What century did Mozart live in? Mozart

Mozart Wolfgang Amadeus (1756-1791), Austrian composer.

Born January 27, 1756 in Salzburg. The first music teacher for the boy was his father Leopold Mozart. From early childhood, Wolfgang Amadeus was a "miracle child": already at the age of four he tried to write a harpsichord concerto, and from the age of six he brilliantly performed with concerts throughout Europe. Mozart had an extraordinary musical memory: it was enough for him to hear any piece of music only once in order to record it exactly.

Glory came to Mozart very early. In 1765, his first symphonies were published and performed in concert. In total, the composer wrote 49 symphonies. In 1769 he received a position as an accompanist at the court of the archbishop in Salzburg. Already in 1770, Mozart became a member of the Philharmonic Academy in Bologna (Italy), and Pope Clement XIV elevated him to the Knights of the Golden Spur. In the same year, Mozart's first opera, Mithridates, King of Pontus, was staged in Milan. In 1772, the second opera, Lucius Sulla, was staged there, and in 1775, the opera The Imaginary Gardener was staged in Munich. In 1777, the archbishop allowed the composer to go on a long journey through France and Germany, where Mozart gave concerts with constant success.

In 1779 he received the position of organist under the Archbishop of Salzburg, but in 1781 he refused it and moved to Vienna. Here Mozart completed the operas Idomeneo (1781) and The Abduction from the Seraglio (1782). In 1786-1787. written two, perhaps the most famous operas composer - "The Marriage of Figaro", staged in Vienna, and "Don Giovanni", which was first staged in Prague.

In 1790, the opera "That's the way everyone does it" was again staged in Vienna. And in 1791 two operas were written at once - "The Mercy of Titus" and "The Magic Flute". The last work of Mozart was the famous "Requiem", which the composer did not have time to complete.

The work was completed by F. K. Süssmeier, a student of Mozart and A. Salieri. creative heritage Mozart, despite his short life, is huge: according to the thematic catalog of L. von Köchel (an admirer of Mozart's work and the compiler of the most complete and generally accepted index of his works), the composer created 626 works, including 55 concertos, 22 clavier sonatas, 32 string quartets.

When it comes to classical music, most people immediately think of Mozart. And this is no coincidence, because he has achieved phenomenal success in all musical directions of his time.

Today, the works of this genius are very popular all over the world. Scientists have repeatedly conducted research on positive influence Mozart's music on the human psyche.

With all this, if you ask anyone you meet if he can tell at least one interesting fact from biographies of Mozart, - it is unlikely that he will give an affirmative answer. But it is a storehouse of human wisdom!

So, we bring to your attention the biography of Wolfgang Mozart.

The most famous portrait of Mozart

Brief biography of Mozart

Wolfgang Amadeus Mozart was born on January 27, 1756 in the Austrian city of Salzburg. His father Leopold was a composer and violinist in the court chapel of Count Sigismund von Strattenbach.

Mother Anna Maria was the daughter of the commissioner of the trustee of the almshouse in St. Gilgen. Anna Maria gave birth to 7 children, but only two of them managed to survive: Maria's daughter Anna, also called Nannerl, and Wolfgang.

During the birth of Mozart, his mother almost died. Doctors made every effort to ensure that she survived, and the future genius was not left an orphan.

Both children in the Mozart family showed excellent musical abilities, since their biographies were directly related to music from childhood.

When his father decided to teach little Maria Anna to play the harpsichord, Mozart was only 3 years old.

But in those moments when the boy heard the sounds of music coming, he often approached the harpsichord and tried to play something. Soon he was able to play some passages musical works that they have heard before.

The father immediately noticed the extraordinary talent of his son and also began to teach him to play the harpsichord. The young genius grasped everything on the fly and already at the age of five he was composing plays. A year later, he mastered the violin.

None of the Mozart children attended school, as the father decided to teach them different things himself. The genius of little Wolfgang Amadeus was manifested not only in music.

He zealously learned any science. So, for example, when the study began, he was so carried away by the subject that he covered the entire floor different numbers and examples.

Touring Europe

When Mozart was 6 years old, he played so magnificently that he could easily perform in front of an audience. This played a decisive role in his biography. Complementing the impeccable game was the singing of the older sister Nannerl, who had a magnificent voice.

Father Leopold was extremely happy with how capable and gifted his children turned out to be. Seeing their capabilities, he decides to go on tour with them to the largest cities in Europe.

The head of the family had high hopes that this trip would make his children famous and help improve the financial situation of the family.

And indeed, soon the dreams of Leopold Mozart were destined to come true.

The Mozarts managed to perform in the largest cities and capitals of European states.

Wherever Wolfgang and Nannerl appeared, they were expected resounding success. The audience was discouraged by the talented acting and singing of the children.

The first 4 sonatas of Wolfgang Mozart were published in Paris in 1764. While in London, he met the son of the great Bach, Johann Christian, from whom he received a lot of useful advice.

The composer was shocked by the abilities of the child. This meeting went to young Wolfgang to his advantage and made him an even more skillful master of his craft.

In general, it must be said that throughout his biography, Mozart constantly studied and improved, even when it seemed that he had reached the limits of mastery.

In 1766, Leopold became seriously ill, so they decided to return home from the tour. Moreover, the constant moving overly tired the children.

