, Harp, and Orchestra in C, K.299 - 3. Rondo (Allegro)
- Flute Concerto No.1 in G, K.313 - 1. Allegro maestoso
- Flute Concerto No.1 in G, K.313 - 2. Adagio non troppo
- Flute Concerto No.1 in G, K.313 - 3. Rondo (Tempo di Menuetto)
- Bassoon Concerto in B flat, K.191 - 1. Allegro
- Bassoon Concerto in B flat, K.191 - 2. Andante ma adagio - Cadenza: Dietmar Zeman
- Bassoon Concerto in B flat, K.191 - 3. Rondo (Tempo di menuetto)
- Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): I. Introitus: Requiem
- Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): II. Kyrie
- Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): III. Sequentia: Dies irae
- Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): III. Sequentia: Tuba mirum
- Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): III. Sequentia: Rex tremendae
- Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): III. Sequentia: Recordare
- Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): III. Sequentia: Confutatis
- Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): III. Sequentia: Lacrimosa
- Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): IV. Offertorium: Domine Jesu
- Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): IV. Offertorium: Hostias
- Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): V. Sanctus
- Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): VI. Benedictus
- Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): VII. Agnus Dei
- Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): VIII.Communio: Lux aeterna
- Symphony No. 26 in E-flat major, K. 184: I. Molto presto
- Symphony No. 26 in E-flat major, K. 184: II. Andante
- Symphony No. 26 in E-flat major, K. 184: III. Allegro
- Symphony No. 32 in G major, K. 318 (Overture in G): I. Allegro spiritoso
- Symphony No. 32 in G major, K. 318 (Overture in G): II. Andante
- Symphony No. 32 in G major, K. 318 (Overture in G): III. Tempo I
- Symphony No. 29 in A major, K201 (186a): I. Allegro moderato
- Symphony No. 29 in A major, K201 (186a): II. Andante
- Symphony No. 29 in A major, K201 (186a): III. Menuetto - Trio
- Symphony No. 29 in A major, K201 (186a): IV. Allegro con spirito
- Symphony No. 33 in B-flat major, K319: I. Allegro assai
- Symphony No. 33 in B-flat major, K319: II. Andante moderato
- Symphony No. 33 in B-flat major, K319: III. Menuetto-Trio
- Symphony No. 33 in B-flat major, K319: IV. Allegro assai
- Symphony No. 25 in G minor, K183: I. Allegro con brio
- Symphony No. 25 in G minor, K183: II. Andante
- Symphony No. 25 in G minor, K183: III. Menuetto - Trio
- Symphony No. 25 in G minor, K183: IV. Allegro
Flute Concertos Nos. 1 and 2 / Concerto for Flute, Harp and Orchestra (Swedish Chamber Orchestra feat. flute: Patrick Gallois, harp: Fabrice Pierre)
Released [2004]
Released [2004]
- Flute Concerto No. 2 in D major, KV 314: I. Allegro aperto
- Flute Concerto No. 2 in D major, KV 314: II. Adagio ma non troppo
- Flute Concerto No. 2 in D major, KV 314: III. Rondeau (Allegro)
- Concerto for Flute, Harp and Orchestra, KV 299: I. Allegro
- Concerto for Flute, Harp and Orchestra, KV 299: II. Andantino
- Concerto for Flute, Harp and Orchestra, KV 299: III. Rondeau (Allegro)
- Flute Concerto No. 1 in G major, KV 313: I. Allegro maestoso
- Flute Concerto No. 1 in G major, KV 313: II. Adagio ma non troppo
- Flute Concerto No. 1 in G major, KV 313: III. Rondo (Tempo di menuetto)
- Introitus: Requiem aeternam
- Kyrie Eleison
- Dies Irae
- Tuba mirum
- Rex tremendae
- Recordare
- Confutatis
- Lacrimosa
- Domine Jesu
- Hostias
- Sanctus
- Benedictus
- Agnus Dei
- Lux aeternam
- Symphony no. 40 in g minor, k. 550: I. molto allegro
- Symphony no. 40 in g minor, k. 550: II. andante
- Symphony no. 40 in g minor, k. 550: III. menuetto. allegretto - trio
- Symphony no. 40 in g minor, k. 550: IV. allegro assai
- Symphony no. 39 in e-flat major, k. 543: I. adagio - allegro
- Symphony no. 39 in e-flat major, k. 543: II. andante con moto
- Symphony no. 39 in e-flat major, k. 543: III. menuetto. allegretto - trio
- Symphony no. 39 in e-flat major: IV. finale. allegro
Piano Concertos Nos. 15, 21, 23 (Academy of St Martin in the Fields, feat conductor: Neville Marriner, piano: Alfred Brendel
Released [2001]
Released [2001]
- Piano Concerto No. 21 in C major, KV 467: I. (Allegro)
- Piano Concerto No. 21 in C major, KV 467: II. Andante
- Piano Concerto No. 21 in C major, KV 467: III. Allegro vivace assai
- Piano Concerto No. 15 in B-flat major, KV 450: I. Allegro
- Piano Concerto No. 15 in B-flat major, KV 450: II. (Andante)
- Piano Concerto No. 15 in B-flat major, KV 450: III. Allegro
- Piano Concerto No. 23 in A major, KV 488: I. Allegro
- Piano Concerto No. 23 in A major, KV 488: II. Adagio
- Piano Concerto No. 23 in A major, KV 488: III. Allegro assai
- Adagio and fugue for string quartet (Or string orchestra) in C minor, KV 546
- Divertimento, No. 17 for 2 horns & Strings in, D major, KV 334 (K.320b): Adagio
- Symphony, No. 5 in C minor ("Fate"), op. 67: I. Allegro con brio
- Symphony, No. 5 in C minor ("Fate"), op. 67: II. Andante con moto
- Symphony, No. 5 in C minor ("Fate"), op. 67: III. Allegro
- Symphony, No. 5 in C minor ("Fate"), op. 67: IV. Allegro
- Symphony, No. 8 in F major, Op. 93: I. Allegro vivace e con brio
- Symphony, No. 8 in F major, Op. 93: II. Allegretto scherzando
- Symphony, No. 8 in F major, Op. 93: III. Tempo di menuetto
- Symphony, No. 8 in F major, Op. 93: IV. Allegro vivace
- Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Overture
- Piano Sonata No. 15 in C major ("Sonata semplice") K. 545: Allegro
- German dances (3) for orchestra, K. 605: Sleigh Ride
- Horn Concerto No. 4 in E flat major, K. 495: Rondo
- Variations (12) on "Ah, vous dirai-je maman," for piano in C major, K. 265 (K. 300e)
- Violin Concerto No. 4 in D major, K. 218: Rondeau
- Piano Sonata No. 11 in A major ("Alla Turca") K. 331 (K. 300i): Rondo alla Turca
- Piano Concerto No. 21 in C major ("Elvira Madigan") K. 467: Andante (theme from Elvira Madigan)
- Serenade No. 13 for strings in G major ("Eine kleine Nachtmusik"), K. 525: Romance