Creative biography of Mozart

As we have already said, creative biography Mozart began with his first tour at the age of 6 years.

When he was 14 years old, he went to Italy, where he again managed to impress the audience with the virtuoso playing of his own (and not only) works.

In Bologna, he participated in various musical competitions with professional musicians.

Mozart's playing impressed the Boden Academy so much that they decided to award him the title of academician. It is worth noting that such an honorary status was given to talented composers only after they were at least 20 years old.

Returning to his native Salzburg, Mozart continued to compose various sonatas, symphonies and operas. The older he got, the more profound and penetrating were his works.

In 1772, he met Joseph Haydn, who in the future became not only a teacher for him, but also a reliable friend.

Family difficulties

Soon Wolfgang, like his father, began to play at the court of the archbishop. Due to his special talent, he always had a huge number of orders.

However, after the death of the old bishop and the arrival of a new one, the situation changed for the worse. A trip to Paris and some German cities in 1777 helped to distract a little from the surging problems.

During this period of Mozart's biography, serious financial difficulties arose in their family. For this reason, only his mother was able to travel with Wolfgang.

However, this trip was not successful. Mozart's compositions, which differed from the music of that time, no longer aroused much enthusiasm among the public. After all, Wolfgang was no longer that little “wonder boy” capable of admiring with his appearance alone.

The situation was darkened even more, since in Paris his mother fell ill and died, who could not bear the endless and unsuccessful trips.

All these circumstances prompted Mozart to return home again to seek his fortune there.

Career heyday

Judging by the biography of Mozart, he almost always lived on the verge of poverty, and even poverty. However, he was offended by the behavior of the new bishop, who perceived Wolfgang as a mere servant.

Because of this, in 1781, he made a firm decision to leave for Vienna.

There the composer met Baron Gottfried van Steven, who was then the patron of many musicians. He advised him to write some compositions in a style to diversify his repertoire.

At that moment, Mozart wanted to become a music teacher with Princess Elisabeth of Württemberg, but her father preferred Antonio Salieri, whom he captured in poem of the same name like the killer of the great Mozart.

The 1780s became the most rosy in Mozart's biography. It was then that he wrote such masterpieces as "The Wedding of Figaro", "Magic Flute" and "Don Juan".

Moreover, national recognition came to him, and he enjoyed great popularity in society. Naturally, he began to receive large fees, which before that he had only dreamed of.

However, soon a black streak came in Mozart's life. In 1787, his father and wife Constance Weber passed away, for whose treatment a lot of money was spent.

After the death of Emperor Joseph 2, Leopold 2 was on the throne, who was very cold about music. This also exacerbated the position of Mozart and his fellow composers.

Mozart's personal life

Mozart's only wife was Constance Weber, whom he met in the capital of Austria. However, the father did not want his son to marry this girl.

It seemed to him that Constance's close relatives were simply trying to find a profitable husband for her. However, Wolfgang made a firm decision, and in 1782 they were married.

Their family had 6 children, of whom only three survived.

Death of Mozart

In 1790, Mozart's wife needed expensive treatment, which is why he decided to give concerts in Frankfurt. He was well received by the public, but the fees from the concerts were very modest.

In 1791, in Last year of his life, he wrote the Symphony 40 known to almost everyone, as well as the unfinished Requiem.

At this time, he became seriously ill: his arms and legs were very swollen and constant weakness was felt. At the same time, the composer was tormented by sudden bouts of vomiting.

He was buried in common grave, where several more coffins were located: the financial situation of the family at that time was so difficult. That is why exact location the burial place of the great composer is still unknown.

The official cause of his death is considered to be rheumatic inflammatory fever, although biographers continue to debate this issue today.

There is a widespread belief that Antonio Salieri, who was also a composer, poisoned Mozart. But there is no reliable confirmation of this version.

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- a brilliant Austrian opera composer, bandmaster, virtuoso violinist, organist, who had a phenomenal ear for music and the ability to improvise. Recognized as one of the greatest composers.

He was born on January 27, 1756 in the city of Salzburg (the current territory of Austria) into a musical family. Mozart's father, Leopold, worked as a music teacher in the court orchestra of the Salzburg archbishop. He also taught little Mozart the basics of playing the violin and organ. Already at the age of three, Mozart picked up thirds on the harpsichord, and at the age of five he composed simple minuets.

In 1762, the young composer moved with his family to Vienna, and then to Munich, where he gave concerts with his sister. Then the whole family travels through the cities of Germany, Holland, Switzerland, visits Paris and London, where they are greeted with delight and surprise of the audience, amazed by the beauty and poetry of the music.

In 1763 (at the age of 7) Wolfgang's first sonatas for harpsichord and violin were published in Paris. In 1770, Mozart went to Italy, where he met the then popular Italian composer Josef Myslivechek. In the same year, Mozart's first opera, Mithridates, King of Pontus, was staged in Milan, which was accepted by the public with great success. A year later, with the same success, the second opera, Lucius Sulla, was released. Even at the age of seventeen, he had 4 operas, 13 symphonies, 24 sonatas, as well as a huge number of small compositions.

On one of his travels, the young composer for the first time in his life truly falls in love with 16-year-old Aloysia Weber and spends a lot of time with her. But soon Mozart's father finds out about these meetings and orders his son to return home immediately, as social status the Weber family is below the Mozarts.