- Serenade No. 11 for winds in E flat major, K. 375: Adagio
- Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Cavatina (Se vuol ballare, Signor Contin
- Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Aria (Non piu andrai)
- Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Terzetto (Susanna or via sortite)
- Symphony No. 38 in D major ("Prague"), K. 504: Andante
- Ave verum Corpus, motet for chorus, strings & organ, K. 618
- Requiem, K. 626: I. Introitus: Requiem
- Requiem, K. 626: II. Kyrie
- Requiem, K. 626: III. Sequenz No. 1 Dies irae
- Requiem, K. 626: III. Sequenz No. 2 Tuba mirum
- Requiem, K. 626: III. Sequenz No. 3 Rex tremendae
- Requiem, K. 626: III. Sequenz No. 4 Recordare
- Requiem, K. 626: III. Sequenz No. 5 Confutatis
- Requiem, K. 626: III. Sequenz No. 6 Lacrimosa
- Requiem, K. 626: IV. Offertorium No. Domine Jesu
- Requiem, K. 626: IV. Offertorium No. 2 Hostias
- Requiem, K. 626: V. Sanctus
- Requiem, K. 626: VI. Benedictus
- Requiem, K. 626: VII. Agnus Dei
- Requiem, K. 626: VIII. Communio: Lux aeterna
- Exsultate, jubilate, K. 165 (158a): Allegro - (Andante) - (Vivace)
Piano Concertos No. 20 KV 466, No. 24 KV 491 (Scottish Chamber Orchestra feat. conductor: Charles Mackerras, piano: Alfred Brendel)
Released [1999]
Released [1999]
- Piano Concerto No. 20 in D minor, KV 466: I. Allegro
- Piano Concerto No. 20 in D minor, KV 466: II. Romance
- Piano Concerto No. 20 in D minor, KV 466: III. Allegro assai
- Piano Concerto No. 24 in C minor, KV 491: I. (Allegro)
- Piano Concerto No. 24 in C minor, KV 491: II. Larghetto
- Piano Concerto No. 24 in C minor, KV 491: III. (Allegretto)
Piano Sonatas KV 280, 331, 457 / Rondo KV 511 (feat. piano: Rolf-Dieter Arens, Annerose Schmidt)
Released [1998]
Released [1998]
- Piano Sonata No. 2 in F major, KV 280 (189e): I. Allegro assai
- Piano Sonata No. 2 in F major, KV 280 (189e): II. Adagio
- Piano Sonata No. 2 in F major, KV 280 (189e): III. Presto
- Piano Sonata No. 11 in A major, KV 331 (300i): I. Thema und Variationen. Andante grazioso - Adagio - Allegretto
- Piano Sonata No. 11 in A major, KV 331 (300i): II. Menuetto. Trio
- Piano Sonata No. 11 in A major, KV 331 (300i): III. Alla turca. Allegretto
- Piano Sonata No. 14 in C minor, KV 457: I. Allegro
- Piano Sonata No. 14 in C minor, KV 457: II. Adagio
- Piano Sonata No. 14 in C minor, KV 457: III. Molto allegro
- Rondo in A minor, KV 511 (Andante)
- Concerto for Piano and Orchestra No. 25 in C major, K. 503: I. Allegro maestoso
- Concerto for Piano and Orchestra No. 25 in C major, K. 503: II. Andante
- Concerto for Piano and Orchestra No. 25 in C major, K. 503: III. Allegretto
- Concerto for Piano and Orchestra No. 18 in B flat major, K. 456: I. Allegro vivace
- Concerto for Piano and Orchestra No. 18 in B flat major, K. 456: II. Andante un poco sostenuto
- Concerto for Piano and Orchestra No. 18 in B flat major, K. 456: III. Allegro vivace
Konzert für Klavier und Orchester Nr. 17 & 21 (The Chamber Orchestra of Europe feat. conductor: Claudio Abbado, piano: Maria João Pires)
Released [1995]
Released [1995]
- Concerto for Piano No. 17 in G major, K. 453 "Second Ployer": I. Allegro
- Concerto for Piano No. 17 in G major, K. 453 "Second Ployer": II. Andante
- Concerto for Piano No. 17 in G major, K. 453 "Second Ployer": III. Allegretto & Finale. Presto
- Concerto for Piano No. 21 in C major, K. 467 "Elvira Madigan": I. Allegro
- Concerto for Piano No. 21 in C major, K. 467 "Elvira Madigan": II. Andante
- Concerto for Piano No. 21 in C major, K. 467 "Elvira Madigan": III. Allegro vivace assai
- Eine kleine Nachtmusik in G major, K.525: I. Allegro
- Eine kleine Nachtmusik in G major, K.525: II. Romance: Andante
- Eine kleine Nachtmusik in G major, K.525: III. Menuetto: Allegretto - Trio
- Eine kleine Nachtmusik in G major, K.525: IV. Rondo: Allegro
- Divertimento in D major, K.251, "Nannerl-Septett": I. Molto allegro
- Divertimento in D major, K.251, "Nannerl-Septett": II. Menuetto - Trio
- Divertimento in D major, K.251, "Nannerl-Septett": III. Andantino
- Divertimento in D major, K.251, "Nannerl-Septett": IV. Menuetto (Tema con variazioni)
- Divertimento in D major, K.251, "Nannerl-Septett": V. Rondo: Allegro assai
- Divertimento in D major, K.251, "Nannerl-Septett": VI. Marcia alla francese
- Ein musikalischer Spaß in F major, K.522, "Dorfmusikanten-Sextett": I. Allegro
- Ein musikalischer Spaß in F major, K.522, "Dorfmusikanten-Sextett": II. Menuetto: Maestoso - Trio
- Ein musikalischer Spaß in F major, K.522, "Dorfmusikanten-Sextett": III. Adagio cantabile
- Ein musikalischer Spaß in F major, K.522, "Dorfmusikanten-Sextett": IV. Presto
- Symphony No. 35 in D major, K. 385 "Haffner": I. Allegro con spirito
- Symphony No. 35 in D major, K. 385 "Haffner": II. Andante
- Symphony No. 35 in D major, K. 385 "Haffner": III. Minuetto
- Symphony No. 35 in D major, K. 385 "Haffner": IV. Finale. Presto
- Symphony No. 31 in D major, K. 300a/297 "Paris": I. Allegro assai
- Symphony No. 31 in D major, K. 300a/297 "Paris": II. Andante
- Symphony No. 31 in D major, K. 300a/297 "Paris": III. Allegro
- Concerto for Clarinet in A major, K. 622: I. Allegro
- Concerto for Clarinet in A major, K. 622: II. Adagio
- Concerto for Clarinet in A major, K. 622: III. Rondo. Allegro
- Così fan tutte, K. 588: Ouverture
- Symphonie n°40 en sol mineur K550 - I. Allegro Molto
- Symphonie n°40 en sol mineur K550 - II. Andante
- Symphonie n°40 en sol mineur K550 - III. Minuetto Allegretto
- Symphonie n°40 en sol mineur K550 - IV. Finale Alegro Assai
- Concerto pour piano n°25 en do majeur K503 - I. Allegro Maestoso
- Concerto pour piano n°25 en do majeur K503 - II. Andante
- Concerto pour piano n°25 en do majeur K503 - III. Allegretto
- Piano Concerto No. 17 in G, K. 453 - Mvt. 1 Allegro
- Piano Concerto No. 17 in G, K. 453 - Mvt. 2 Andante
- Piano Concerto No. 17 in G, K. 453 - Mvt. 3 Allegretto - Presto
- Piano Concerto No. 26 in D, K. 537 - Mvt. 1 Allegro
- Piano Concerto No. 26 in D, K. 537 - Mvt. 2 Larghetto
- Piano Concerto No. 26 in D, K. 537 - Mvt. 3 Allegretto
- Symphonie Nr. 10 G-dur, KV 74: I. Allegro