Returning to Salzburg in 1779, Mozart received the post of court organist. But already in 1781 he finally moved to Vienna, where, at the age of 26, he married Constance Weber.

Here in Vienna, he is becoming widely known. However, he did not succeed with opera, and only in 1786 was The Marriage of Figaro staged. But after some performances, it was removed and was not staged for a long time. But in Prague, the opera receives big success, thanks to which the composer receives new orders from Prague.

And already in 1787, the opera Don Giovanni was released. In the same year, Mozart received the position of "imperial and royal chamber musician." The composer's salary consists of 800 florins, but this cannot fully provide for Mozart, and his debts accumulate. Trying to somehow fix the financial situation, Mozart recruits students, but this is not enough to pay off his debts. For a long time the composer enjoys the patronage of Emperor Joseph, but in 1790 he dies, and Leopold II ascends the throne, who turns out to be indifferent to Mozart's music. The composer's financial situation becomes so hopeless that he is forced to leave Vienna in order to avoid persecution of creditors.

In 1790 - 1791, Mozart's last operas were published: “Everyone does it this way”, “Mercy of Titus”, “Magic Flute”.

On November 20, feeling very weak, Mozart fell ill, and on December 5, the thirty-six-year-old musical genius died.

The cause of his death is disputed, most researchers believe that he died of rheumatic fever. However, there are legends about the poisoning of Mozart by the composer Salieri. The grave for the poor in the suburbs of Vienna, in the cemetery of St. Mark, became the burial place of the great composer. His supposed remains were then transferred to Vienna's Zentralfriedhof Central Cemetery.

Famous Works:

Operas:

• "The duty of the first commandment", 1767 - theatrical oratorio
• "Apollo and Hyacinth", 1767 - student musical drama
• "Bastienne and Bastienne", 1768
• "The feigned simpleton", 1768
• "Mithridates, King of Pontus", 1770 - in the tradition of Italian opera
• "Ascanius in Alba", 1771 - opera serenade
• "Lucius Sulla", 1772 - opera series
• "Imaginary gardener", 1774
• The Marriage of Figaro, 1786

Other works

• 17 masses, including:
• "Great Mass", 1782
• "Requiem", 1791
• 41 symphonies, including:
• "Paris", 1778
• 27 concertos for piano and orchestra.

Wolfgang Amadeus Mozart(German Wolfgang Amadeus Mozart, IPA [ˈvɔlfɡaŋ amaˈdeus ˈmoːtsaʁt] (i); January 27, 1756, Salzburg - December 5, 1791, Vienna), baptized as Johann Chrysostom Wolfgang Theophilus Mozart - an Austrian composer and virtuoso performer who began composing at the age of four. He is one of the most popular classical composers, which had a profound influence on the further Western musical culture. According to contemporaries, Mozart had a phenomenal musical ear, memory and ability to improvise.

The uniqueness of Mozart lies in the fact that he worked in all musical forms of his time and composed more than 600 works, many of which are recognized as the pinnacle of symphonic, concert, chamber, opera and choral music. Along with Haydn and Beethoven, he belongs to the most significant representatives of the Vienna Classical School.

Biography

early years

Wolfgang Amadeus Mozart was born on January 27, 1756 in Salzburg, then the capital of the Salzburg Archbishopric, in a house at Getreidegasse 9. His father Leopold Mozart was a violinist and composer in the court chapel of the Prince-Archbishop of Salzburg, Count Sigismund von Strattenbach. Mother - Anna Maria Mozart(née Pertl), daughter of the commissioner of the almshouse in St. Gilgen. Both were considered the most beautiful married couple in Salzburg, and the surviving portraits confirm this. Of the seven children from the Mozart marriage, only two survived: daughter Maria Anna, whom friends and relatives called Nannerl, and son wolfgang. His birth nearly cost his mother her life. Only after some time she was able to get rid of the weakness that inspired fear for her life. On the second day after birth wolfgang He was baptized in Salzburg's St. Rupert's Cathedral. An entry in the baptismal book gives his name in Latin as Johannes Chrysostomus Wolfgangus Theophilus (Gottlieb) Mozart. In these names, the first two words are the name of St. John Chrysostom, which is not used in Everyday life, and the fourth during the life of Mozart varied: lat. Amadeus, German Gottlieb, Italian. Amadeo, which means "beloved of God." Mozart himself preferred to be called Wolfgang.

The musical abilities of children manifested themselves in a very early age. Nannerl's lessons on the harpsichord had an impact on little Wolfgang, who was only about three years old: he sat down at the instrument and could have fun with the selection of harmonies for a long time. In addition, he memorized certain parts of musical pieces that he heard, and could play them on the harpsichord. This made a great impression on his father, Leopold. At the age of 4, his father began to learn small pieces and minuets with him on the harpsichord. Almost immediately wolfgang well learned to play them. Soon he had a desire for independent creativity: at the age of five he was composing small plays, which his father wrote down on paper. The very first writings Wolfgang steel and Allegro in C major for clavier. Near them is Leopold's note, from which it follows that they were composed between the end of January and April 1761.

Andante and Allegro in C major written by Leopold Mozart
Leopold started music notebooks for his children, in which he himself or his friends - musicians wrote down various compositions for the clavier. Notebook Nannerl contains minuets and similar short pieces. To date, the notebook has survived in a badly damaged and incomplete form. The little one also studied from this notebook. wolfgang; his first compositions are also recorded here. Notebook of the Wolfgang, on the contrary, was completely preserved. It contains works by Telemann, Bach, Kirkhoff and many other composers. Wolfgang's musical abilities were amazing: in addition to the harpsichord, he almost independently learned to play the violin.