- Symphonie Nr. 10 G-dur, KV 74: II. Andante
- Symphonie Nr. 10 G-dur, KV 74: III. Rondeau. Allegro
- Symphonie Nr. 11 D-dur, KV 84: I. Allegro
- Symphonie Nr. 11 D-dur, KV 84: II. Andante
- Symphonie Nr. 11 D-dur, KV 84: II. Allegro
- Symphonie Nr. 12 G-dur, KV 110: I. Allegro
- Symphonie Nr. 12 G-dur, KV 110: II. Andante
- Symphonie Nr. 12 G-dur, KV 110: III. Menuetto - Trio
- Symphonie Nr. 12 G-dur, KV 110: IV. Allegro
- Symphonie Nr. 13 F-dur, KV 112: I. Allegro
- Symphonie Nr. 13 F-dur, KV 112: II. Andante
- Symphonie Nr. 13 F-dur, KV 112: III. Menuetto - Trio
- Symphonie Nr. 13 F-dur, KV 112: IV. Molto allegro
- Violin Sonata in C major, K 6: I. Allegro
- Violin Sonata in C major, K 6: II. Andante
- Violin Sonata in C major, K 6: III. Menuetto I & II
- Violin Sonata in C major, K 6: IV. Allegro molto
- Violin Sonata in G major, K 27: I. Andante poco adagio
- Violin Sonata in G major, K 27: II. Allegro
- Violin Sonata in F major, K 55: I. Vivace
- Violin Sonata in F major, K 55: II. Adagio
- Violin Sonata in F major, K 55: III. Tempo di menuetto
- Violin Sonata in C major, K 56: I. Vivace
- Violin Sonata in C major, K 56: II. Adagio con moto
- Violin Sonata in C major, K 56: III. Rondo (Allegro)
- Violin Sonata in F major, K 57: I. Largo
- Violin Sonata in F major, K 57: II. Menuetto
- Violin Sonata in F major, K 57: III. Allegro
- Violin Sonata in E-flat major, K 58: I. Adagio - Menuetto (Moderato)
- Violin Sonata in E-flat major, K 58: II. Allegro assai
- Violin Sonata in C minor, K 59: I. Andante
- Violin Sonata in C minor, K 59: II. Menuetto
- Violin Sonata in C minor, K 59: III. Allegro
- Don Giovanni, opera, K. 527: Ouvertura
- Don Giovanni, opera, K. 527: Act 1. Notte e giorno faticar
- Don Giovanni, opera, K. 527: Act 1. Leporello, ove sei?
- Don Giovanni, opera, K. 527: Act 1. Ma qual mai s'offre, o dei
- Don Giovanni, opera, K. 527: Act 1. Fuggi, crudele, fuggi!
- Don Giovanni, opera, K. 527: Act 1. Orsù, spicciati presto
- Don Giovanni, opera, K. 527: Act 1. Ah! chi mi dice mai
- Don Giovanni, opera, K. 527: Act 1. Chi è la?
- Don Giovanni, opera, K. 527: Act 1. Madamina! il catalogo è questo
- Don Giovanni, opera, K. 527: Act 1. In questa forma dunque
- Don Giovanni, opera, K. 527: Act 1. Giovinette che fate all'amore
- Don Giovanni, opera, K. 527: Act 1. Manco male, è partita
- Don Giovanni, opera, K. 527: Act 1. Ho capito, signor, si!
- Don Giovanni, opera, K. 527: Act 1. Alfin siam liberati
- Don Giovanni, opera, K. 527: Act 1. LÃ ci darem la mano
- Don Giovanni, opera, K. 527: Act 1. Fermati, scellerato!
- Don Giovanni, opera, K. 527: Act 1. Ah! fuggi il traditor!
- Don Giovanni, opera, K. 527: Act 1. Mi par ch'oggi il demonio si diverta
- Don Giovanni, opera, K. 527: Act 1. Non ti fidar, o misera
- Don Giovanni, opera, K. 527: Act 1. Povera sventurata!
- Don Giovanni, opera, K. 527: Act 1. Don Ottavio, son morta!
- Don Giovanni, opera, K. 527: Act 1. Or sai chi l'onore
- Don Giovanni, opera, K. 527: Act 1. Come mai creder deggio
- Don Giovanni, opera, K. 527: Act 1. Io deggio, ad ogni patto
- Don Giovanni, opera, K. 527: Act 1. Finch'han dal vino
- Don Giovanni, opera, K. 527: Act 1. Masetto, senti un po'!
- Don Giovanni, opera, K. 527: Act 1. Batti, batti, o bel Masetto
- Don Giovanni, opera, K. 527: Act 1. (Guarda un po'...)
- Don Giovanni, opera, K. 527: Act 1. (Presto, presto, pria ch'ei venga...)
- Don Giovanni, opera, K. 527: Act 1. Protegga il giusto cielo
- Don Giovanni, opera, K. 527: Act 1. Riposate, vezzose ragazze!
- Don Giovanni, opera, K. 527: Act 1. Venite pur avanti
- Sonata in C, K. 545: I. Allegro
- Sonata in C, K. 545: II. Andante
- Sonata in C, K. 545: III Rondo
- Sonata in E flat, K. 282: I. Adagio
- Sonata in E flat, K. 282: II. Minuetto I & II
- Sonata in E flat, K. 282: III. Allegro
- Divermento in C, from K. 439b: I. Allegro
- Divermento in C, from K. 439b: II. Minuetto & Trio
- Divermento in C, from K. 439b: III. Larghetto
- Divermento in C, from K. 439b: IV: Minuetto & Trio
- Divermento in C, from K. 439b: V: Rondo (Allegro)
- Sonata in D, K. 576: I. Allegro
- Sonata in D, K. 576: II. Adagio
- Sonata in D, K. 576: III. Alegretto
Les seize dernières sonates violon et piano (feat. violin: Petr Messiereur, piano: Stanislav Bogunia)
Released [1990]
Released [1990]
- Sonate en la majeur, K.305: I. Allegro di molto
- Sonate en la majeur, K.305: II. Thème (andante grazioso) et variations
- Sonate en mi bémol majeur, K.380: I. Allegro
- Sonate en mi bémol majeur, K.380: II. Andante con moto
- Sonate en mi bémol majeur, K.380: III. Rondo
- Sonate en mi mineur, K.454: I. Largo. Allegro
- Sonate en mi mineur, K.454: II. Andante
- Sonate en mi mineur, K.454: III. Allegretto
- Sonate en si bémol majeur, K.378: I. Allegro moderato
- Sonate en si bémol majeur, K.378: II. Andantino sostenuto cantabile
- Sonate en si bémol majeur, K.378: III. Allegro
Piano Concertos Nos. 20 - 27 (Berliner Philharmoniker feat. conductor, piano: Daniel Barenboim)
Released [1990]
Released [1990]
- Concerto for Piano No. 20 in D minor, K. 466: I. Allegro
- Concerto for Piano No. 20 in D minor, K. 466: II. Romanze
- Concerto for Piano No. 20 in D minor, K. 466: III. Rondo. Allegro assai
- Concerto for Piano No. 21 in C major, K. 467 "Elvira Madigan": I. Allegro
- Concerto for Piano No. 21 in C major, K. 467 "Elvira Madigan": II. Andante
- Concerto for Piano No. 21 in C major, K. 467 "Elvira Madigan": III. Allegro vivace assai
Midsummer Mozart Festival Orchestra Live: Mozart Piano Concerto no. 13, Overture Lucio Silla K. 135 (Jeremy Menuhin:Piano, George Cleve:Director)
Released [1987]
Released [1987]
- Piano Concerto No. 13 in C Major K. 387b (K415): 1. Allegro
- Piano Concerto No. 13 in C Major K. 387b (K415): 2. Andante
- Piano Concerto No. 13 in C Major K. 387b (K415): 3. Allegro
- Overture to "Lucia Silla" K. 135: 1st Movement
- Overture to "Lucia Silla" K. 135: 2nd Movement
- Overture to "Lucia Silla" K. 135: 3rd Movement
- Sonata in G, KV 283: Allegro
- Sonata in G, KV 283: Andante
- Sonata in G, KV 283: Presto
- Sonata in E flat, KV 282: Adagio
- Sonata in E flat, KV 282: Menuetto I & II
- Sonata in E flat, KV 282: Allegro
- Sonata in C, KV 545: Allegro
- Sonata in C, KV 545: Andante
- Sonata in C, KV 545: Rondo (Allegretto)
- Symphony No. 39 in E-flat major, K.543: I. Adagio - Allegro
- Symphony No. 39 in E-flat major, K.543: II. Andante con moto
- Symphony No. 39 in E-flat major, K.543: III. Menuetto (Alegretto)
- Symphony No. 39 in E-flat major, K.543: IV. Finale (Allegro)
- Symphony No. 41 in C major, K.551 «Jupiter»: I. Allegro vivace
- Symphony No. 41 in C major, K.551 «Jupiter»: II. Andante cantabile
- Symphony No. 41 in C major, K.551 «Jupiter»: III. Menuetto (Alegretto)
- Symphony No. 41 in C major, K.551 «Jupiter»: IV. Molto allegro
- Eine kleine Nachtmusik: I. Allegro
- Eine kleine Nachtmusik: II. Romance. Andante
- Eine kleine Nachtmusik: III. Minuetto. Allegretto & Trio
- Eine kleine Nachtmusik: IV. Rondo. Allegro
- 6 German Dances for Orchestra, K. 600 No. 1 in C major: German Dance & Trio
- 6 German Dances for Orchestra, K. 600 No. 2 in F major: German Dance & Trio
- 6 German Dances for Orchestra, K. 600 No. 3 in B-flat major: German Dance & Trio
- 6 German Dances for Orchestra, K. 600 No. 4 in E-flat major: German Dance & Trio
- 6 German Dances for Orchestra, K. 600 No. 5 in G major: German Dance & Trio
- 6 German Dances for Orchestra, K. 600 No. 6 in D major: German Dance & Trio
- A Musical Joke, K.522: I. Allegro
- A Musical Joke, K.522: II. Minuetto. Maestoso & Trio
- A Musical Joke, K.522: III. Adagio cantabile
- A Musical Joke, K.522: IV. Presto
- Piano Concerto No. 25 in C major, K. 503: I. Allegro maestoso
- Piano Concerto No. 25 in C major, K. 503: II. Andante
- Piano Concerto No. 25 in C major, K. 503: III. Allegretto
- Piano Concerto No. 27 in B flat major, K. 595: I. Allegro
- Piano Concerto No. 27 in B flat major, K. 595: II. Larghetto
- Piano Concerto No. 27 in B flat major, K. 595: III. Allegro
- Quartet in F major for oboe, violin, viola & cello, K. 370: I. Allegro
- Quartet in F major for oboe, violin, viola & cello, K. 370: II. Adagio
- Quartet in F major for oboe, violin, viola & cello, K. 370: III. Rondeau: Allegro
- Quintet in E flat major for horn, violin, two violas and cell, K. 407: I. Allegro
- Quintet in E flat major for horn, violin, two violas and cell, K. 407: II. Andante
- Quintet in E flat major for horn, violin, two violas and cell, K. 407: III. Rondeau: Allegro
- Ein musikalischer Spass (A Musical Joke), K. 522: I. Allegro
- Ein musikalischer Spass (A Musical Joke), K. 522: II. Menuetto: Maestoso
- Ein musikalischer Spass (A Musical Joke), K. 522: III. Adagio cantabile
- Ein musikalischer Spass (A Musical Joke), K. 522: IV. Presto
- Symphony No. 6 Op. 74, "Pathétique": Adagio - Allegro ma non troppo
- Symphony No. 6 Op. 74, "Pathétique": Allegro con grazia
- Symphony No. 6 Op. 74, "Pathétique": Allegro molto vivace
- Symphony No. 6 Op. 74, "Pathétique": Finale. Adagio lamentoso - Andante
- Symphony No. 41, KV 551, "Jupiter": Allegro vivace
- Symphony No. 41, KV 551, "Jupiter": Andante cantabile
- Symphony No. 41, KV 551, "Jupiter": Menuetto. Allegretto
- Symphony No. 41, KV 551, "Jupiter": Molto allegro
- Overture from "The Marriage of Figaro"
- Country Dance No.1 in C Major
- Country Dance No.2 in E-flat Mojor
- Allegro Molto from 'Serenade No.10 in B flat Major' 'Gran Partita'
- Andante from 'Piano Concerto No.21 in C Major' 'Elvira Madigan'
- Allegro con Brio from 'Symphony No.25 in G Minor'
- German Dance No.1 in B flat Major
- German Dance No.3 in G Major
- German Dance No.5 in A Major
- Menuetto from Serenade No.13 in G Major "Eine kleine Nachtmusik"
- Overture to 'Cosi Fan Tutte'
- Adagio from 'Piano Concerto No.23 in A Major'
- Alla Turca -- Allegretto from Piano Sonata No.11 in A Major
- Allegro from 'Horn Concerto No.1 in D Major'
- Molto Allegro from 'Symphony No.40 in G Minor'
- Concerto pour Cor et Orchestre No. 1 en ré majeur, K. 412 (386 b) : I. Allegro
- Concerto pour Cor et Orchestre No. 1 en ré majeur, K. 412 (386 b) : II. Rondo . Allegro
- Concerto pour Cor et Orchestre No. 4 en mi bémol majeur, K. 495 : I. Allegro maestoso
- Concerto pour Cor et Orchestre No. 4 en mi bémol majeur, K. 495 : II. Romance . Andante cantabile
- Concerto pour Cor et Orchestre No. 4 en mi bémol majeur, K. 495 : III. Rondo . Allegro vivace
- Concerto pour Cor et Orchestre No. 2 en mi bémol majeur, K. 417 : I. Allegro
- Concerto pour Cor et Orchestre No. 2 en mi bémol majeur, K. 417 : II. Andante
- Concerto pour Cor et Orchestre No. 2 en mi bémol majeur, K. 417 : III. Rondo . Allegro
- Concerto pour Cor et Orchestre No. 3 en mi bémol majeur, K. 447 : I. Allegro
- Concerto pour Cor et Orchestre No. 3 en mi bémol majeur, K. 447 : II. Romance . Larghetto
- Concerto pour Cor et Orchestre No. 3 en mi bémol majeur, K. 447 : III. Allegro
Mozart Piano concertos K414 & K453(feat. piano: Alfred Brendel, Scottish Chamber Orchestra , conductor: Sir Charles Mackeras)
- Piano concerto No.2 in A major, K414 - I. Allegro
- Piano concerto No.2 in A major, K414 - II. Andante
- Piano concerto No.2 in A major, K414 - III. Rondeau: Allegretto
- Piano Concerto No.17 in G Major, K.453 - I. Allegro
- Piano Concerto No.17 in G major, K.453 - II. Andante
- Piano concerto No.17 in G major, K453 - III. Finale: Allegretto
- Cor sincerum (mit obligater Klarinette)
- Jesu, amor meus (mit obligater Violine)
- Mens Sancta Deo (mit obligater Klarinette)
- Mens Sancta Deo (mit obligater Fagott)
- Jesu dulcis memoria (mit obligater Klarinette)
- Offertorium "Salve Regina" (mit obligater Violine)
- Domine Deus salutis meae (mit obligater Klarinette)
- Plasmator Deus (mit obligater Fagott)
- Die Hoffnung dient zum Stabe (mit obligater Klarinette)
- Piano Sonata No. 1 in C Major, KV 279 (KV 189d), I. Allegro
- Piano Sonata No. 1 in C Major, KV 279 (KV 189d), II. Andante
- Piano Sonata No. 1 in C Major, KV 279 (KV 189d), III. Allegro
- Piano Sonata No. 2 in F Major, KV 280 (KV 189e), I. Allegro Assai
- Piano Sonata No. 2 in F Major, KV 280 (KV 189e), II. Adagio
- Piano Sonata No. 2 in F Major, KV 280 (KV 189e), III. Presto