An interesting fact speaks of the tenderness and subtlety of his hearing: according to a letter from a friend of the Mozart family, court trumpeter Andreas Schachtner, which was written at the request of Maria Anna after her death Mozart, little Wolfgang, almost up to the age of ten, was afraid of the trumpet if they played only on it alone without the accompaniment of other instruments. Even the very sight of the pipe had an effect on Wolfgang as if a gun was pointed at him. Schachtner wrote: “Papa wanted to suppress this childish fear in him, and ordered me, despite the resistance Wolfgang, trumpet in his face; but my god! I'd rather not obey. As soon as Wolfgangerl heard the deafening sound, he turned pale and began to sink to the ground, and if I continued longer, he would certainly have convulsions.

father wolfgang loved unusually tenderly: in the evenings, before going to bed, his father put him on an armchair, and had to sing along with him invented Wolfgang song with meaningless lyrics: "Oragnia figa tafa". After that, the son kissed his father on the tip of his nose and promised him that when he grew old, he would keep it in his glass case and respect him. Then, contentedly, he went to bed. The father was the best teacher and educator for his son: he gave Wolfgang excellent home education. The boy was always so devoted to what he was forced to learn that he forgot about everything, even about music. For example, when I learned to count, the chairs, walls and even the floor were covered with numbers written in chalk.

First travels

The success in Munich and the enthusiasm with which the children's games were greeted by the audience satisfied Leopold and strengthened his intention to continue such trips. Shortly after arriving home, he decided that the whole family would go to Vienna in the fall. It was not without reason that Leopold had hopes for Vienna: at that time it was the center of European culture, great opportunities opened up for musicians there, they were supported by influential patrons. The remaining nine months before the trip were spent by Leopold on further education Wolfgang. However, he did not focus on music theory, in which the boy still had a lot to learn, but on all sorts of visual tricks that the public of that time appreciated more than the game itself. For example, wolfgang learned to play the cloth-covered keyboard without making mistakes. Finally, on September 18 of the same year, Mozarts went to Vienna. On the way, they had to stop in Passau, yielding to the desire of the archbishop there to listen to the game of children - virtuosos. Having made them wait five days for the requested audience, the bishop finally listened to their game, and, without experiencing any emotions, sent Mozart giving them one ducat as a reward. The next stop was in Linz, where the children gave a concert in the house of Count Schlick. The concert was also attended by Counts Herberstein and Palfi, great music lovers. They were so delighted and surprised by the play of the little prodigies that they promised to draw the attention of the Viennese nobility to them..

Little Mozart plays the organ in the monastery in Ybbs
From Linz, on a mail ship down the Danube, the Mozarts finally set off for Vienna. On the way they stopped at Ybbs. There, in a Franciscan monastery, Wolfgang tried his hand at playing the organ for the first time in his life. Hearing the music, the Franciscan fathers, who were sitting at the meal, ran to the choirs, and almost died of admiration, seeing how excellently the boy plays. On October 6, the Mozarts landed at Vienna. There wolfgang he saved his family from customs inspection: with his characteristic open disposition and childish spontaneity, he met a customs officer, showed him his clavier and played a minuet on the violin, after which they were let through without inspection.

Meanwhile, Counts Herberstein and Palfi kept their promise: by arriving in Vienna much earlier Mozart, they told Archduke Joseph about the concert in Linz, and he, in turn, told about the concert of his mother, Empress Maria Theresa. Thus, after arriving in Vienna on October 6, the father received an invitation to an audience in Schönbrunn on October 13, 1763. While the Mozarts were waiting for the appointed day, they received many invitations and performed in the houses of the Vienna nobility and nobles, including the house of Vice-Chancellor Count Colloredo, father of the future patron Mozart, Archbishop Jerome Colloredo. From the game of Little Wolfgang, the audience was delighted. Soon all the Viennese aristocracy was talking only about the little genius.

On the appointed day, October 13, Mozarts We went to Schönbrunn, where the summer residence of the imperial court was then located. There they had to stay from 3 to 6 hours. The Empress arranged Mozarts such a warm and polite welcome that they felt relaxed and at ease. At a concert that lasted several hours, wolfgang flawlessly played a wide variety of music: from his own improvisations to works that were given to him by the court composer of Maria Theresa, Georg Wagenseil. At the same time, when Wagenseil gave Wolfgang the notes of his harpsichord concerto, wolfgang asked him to turn the pages for him. Emperor Franz I, wanting to see for himself the talent of the child, asked him to demonstrate all sorts of performing tricks when playing: from playing with one finger to playing on a keyboard covered with fabric. wolfgang easily coped with such tests. The Empress was fascinated by the play of the little virtuoso. After the game was over, she sat Wolfgang on her lap and even allowed him to kiss her on the cheek. At the end of the audience, the Mozarts were offered refreshments, and then they got the opportunity to inspect the castle. There is a well-known historical anecdote associated with this concert: allegedly, when Wolfgang was playing with the children of Maria Theresa, the little archduchesses, he slipped on the rubbed floor and fell. Archduchess Marie Antoinette, the future Queen of France, helped him up. Wolfgang seemed to jump up to her and said: "You are nice, I want to marry you when I grow up."