- Piano Sonata No. 3 in B Flat Major, KV 281 (Kv189f), I. Allegro
- Piano Sonata No. 3 in B Flat Major, KV 281 (Kv189f), II. Andante Amoroso
- Piano Sonata No. 3 in B Flat Major, KV 281 (Kv189f), III. Allegro
Born: ['1756-01-27']
Died: ['1791-12-05']
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Wolfgang Amadeus Mozart - Piano Concerto No. 21 - Andante
- Order: Reorder
- Duration: 5:51
- Published: 14 Jan 2008
- Updated: 18 Oct 2012
Piano Concerto No. 21 - Andante "Elvira Madigan"
http://wn.com/Wolfgang_Amadeus_Mozart_Piano_Concerto_No_21_Andante
Mozart - Requiem
- Order: Reorder
- Duration: 8:54
- Published: 05 Mar 2009
- Updated: 18 Oct 2012
Requiem Mass in D Minor Wolfgang Amadeus Mozart's final Masterpiece was commissioned in mid 1791 by the Austrian count Franz Von Walsegg, as a Tribute to the passing of his young wife Anna. Mozart began his final composition in Prague, suffering from an undetermined illness, which would eventually take his life and rob him of the chance to see the completion of his Magnum Opus. After Mozart's death, his understudy 'Franz Xaver Süssmayr', at the behest of Mozart's wife, completed the missing parts of the Requiem. Requiem Mass was first performed on January 2, 1793, in a private concert for the benefit of Mozart's grieving wife, Constanze Mozart. The Following are the lyrics, translated from their Original Latin Grant them eternal rest, Lord, and let perpetual light shine on them. You are praised, God, in Zion, and homage will be paid to You in Jerusalem. Hear my prayer, to You all flesh will come. Grant them eternal rest, Lord, and let perpetual light shine on them. Lord, have mercy on us. Christ, have mercy on us. Lord, have mercy on us. Day of wrath, day of anger will dissolve the world in ashes, as foretold by David and the Sibyl. Great trembling there will be when the Judge descends from heaven to examine all things closely. The trumpet will send its wondrous sound throughout earth's sepulchres and gather all before the throne. Death and nature will be astounded, when all creation rises again, to answer the judgment. A book will be brought forth, in which all will be <b>...</b>
http://wn.com/Mozart_Requiem
Wolfgang Amadeus Mozart - Requiem in D minor K.626
- Order: Reorder
- Duration: 53:03
- Published: 23 Jan 2012
- Updated: 17 Oct 2012
Joannes Chrysostomus Wolfgangus Theophilus Mozart. Wolfgang Amadeus Mozart: Requiem, K.626. Herbert von Karajan , Berlin Philharmonic Orchestra. Agnes Baltsa, alt/contralto. Anna Tomowa-Sintow, soprano. Werner Krenn, tenor. José van Dam, bass. Wiener Singverein. Rudolf Scholz, organ. Between 1961 and 1986, Herbert von Karajan made three recordings of the Mozart Requiem for Deutsche Grammophon, with little change in his conception of the piece over the years. This recording, from 1975, is, on balance, the best of them. The approach is Romantic, broad, and sustained, marked by a thoroughly homogenized blend of chorus and orchestra, a remarkable richness of tone, striking power, and an almost marmoreal polish. Karajan viewed the Requiem as idealized church music rather than a confessional statement awash in operatic expressiveness. In this account, the orchestra is paramount, followed in importance by the chorus, then the soloists. Not surprisingly, the singing of the solo quartet sounds somewhat reined-in, especially considering these singers' pedigrees. By contrast, the Vienna Singverein, always Karajan's favorite chorus, sings with a huge dynamic range and great intensity, though with an emotional detachment nonetheless. Perfection, if not passion or poignancy, is the watchword. The Berlin orchestra plays majestically, and the sound is pleasingly vivid. Track listing 1. I. INTROITUS Requiem 2. II. KYRIE III. SEQUENZ 3. No. 1 Dies Irae 4. No. 2 Tuba Mirum 5. No. 3 Rex <b>...</b>
http://wn.com/Wolfgang_Amadeus_Mozart_Requiem_in_D_minor_K626
Wolfgang Amadeus Mozart - Symphony No. 25 in G minor
- Order: Reorder
- Duration: 7:50
- Published: 15 May 2008
- Updated: 17 Oct 2012
Composed by Wolfgang Amadeus Mozart Performed by Academy of St. Martin-in-the-Fields Conducted by Neville Marriner
http://wn.com/Wolfgang_Amadeus_Mozart_Symphony_No_25_in_G_minor
Wolfgang Amadeus Mozart BBC Documentary Part 1/18
- Order: Reorder
- Duration: 9:55
- Published: 04 Mar 2011
- Updated: 10 Oct 2012
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, piano, 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 Mozart's 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 <b>...</b>
http://wn.com/Wolfgang_Amadeus_Mozart_BBC_Documentary_Part_1_18
Mozart, Symphony No. 40 in G minor, first movement
- Order: Reorder
- Duration: 7:58
- Published: 19 Sep 2009
- Updated: 17 Oct 2012
First movement of Mozart's 40th symphony, with bar-graph score. FAQ To download this video or make a contribution to support this project: vimeo.com Q: What do thecolors in the bar-graph score mean? A: Each color corresponds to one line in the orchestral score, and therefore to an instrument or group of instruments; here's the key: www.musanim.com Q: Where can I see the score for this piece? A: Here: tinyurl.com Q: Who is playing this piece? A: This performance is by the RFCM Symphony Orchestra, conducted by Dr. Keith J. Salmon. Q: How do you align the animation with the music? A: Here's a description: www.musanim.com Q: Is there a way I could make the bar-graph scores myself? A: The Music Animation Machine MIDI file player will generate this display; you can get the (Windows) software here: www.musanim.com There are lots of places on the web where you can get MIDI files; I usually go to the Classical Archives site first: www.classicalarchives.com Q: Could you please do a MAM video of ______? A: First, check my "to do" list: www.musanim.com ... If the piece isn't listed, read the "Could you please do a MAM video of ______?" item on my main FAQ: www.musanim.com ... and if you think I'd consider doing it, email me (stephen at musanim dot com). Q: What can you tell me about this piece? A: You can read about it here: en.wikipedia.org .