Mozarts Been to Schönbrunn several times. So that they could appear there in more worthy clothes than the one they had, the Empress ordered them to be taken to the hotel where they lived Mozarts, two suits - for Wolfgang and his sister Nannerl. suit intended for Wolfgang, previously owned by Archduke Maximilian. The suit was made of the finest lilac drape with the same moiré waistcoat, and the whole set was trimmed with wide gold braid.

Mozarts daily received new invitations to receptions in the houses of the nobility and aristocracy. Leopold wanted to refuse the invitations of these high-ranking persons, since he saw in them potential patrons of his son. You can get an idea of ​​one of these days from Leopold's letter to Salzburg dated October 19, 1762:

Today we visited the French ambassador. Tomorrow, from four to six, I have a reception with Count Harrach, although I don’t know exactly which one. I will understand this by the direction in which the carriage will take us, - after all, a carriage is always sent for us by an escort of lackeys. From half past six to nine o'clock we participate in a concert which is to bring us six ducats and which will be played by the most famous Viennese virtuosos. Wanting to be sure that we will certainly respond to the invitation, the date of reception is usually agreed on four, five or six days in advance. On Monday we go to Count Paar. Wolferl is very fond of walking at least twice a day. We recently came to a house at half past two and stayed there until almost four. From there we hurried to Count Hardeg, who had sent a carriage for us, which took us at a gallop to the house of a lady, from whom we left at half past five in a carriage sent for us by Chancellor Kaunitz, in whose house we played until about nine o'clock in the evening.

big Adventure

In 1771, in Milan, again with the opposition of theatrical impresarios, the opera was nevertheless staged. Mozart"Mithridates, King of Pontus" (Italian: Mitridate, Re di Ponto), which was accepted by the public with great enthusiasm. With the same success, his second opera Lucius Sulla (Italian: Lucio Silla) (1772) was given. For Salzburg Mozart wrote The Dream of Scipio (Italian: Il sogno di Scipione), on the occasion of the election of a new archbishop, 1772, for Munich - the opera La bella finta Giardiniera, 2 masses, offertory (1774). When he was 17 years old, among his works there were already 4 operas, several spiritual works, 13 symphonies, 24 sonatas, not to mention the mass of smaller compositions.

In the years 1775-1780, despite concerns about material support, a fruitless trip to Munich, Mannheim and Paris, the loss of his mother, Mozart wrote, among other things, 6 clavier sonatas, a concerto for flute and harp, a large symphony No. 31 in D-dur, called the Parisian, several sacred choirs, 12 ballet numbers.

In 1779 Mozart received a position as court organist in Salzburg (collaborated with Michael Haydn). On January 26, 1781, the opera Idomeneo was staged in Munich with great success, marking a certain turn in his work. Mozart. In this opera, traces of the old Italian opera seria are still visible (a large number of coloratura arias, Idamante's part written for a castrato), but a new trend is felt in the recitatives and especially in the choirs. A big step forward is also seen in the instrumentation. While in Munich Mozart wrote the offertoria "Misericordias Domini" for the Munich Chapel - one of the best examples of church music of the late 18th century.

Vienna period

1781-1782

First steps in Vienna

I repeat once again that I have long intended to rent another apartment, and only because of people's chatter; it is a pity that I am forced to do this because of ridiculous gossip in which there is not a word of truth. I would still like to know what kind of people they are who can rejoice at the fact that in broad daylight they talk like that, without having any reason for it. If I live with them, then I will marry my daughter! ...
I also don't want to say that in the family I am also unapproachable with Mademoiselle, with whom I have already been betrothed, and I don't talk to her at all, but I'm not in love either; I fool around and joke with her if time permits me (but only in the evenings and if I have supper at home, because in the mornings I write in my room, and after dinner I am rarely at home) - that's it and nothing more. If I had to marry everyone I joke with, it could easily happen that I would have 200 wives...

Despite this, the decision to leave Frau Weber turned out to be quite difficult for him. In early September 1781, he nevertheless moved to new apartment"Auf dem Graben, No. 1775 on the 3rd floor."

Shortly after arriving in Vienna Mozart met the patron and patron of musicians, Baron Gottfried van Swieten (English) Russian. The baron had a large collection of works by Bach and Handel, which he brought from Berlin. Courtesy of van Swieten Mozart began to compose music in the baroque style. Mozart rightly thought that thanks to this he would become richer own creativity. Van Swieten's name first appears in letters to Mozart in May 1781; a year later he writes [p. 2]: Every Sunday at 12 o'clock I go to Baron van Swieten[k. 3], nothing is played except Handel and Bach. I'm just compiling a collection of Bach fugues for myself. As Sebastian, and Emanuel and Friedemann Bach.

At the end of July 1781 Mozart begins writing the opera The Abduction from the Serail (German: Die Entführung aus dem Serail), which premiered on July 16, 1782. The opera was enthusiastically received in Vienna, and soon became widespread throughout Germany.

In the hope of firmly settling in the court, Mozart hoped with the help of his former patron in Salzburg - younger brother Emperor, Archduke Maximilian, to become a music teacher for the younger cousin of Emperor Joseph II. The Archduke warmly recommended Mozart the princess as a music teacher, and the princess happily agreed, but the emperor suddenly appointed Antonio Salieri to this post, considering him the best singing teacher. “For him, no one exists except Salieri!” - Mozart disappointedly writes to his father on December 15, 1781 [p. 3]. However, it was quite natural that the emperor preferred Salieri, whom he valued primarily as a vocal composer, and not Mozart. Like most Viennese, the emperor knew Mozart only as a good pianist, nothing more. However, in this capacity, Mozart, of course, enjoyed exceptional authority with the emperor. So, for example, on December 24, 1781, the emperor ordered Mozart to come to the palace in order, according to a well-known old custom, to enter into competitions with the Italian virtuoso Muzio Clementi, who had then arrived in Vienna. According to Dittersdorf, who was present there, the emperor later noted that only art dominates in Clementi's game, and in the game Mozart- art and taste. After that, the emperor sent Mozart 50 ducats, which he then really needed. Clementi was delighted with the game Mozart; Mozart’s judgment of him, on the contrary, was strict and harsh: “Clementi is a diligent harpsichordist, and that says it all,” he wrote, “However, he has no feeling or taste for a kreuzer, in a word, a naked technician.” By the winter of 1782, the number of students increased Mozart, among which it should be noted Teresa von Trattner - Mozart's beloved, to whom he would later dedicate the sonata and fantasy.

New lover and wedding

According to the letter Wolfgang dated December 22, 1781, the main role in the story with a written commitment was played by the guardian of Constance and her sisters - Johann Torwart, the auditor of the court directorate and inspector of the theater wardrobe, who enjoyed authority from Count Rosenberg. Torwart asked his mother to forbid Mozart to communicate with Constance until "this matter is completed in writing." Mozart due to a highly developed sense of honor, he could not leave his beloved and signed a statement. However, later, when the guardian left, Constance demanded a commitment from her mother, and saying: “Dear Mozart! I don’t need any written commitments from you, I already believe your words,” she tore the statement. This act of Constance made her even dearer to Mozart.

Despite numerous letters from his son, Leopold was adamant. In addition, he believed, not without reason, that Frau Weber was playing an “ugly game” with his son - she wanted to use Wolfgang as a wallet, because just at that time huge prospects opened up before him: he wrote “The Abduction from the Seraglio”, held concerts by subscription and now and then received orders for various compositions from the Viennese nobility. In great dismay, Wolfgang appealed to his sister for help, trusting her good old friendship. At the request of Wolfgang, Constance sent various gifts to his sister.

Despite the fact that Maria Anna favorably accepted these gifts, her father persisted. Without hopes for a secure future, a wedding seemed impossible to him.

Meanwhile, gossip became more and more unbearable: on July 27, 1782, Mozart wrote to his father in complete desperation that most people took him for a married man and that Frau Weber was extremely outraged by this and tortured him and Constance to death. The patroness came to the aid of Mozart and his beloved Mozart, Baroness von Waldstedten. She invited Constance to move into her apartment in Leopoldstadt (house number 360), to which Constance readily agreed. Because of this, Frau Weber was now incensed and intended to eventually bring her daughter back to her house by force. To preserve the honor of Constance, Mozart had to do everything to bring her into his house; in the same letter, he most persistently begged his father for permission to marry, a few days later he repeated his request [p. 5]. However, the desired consent again did not follow. But meanwhile, Baroness von Waldstedten did not stand aside either - she eliminated all the difficulties and even tried to convince her father that Constance did not go to the Webers in character and that in general she was "a good and decent person."

On August 4, 1782, the betrothal took place at St. Stephen's Cathedral in Vienna, attended only by Frau Weber with her youngest daughter Sophie (English) Russian, Herr von Torwart as guardian and witness of both, Herr von Zetto, the bride's witness, and Franz Xaver Gilovsky as Mozart's witness. The wedding feast was hosted by the baroness, with thirteen instruments serenaded (K.361/370a). Only a day later came the long-awaited consent of the father. On August 7, Mozart wrote to him: “When we were married, my wife and I began to cry; everyone was touched by this, even the priest, and everyone wept, as they were witnesses of our hearts being touched. 6].

During the marriage of a married couple Mozart 6 children were born, of whom only two survived:

Raymond Leopold (June 17 - August 19, 1783)
Carl Thomas (September 21, 1784 – October 31, 1858)
Johann Thomas Leopold (October 18 - November 15, 1786)
Theresia Constance Adelaide Frederica Marianne (December 27, 1787 – June 29, 1788)
Anna Maria (died shortly after birth, December 25, 1789)
Franz Xaver Wolfgang (26 July 1791 – 29 July 1844)

1783-1787

Trip to Salzburg

At first Mozart I still hoped that a personal acquaintance with Constance would help change my father's mind. Soon after the wedding, the spouses have an idea about a trip to Salzburg. Initially wolfgang and Constance planned to come there in early October 1782, and then on November 15, for their father's name day. For the first time, their calculations were crossed out by the visit of the Russian Prince Paul, during which Mozart conducted the performance of "The Abduction from the Seraglio", for the second time - concerts and pedagogical activity lasting all winter. In the spring of 1783, the main obstacle was the expectation of the birth of Costantia. The child, a boy, was born on June 17, and was named Raymond Leopold, after his godfather, Baron von Wetzlar, and his grandfather, Leopold Mozart. In Mozart's own words, Raymond Leopold was "a poor, chubby, fat and sweet little boy."

wolfgang, among other things, was worried that the archbishop would not be able to use his arrival in order to issue an "arrest order", since he had left the service without a formal resignation. Therefore, he suggested that his father meet on neutral ground - in Munich. However, Leopold reassured his son about this, and at the end of July the young spouses set off, leaving the newborn child to a paid nurse [k. 4], and arrived in Salzburg on 29 July.