http://wn.com/Mozart,_Symphony_No_40_in_G_minor,_first_movement
Wolfgang Amadeus Mozart - Clarinet Concerto in A Major
- Order: Reorder
- Duration: 6:39
- Published: 20 May 2008
- Updated: 14 Oct 2012
Adagio -------------- Painting: The Parc Monceau Artist: Claude Monet
http://wn.com/Wolfgang_Amadeus_Mozart_Clarinet_Concerto_in_A_Major
Wolfgang Amadeus Mozart: Violin Concerto No. 3 in G Major
- Order: Reorder
- Duration: 21:55
- Published: 15 May 2011
- Updated: 15 Oct 2012
ARTHUR GRUMIAUX - Violin London Symphony Orchestra Colin Davis
http://wn.com/Wolfgang_Amadeus_Mozart_Violin_Concerto_No_3_in_G_Major
Johanes Wolfgang Amadeus Mozart: Symphony 'Jupiter' No.41 in C major, (K 551)
- Order: Reorder
- Duration: 35:26
- Published: 10 Feb 2012
- Updated: 15 Oct 2012
Álbum: Mozart, Complete Works Vol. 1: Symphonies Complete Interprete del álbum: Jaap Ter Linden & Mozart Akademie Amsterdam Compositor: Johanes Chrysostomus Wolfgang Amadeus Mozart Año: 2002 Genero: Classic
http://wn.com/Johanes_Wolfgang_Amadeus_Mozart_Symphony_'Jupiter'_No41_in_C_major,_K_551
Wolfgang Amadeus Mozart, Sonata per due Piano K 448 in Re maggiore, II MOV, andante
- Order: Reorder
- Duration: 10:59
- Published: 17 Jul 2008
- Updated: 14 Oct 2012
wolgang amadeus mozart
http://wn.com/Wolfgang_Amadeus_Mozart,_Sonata_per_due_Piano_K_448_in_Re_maggiore,_II_MOV,_andante
Mozart-Piano Sonata no. 11 in A, K. 331, Mov. 3 (Turkish March)
- Order: Reorder
- Duration: 3:43
- Published: 26 Mar 2009
- Updated: 17 Oct 2012
Piano Sonata no. 11 in A K. 331 Movement 3-alla Turca aka Turkish March Wolfgang Amadeus Mozart Performed by Jeno Jando
http://wn.com/Mozart-Piano_Sonata_no_11_in_A,_K_331,_Mov_3_Turkish_March
Johanes Wolfgang Amadeus Mozart: Symphony No.34 in C major, (K 338)
- Order: Reorder
- Duration: 20:21
- Published: 07 Feb 2012
- Updated: 27 Mar 2012
Álbum: Mozart, Complete Works Vol. 1: Symphonies Complete Interprete del álbum: Jaap Ter Linden & Mozart Akademie Amsterdam Compositor: Johanes Chrysostomus Wolfgang Amadeus Mozart Año: 2002 Genero: Classic
http://wn.com/Johanes_Wolfgang_Amadeus_Mozart_Symphony_No34_in_C_major,_K_338
![Wolfgang Amadeus Mozart-Piano Concerto No. 26. [FULL]](http://web.archive.org./web/20121018024820im_/http://i.ytimg.com/vi/asD0ihds6m0/0.jpg "Wolfgang Amadeus Mozart-Piano Concerto No. 26. [FULL]")
Wolfgang Amadeus Mozart-Piano Concerto No. 26. [FULL]
- Order: Reorder
- Duration: 13:35
- Published: 17 Aug 2010
- Updated: 17 Oct 2012
DISCLAIMER: (All images and music are copyrighted by their respective copyright owners.)
http://wn.com/Wolfgang_Amadeus_Mozart-Piano_Concerto_No_26_FULL_
Lacrimosa (Requiem) - Wolfgang Amadeus Mozart (lyrics)
- Order: Reorder
- Duration: 3:05
- Published: 18 Feb 2010
- Updated: 17 Oct 2012
The Requiem Mass in D minor by Wolfgang Amadeus Mozart was composed in Vienna in 1791, during the last year of the composer's life. 'Lacrimosa' is part of that Requiem Mass. Its melody was inspired by some of the deepest feelings in mankind's history and also delineates one of it's biggest fears: Death. Lacrimosa dies illa Qua resurget ex favilla Judicandus homo reus. Huic ergo parce, Deus: Pie Jesu Domine, Dona eis requiem. Amen. Tearful that day, on which will rise from ashes guilty man for judgment. So have mercy, Oh God, on this person. Compassionate Lord Jesus, grant them rest. Amen.
http://wn.com/Lacrimosa_Requiem_Wolfgang_Amadeus_Mozart_lyrics
Mozart: A Musical Joke K522
- Order: Reorder
- Duration: 20:27
- Published: 09 Aug 2011
- Updated: 17 Oct 2012
Wolfgang Amadeus Mozart (1756-1791) A Musical Joke / Ein Musikalischer Spaß / Zenei tréfa The Village Musicians / Dorfmusikanten / Falusi muzsikusok 00:00 Allegro 04:39 Menuetto: Maestoso; Trio 10:27 Adagio Cantabile 16:05 Presto Recording: approximative in 1980 Dedicated to: klasszikusok.blog.hu
http://wn.com/Mozart_A_Musical_Joke_K522
Mozart - Piano Sonata No. 11 in A major, K. 331 - I. Andante grazioso
- Order: Reorder
- Duration: 14:31
- Published: 03 Sep 2011
- Updated: 17 Oct 2012
Wolfgang Amadeus Mozart's Piano Sonata No. 11 in A major, K 331 is a sonata in three movements: - Andante grazioso (a theme with six variations) - Menuetto (a minuet and trio) - Alla Turca (Allegretto in A minor and major) It is uncertain where and when Mozart composed the sonata; however, Vienna or Salzburg around 1783 is currently thought to be most likely. The last movement, Alla Turca, popularly known as the Turkish Rondo or Turkish March, is often heard on its own and is one of Mozart's best-known piano pieces. Pianist: Jenő Jandó
http://wn.com/Mozart_Piano_Sonata_No_11_in_A_major,_K_331_I_Andante_grazioso
Wolfgang Amadeus Mozart - Concerto for Piano and Orchestra No. 20, Romance
- Order: Reorder
- Duration: 9:59
- Published: 09 Jan 2008
- Updated: 17 Oct 2012
Wolfgang Amadeus Mozart Concerto for Piano and Orchestra in D minor Nr. 20 KV 466, Romance Friedrich Gulda, Piano Wiener Philharmoniker Claudio Abbado
http://wn.com/Wolfgang_Amadeus_Mozart_Concerto_for_Piano_and_Orchestra_No_20,_Romance
Mozart - The Magic Flute - Overture (Levine/Met Orch)
- Order: Reorder
- Duration: 6:45
- Published: 03 Jun 2007
- Updated: 17 Oct 2012
I just love James Levine's conducting and those marvelous Met musicians for a "big band" version of this overture! "It was his bequest to mankind, his appeal to the ideals of humanity. His last work is not Tito or the Requiem; it is Die Zauberflöte. Into the Overture, which is anything but a Singspiel overture, he compressed the struggle and victory of mankind, using the symbolic means of polyphony; working out, laborious working out in the development section; struggle and triumph" ---Alfred Einstein. "Mozart His Character, His Work". 1961
http://wn.com/Mozart_The_Magic_Flute_Overture_Levine_Met_Orch
Mozart - Alleluia - Exultate Jubilate - Wolfgang Amadeus Mozart K 165 - Chamber Strings - SYO
- Order: Reorder
- Duration: 2:51
- Published: 18 Sep 2010
- Updated: 02 Sep 2012
Alleluia from Exultate Jubilate (or Hallelujah Exsultate Jubilate) Allegro K 165 by Wolfgang Amadeus Mozart. Performed by Chamber Strings orchestra led by Nick Tester. This arrangement is by Stephen Chin. Live concert filmed in HD with Dolby Stereo Audio. Best viewed full screen in 720p. Exsultate, Jubilate K. 165, by Wolfgang Amadeus Mozart was written in 1773. This religious solo motet was composed at the time Mozart was visiting Milan. It was written for the castrato Venanzio Rauzzini, Mozart's favourite for his operas, who had been Cecilio in Lucio Silla the previous year. Mozart made slight revisions around 1780. In modern times, the motet is usually sung by a soprano. It is divided into three parts: Allegro Andante Allegro The final allegro section is an "Alleluia, (hallelujah)" "a jewel of a piece with its high spirits and its wit ... its music speaks unmistakably of his relaxed high spirits at the time he wrote it and of the elation and confidence that his opera-house success had brought him". Although nominally for liturgical use, the motet has many features in common with Mozart's concert arias, such as those drawn from his operas. Mozart also used elements of concerto form in this motet. Source: en.wikipedia.org . . .