Contrary to expectations Mozart, Leopold and Nannerl greeted Consantia coolly, although quite politely. Mozart brought with him several parts of the remaining unfinished mass in C minor: these were "Kyrie", "Gloria", "Sanctus" and "Benedictus". "Credo" remained unfinished, and "Agnus Dei" had not yet been written at all. The premiere of the mass took place on August 26 in the Church of St. Peter, moreover, Constance sang a soprano part written especially for her voice. In addition, in Salzburg, Mozart met with his librettist for Idomeneo, Varesco, who, at the composer's request, sketched out the libretto "L'oca del Cairo" (The Cairo Goose), which Mozart would set to music by the opera of the same name, which was never completed.

The couple left Salzburg on October 27, 1783. Despite all efforts, the main goal of the trip - to change the father's mood in favor of Constance - was not achieved. In the depths of her soul, Constance was offended by such a reception and never forgave either her father-in-law or her sister-in-law for this. However, wolfgang left hometown disappointed and frustrated. On the way to Vienna, on October 30, they stopped in Linz, where they stayed with an old friend of Mozart, Count Josef Thun, after staying here for 3 weeks. Here Mozart wrote his symphony No. 36 in C major (K.425), which premiered on November 4 at the academy in the count's house.

Creativity Peak

From February 10 to April 25, 1785, Leopold paid his son a return visit to Vienna. Although their personal relationship had not changed, Leopold was very proud creative success son. On the very first day of his stay in Vienna, February 10, he visited the Wolfgang Academy in the Melgrube casino, which was also attended by the emperor; there the premiere of a new piano concerto in D minor (K.466) took place, and the next day Wolfgang arranged a quartet evening at his home, to which they were invited Joseph Haydn. At the same time, as usual in similar cases, Dittersdorf played the first violin, Haydn played the second, Mozart himself played the viola part, and Vangal played the cello. After the performance of the quartets, Haydn expressed his admiration for the work of Wolfgang, which brought great joy to Leopold:

“I tell you before God, as an honest man, your son - greatest composer who I know personally and by name;
he has taste, and besides that, the greatest knowledge in composition.
Leopold was also delighted by his second grandson Karl, who was born on 21 September of the previous year. Leopold found the child remarkably like Wolfgang. It is important to note that Wolfgang persuaded his father to join the Masonic lodge. This happened on April 6, and already on April 16 both were elevated to the degree of master.

Despite the success of chamber compositions Mozart, his affairs with the opera did not develop in the best way. Contrary to his hopes, the German opera gradually declined; Italian, on the contrary, experienced a huge upsurge. Hoping to get an opportunity to write some opera at all, Mozart turned his attention to Italian opera. On the advice of Count Rosenberg, back in 1782, he began searching for an Italian text for the libretto. However, his Italian operas L'oca del Cairo (1783) and Lo sposo deluso (1784) remained unfinished.

Finally, Mozart received from the emperor an order for a new opera. For help writing a libretto Mozart turned to a familiar librettist, Abbot Lorenzo da Ponte, whom he met in his apartment with Baron von Wetzlar back in 1783. As material for the libretto Mozart proposed a comedy by Pierre Beaumarchais "Le Mariage de Figaro" ("The Marriage of Figaro"). Despite the fact that Joseph II banned the staging of comedy in National theater, Mozart and da Ponte nevertheless set to work, and, thanks to the lack of new operas, won the position. However, having written the opera, Mozart faced extremely strong intrigues related to the upcoming rehearsals of the opera: the fact is that almost simultaneously with Mozart's Marriage of Figaro, the operas by Salieri and Righini were completed. Each composer claimed to have his opera performed first. At the same time, Mozart, flaring up, once said that if his opera did not go on stage first, then he would throw the score of his opera into the fire. Finally, the dispute was resolved by the emperor, who ordered the rehearsals of the opera to begin. Mozart.

It had a good reception in Vienna, but after several performances it was withdrawn and not staged until 1789, when the production was resumed by Antonio Salieri, who considered The Marriage of Figaro to be Mozart's best opera. But in Prague, "The Wedding of Figaro" was a stunning success, melodies from it were sung on the street and in taverns. Thanks to this success, Mozart received a new commission, this time from Prague. In 1787, a new opera, created in collaboration with Da Ponte, saw the light of day - Don Giovanni (Don Giovanni). This work, which is still considered one of the best in the world operatic repertoire, was even more successful in Prague than Le nozze di Figaro.

Much less success fell to the share of this opera in Vienna, in general, since the time of Le Figaro, it has cooled off towards the work of Mozart. From Emperor Joseph Mozart received 50 ducats for Don Giovanni, and, according to J. Rice, during the years 1782-1792 this was the only case when the composer received payment for an opera ordered not in Vienna. However, the public as a whole remained indifferent. Since 1787, his "academies" ceased, Mozart failed to organize the performance last three, now the most famous symphonies: No. 39 in E-flat major (KV 543), No. 40 in G minor (KV 550) and No. 41 in C major "Jupiter" (KV 551), written within a month and a half in 1788; only three years later one of them, Symphony No. 40, was performed by A. Salieri in charity concerts.