http://wn.com/Mozart_Alleluia_Exultate_Jubilate_Wolfgang_Amadeus_Mozart_K_165_Chamber_Strings_SYO
Wolfgang Amadeus Mozart - Adagio from Piano Concerto No.23 in A major K.488
- Order: Reorder
- Duration: 6:46
- Published: 21 Sep 2010
- Updated: 17 Oct 2012
Alicia de Larrocha (1923-2009), piano English Chamber Orchestra London Sir Colin Davis (*1927), conductor Photo bz alessnove14, 2006
http://wn.com/Wolfgang_Amadeus_Mozart_Adagio_from_Piano_Concerto_No23_in_A_major_K488
Wolfgang Amadeus Mozart - LE NOZZE DE FIGARO - Salzburger Festspiele 2006
- Order: Reorder
- Duration: 201:45
- Published: 19 Dec 2011
- Updated: 17 Oct 2012
Opera Buffa in 4 Akten, KV 492 Wiener Philharmoniker Dirigent: Nikolaus Harnoncourt Text: Lorenzo Da Ponte Inszenierung: Claus Guth Figaro: Ildebrando D'Arcangelo Graf Almaviva: Bo Skovhus Gräfin Almavira: Dorothea Röschmann Susanna: Anna Netrebko Cherubino: Christine Schäfer Marcellina: Marie McLaughlin Bartolo: Franz-Josef Selig Basilio: Patrick Henckens Barbarina: Eva Liebau Antonio: Florian Boesch Don Curzio: Oliver Ringelhahn Cherubim: Uli Kirsch Konzertvereinigung Wiener Staatsopernchor Bewegungschor der Salzburger Festspiele "The Marriage Of Figaro" "Comic opera in 4 acts" "Salzburg Festival" "Le Mariage de Figaro», «opéra comique en quatre actes" "Festival de Salzbourg" "Le nozze di Figaro", "opera comica in quattro atti", "Festival di Salisburgo" "O Casamento de Fígaro", "ópera cômica em quatro atos" "Festival de Salzburgo" "Le nozze di Figaro", "ópera cómica en cuatro actos", "Festival de Salzburgo" "Figaro'nun Düğünü", "dört perdelik komik opera" "Salzburg Festivali" "Женитьба Фигаро", "комическая опера в четырех действиях" "Зальцбургский фестиваль" "フィガロの結婚"、"4幕の喜歌劇""ザルツブルク音楽祭" «Οι Γάμοι του Φίγκαρο", "κωμική όπερα σε τέσσερις πράξεις" "Salzburg Festival" 他说："费加罗的婚礼"，"漫画中的四幕歌剧"，"萨尔茨堡节"
http://wn.com/Wolfgang_Amadeus_Mozart_LE_NOZZE_DE_FIGARO_Salzburger_Festspiele_2006
Mozart: String Quint N3 K516 1/4 Amadeus (6.1966)
- Order: Reorder
- Duration: 7:30
- Published: 27 Aug 2008
- Updated: 13 Oct 2012
WA Mozart: Streichquintett Nr.3 g-moll, K516 Amadeus Quartet with Cecil Aronowitz, viola filmed in June 1966, London
http://wn.com/Mozart_String_Quint_N3_K516_1_4_Amadeus_61966
Mozart Piano Concerto, KV 456, Allegro Vivace
- Order: Reorder
- Duration: 9:32
- Published: 22 Dec 2008
- Updated: 03 Jul 2012
Giulietta Koch performs with Ricardo Castro and the Bahia Symphony Orchestra in Salvador, Brazil.
http://wn.com/Mozart_Piano_Concerto,_KV_456,_Allegro_Vivace
Creative Commons / Joseph Lange
Creative Commons
Creative Commons / Pintaric![Place du Marché aux Cochons de Lait. in addition to the cathedral, Strasbourg houses several other medieval churches that have survived the many wars and destructions that have plagued the city: the Romanesque Église Saint-Etienne, partly destroyed in 1944 by Anglo-American bombing raids, the part Romanesque, part Gothic, very large Église Saint-Thomas with its Silbermann organ on which Wolfgang Amadeus Mozart and Albert Schweitzer played,[27] the Gothic Eglise Saint-Pierre-le-Jeune Protestant w](http://web.archive.org./web/20121018024820im_/http://cdn8.wn.com/pd/9f/ac/a71839f85d822c368f0c532e59d5_small.jpg "Place du Marché aux Cochons de Lait. in addition to the cathedral, Strasbourg houses several other medieval churches that have survived the many wars and destructions that have plagued the city: the Romanesque Église Saint-Etienne, partly destroyed in 1944 by Anglo-American bombing raids, the part Romanesque, part Gothic, very large Église Saint-Thomas with its Silbermann organ on which Wolfgang Amadeus Mozart and Albert Schweitzer played,[27] the Gothic Eglise Saint-Pierre-le-Jeune Protestant w")
Creative Commons / Jonathan Martz![Maison des tanneurs in addition to the cathedral, Strasbourg houses several other medieval churches that have survived the many wars and destructions that have plagued the city: the Romanesque Église Saint-Etienne, partly destroyed in 1944 by Anglo-American bombing raids, the part Romanesque, part Gothic, very large Église Saint-Thomas with its Silbermann organ on which Wolfgang Amadeus Mozart and Albert Schweitzer played,[27] the Gothic Eglise](http://web.archive.org./web/20121018024820im_/http://cdn8.wn.com/pd/97/02/adc994d14ce9898501877f777baf_small.jpg "Maison des tanneurs in addition to the cathedral, Strasbourg houses several other medieval churches that have survived the many wars and destructions that have plagued the city: the Romanesque Église Saint-Etienne, partly destroyed in 1944 by Anglo-American bombing raids, the part Romanesque, part Gothic, very large Église Saint-Thomas with its Silbermann organ on which Wolfgang Amadeus Mozart and Albert Schweitzer played,[27] the Gothic Eglise")
Creative Commons / Jonathan Martz
Creative Commons / Jonathan White.
AP / Stuart Ramson
![Place du Marché aux Cochons de Lait. in addition to the cathedral, Strasbourg houses several other medieval churches that have survived the many wars and destructions that have plagued the city: the Romanesque Église Saint-Etienne, partly destroyed in 1944 by Anglo-American bombing raids, the part Romanesque, part Gothic, very large Église Saint-Thomas with its Silbermann organ on which Wolfgang Amadeus Mozart and Albert Schweitzer played,[27] the Gothic Eglise Saint-Pierre-le-Jeune Protestant w](http://web.archive.org./web/20121018024820/http://cdn2.wn.com/pd/9f/ac/a71839f85d822c368f0c532e59d5_medium.jpg "Place du Marché aux Cochons de Lait. in addition to the cathedral, Strasbourg houses several other medieval churches that have survived the many wars and destructions that have plagued the city: the Romanesque Église Saint-Etienne, partly destroyed in 1944 by Anglo-American bombing raids, the part Romanesque, part Gothic, very large Église Saint-Thomas with its Silbermann organ on which Wolfgang Amadeus Mozart and Albert Schweitzer played,[27] the Gothic Eglise Saint-Pierre-le-Jeune Protestant w")
![Maison des tanneurs in addition to the cathedral, Strasbourg houses several other medieval churches that have survived the many wars and destructions that have plagued the city: the Romanesque Église Saint-Etienne, partly destroyed in 1944 by Anglo-American bombing raids, the part Romanesque, part Gothic, very large Église Saint-Thomas with its Silbermann organ on which Wolfgang Amadeus Mozart and Albert Schweitzer played,[27] the Gothic Eglise](http://web.archive.org./web/20121018024820/http://cdn2.wn.com/pd/97/02/adc994d14ce9898501877f777baf_medium.jpg "Maison des tanneurs in addition to the cathedral, Strasbourg houses several other medieval churches that have survived the many wars and destructions that have plagued the city: the Romanesque Église Saint-Etienne, partly destroyed in 1944 by Anglo-American bombing raids, the part Romanesque, part Gothic, very large Église Saint-Thomas with its Silbermann organ on which Wolfgang Amadeus Mozart and Albert Schweitzer played,[27] the Gothic Eglise")
"Mozart" redirects here. For other uses, see Mozart (disambiguation).
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]
Contents |
Biography[link]
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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.
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]
1762–1773: Years of travel[link]
Main articles: Mozart family grand tour and Mozart in Italy
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]
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]
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.
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]
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]
Main article: Death of Wolfgang Amadeus Mozart
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]
_by_Lange_1782.jpg)
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 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.
File:Mozart Sheet Music.jpg
A facsimile sheet of music from the Dies Irae movement of the "Requiem Mass in D Minor" (K. 626) in Mozart's own handwriting. It is located at the Mozarthaus in Vienna.
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]
See also: Mozart and Beethoven
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]
Main article: Köchel catalogue
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]
- ^ Sources vary in how Mozart’s name should be pronounced in English. Fradkin (1996), a guide for radio announcers, strongly recommends [ts] for letter z, but otherwise considers English-like pronunciation fully acceptable; thus /ˈwʊlfɡæŋ æməˈdeɪəs ˈmoʊtsɑrt/.
- ^ Mozart's exact name involved many complications; for details see Mozart's name.
- ^ Landon 1990, p. 171
- ^ Deutsch 1965, p. 9
- ^ Deutsch 1965, p. 455
- ^ a b Solomon 1995, pp. 39–40
- ^ Deutsch 1965, p. 453
- ^ Solomon 1995, p. 33
- ^ Solomon 1995, p. 44
- ^ Halliwell 1998, pp. 51, 53
- ^ Halliwell 1998, pp. 82–83
- ^ Halliwell 1998, pp. 99–102
- ^ Gutman (2000:271). For details of the story see Miserere (Allegri) and Mozart's compositional method.
- ^ For new information on this episode, see Ilias Chrissochoidis, "London Mozartiana: Wolfgang's disputed age & early performances of Allegri's Miserere", The Musical Times, vol. 151, no. 1911 (Summer 2010), 83–89.
- ^ Halliwell 1998, pp. 172, 183–185
- ^ Solomon 1995, p. 106
- ^ Solomon 1995, p. 103
- ^ Solomon 1995, p. 98
- ^ Solomon 1995, p. 107
- ^ Solomon 1995, p. 109
- ^ Vatican 1770
- ^ Halliwell 1998, p. 225. Archbishop Colloredo responded to the request by dismissing both Mozart and his father, though the dismissal of the latter was not actually carried out.
- ^ Sadie 1998
- ^ Deutsch 1965, p. 174
- ^ Solomon 1995, p. 149
- ^ Halliwell 1998, pp. 304–305
- ^ Abert 2007, p. 509
- ^ Halliwell 1998, p. 305
- ^ Halliwell 1998, chs. 18–19
- ^ Solomon 1995, p. 157
- ^ Halliwell 1998, p. 322
- ^ Sadie 1998, §3
- ^ Deutsch 1965, p. 176
- ^ Sadie 1980, vol. 12, p. 700
- ^ a b c d Sadie 1998, §4
- ^ Solomon 1995, p. 247
- ^ Solomon 1995, p. 253
- ^ Solomon 1995, p. 259
- ^ a b Solomon 1995, p. 258
- ^ Eisen
- ^ Solomon 1995, p. 270
- ^ Barry 2000. For detailed discussion of the influence of Opus 33 on the "Haydn" quartets.
- ^ Mozart & Mozart 1966, p. 1331. Leopold's letter to his daughter Nannerl, 14–16 May 1785.
- ^ a b Solomon 1995, p. 293
- ^ a b Solomon 1995, p. 298
- ^ Solomon 1995, p. 430
- ^ Solomon 1995, p. 578
- ^ Solomon 1995, §27
- ^ Solomon 1995, p. 431
- ^ Solomon 1995, p. 321
- ^ a b Solomon 1995
- ^ Solomon 1995, pp. 423–424
- ^ Haberl 2006, pp. 215–55
- ^ a b Sadie 1998, §6
- ^ Lorenz 2010
- ^ Sadie 1980, vol. 12, p. 710
- ^ Steptoe 1990, p. 208
- ^ Solomon 1995, §30
- ^ a b c Solomon 1995, p. 477
- ^ Solomon 1995, p. 487
- ^ Solomon 1995, p. 490
- ^ Solomon 1995, p. 485
- ^ Solomon 1995, p. 491
- ^ Solomon 1995, p. 493
- ^ Solomon 1995, p. 588
- ^ Sadie 1980, vol. 12, p. 716
- ^ Wakin 2010
- ^ Experts ... rule out foul play in the death of Mozart
- ^ a b Solomon 1995, p. 499
- ^ Solomon 1995, p. 308
- ^ Solomon 1995, p. 310
- ^ Solomon 1995, §20
- ^ Solomon 1995, p. 319
- ^ Solomon 1995, p. 169
- ^ Rosen 1998, p. 324
- ^ Solomon 1995, ch. 8. Discussion of the sources of style as well as his early imitative ability.
- ^ Heartz 2003
- ^ Einstein 1965
- ^ Solomon 1995, p. 574
- ^ Raptus
- ^ March, Greenfield & Layton 2005
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]
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Wikimedia Commons has media related to: Wolfgang Amadeus Mozart |
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Wikiquote has a collection of quotations related to: Wolfgang Amadeus Mozart |
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Wikisource has original works written by or about: |
- 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
- (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
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| Persondata | |
|---|---|
| Name | Mozart, Wolfgang Amadeus |
| Alternative names | Mozart, Johann Chrysostom Wolfgang Amadeus (full name) |
| Short description | Composer |
| Date of birth | 27 January 1756 |
| Place of birth | Salzburg, Austria |
| Date of death | 5 December 1791 |
| Place of death | Vienna, Austria |
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