At the end of 1787, after the death of Christoph Willibald Gluck, Mozart received the position of "imperial and royal chamber musician" with a salary of 800 florins, but his duties were reduced mainly to composing dances for masquerades, the opera was comic, on a plot from secular life- was ordered to Mozart only once, and it was "Così fan tutte" (1790).

The content of 800 florins could not fully provide for Mozart; obviously, already at this time, he began to accumulate debts, aggravated by the cost of treating his ailing wife. Mozart recruited students, however, according to experts, there were few of them. In 1789, the composer wanted to leave Vienna, but his trip to the north, including to Berlin, did not justify his hopes and did not improve his financial situation.

The story of how in Berlin he received an invitation to become the head of court chapel Friedrich Wilhelm II with a content of 3 thousand thalers, Alfred Einstein refers to the realm of fantasy, as well as the sentimental reason for the refusal - as if out of respect for Joseph II. Friedrich Wilhelm II only ordered six simple piano sonatas for his daughter and six string quartets for himself.

There was little money made during the trip. They were barely enough to pay the debt of 100 guilders, which were taken from the brother of the Mason Hofmedel for travel expenses [source not specified 1145 days]. In 1789, Mozart dedicated a string quartet with a concert cello part (D major) to the Prussian king.

According to J. Rice, from the moment Mozart arrived in Vienna, Emperor Joseph gave him more patronage than any other Viennese musician, with the exception of Salieri. In February 1790 Joseph died; with the accession to the throne of Leopold II, Mozart at first had high hopes; however, the musicians had no access to the new emperor. In May 1790, Mozart wrote to his son, Archduke Franz: “Thirst for fame, love of activity and confidence in my knowledge make me dare to ask for the position of a second Kapellmeister, especially since the very skillful Kapellmeister Salieri never studied church style, but I from his youth he mastered this style to perfection. But his hopes were not justified, Ignaz Umlauf remained as Salieri's deputy, and financial situation Mozart turned out to be so hopeless that he had to leave Vienna from the persecution of creditors in order to improve his affairs a little with an artistic journey.

1789-1791

Trip to Northern Germany

During the journey, Mozart visited Prague, Leipzig, Dresden, Potsdam and Berlin. Despite Mozart's hopes, the trip turned out to be unsuccessful: the money received from the trip was catastrophically small. During the trip, Mozart wrote only two compositions - Duport's Variations on a Minuet (K. 573) and Piano Gigue (K. 574).

Last year

Presented in September 1791 in Prague, on the occasion of the coronation of Leopold II as the Czech king, the opera Titus' Mercy was coldly received; The Magic Flute, staged in the same month in Vienna in a suburban theater, on the contrary, was such a success that Mozart had not known in the Austrian capital for many years. In the extensive and varied activities of Mozart, this fairy-tale opera occupies a special place.

In May 1791, Mozart was enrolled in an unpaid position as Assistant Kapellmeister of St. Stephen's Cathedral; this position gave him the right to become Kapellmeister after the death of the seriously ill Leopold Hoffmann; Hoffmann, however, outlived Mozart.

Mozart, like most of his contemporaries, paid a lot of attention to sacred music, but he left few great examples in this area: except for "Misericordias Domini" - "Ave verum corpus" (KV 618, 1791), written in a completely uncharacteristic for Mozart's style, and the majestically woeful Requiem (KV 626), on which Mozart worked during the last months of his life. The history of writing the Requiem is interesting. In July 1791, a mysterious stranger in gray visited Mozart and ordered him a Requiem (a funeral mass for the dead). As the composer's biographers established, this was the messenger of Count Franz von Walsegg-Stuppach, a musical amateur who loved to perform other people's works in his palace with the help of his chapel, buying authorship from composers; he wanted to honor the memory of his late wife with a requiem. Work on the unfinished "Requiem", stunning in its mournful lyricism and tragic expressiveness, was completed by his student Franz Xaver Süssmeier, who had previously taken part in composing the opera "The Mercy of Titus".

Illness and death

Indeed, thanks to this, Mozart's condition improved so much that he was able to complete his Masonic cantata on November 15 and conduct its performance. He felt so good that he called the thoughts of his poisoning the result of depression. He ordered Constance to return the Requiem to him and worked on it further. However, the improvement did not last long: on November 20, Mozart fell ill. He became weak, his arms and legs swelled to such an extent that he could not walk, followed by sudden bouts of vomiting. In addition, his hearing became aggravated, and he ordered the cage with his beloved canary to be removed from the room - he could not bear her singing.

During the two weeks that Mozart spent in bed, he remained fully conscious; he constantly remembered death and prepared to meet it with complete composure. All this time, Mozart was cared for by his sister-in-law Sophie Heibl (English) Russian. She says:

When Mozart fell ill, we both made him a nightgown that He could wear in front, because due to swelling he could not turn, and since we did not know how seriously ill he was, we also made him a dressing gown lined with cotton […] so that he could wrap himself up well if he had to get up. Thus we diligently visited him, he also showed heartfelt joy when he received the dressing gown. I went to town every day to visit him, and when one Saturday evening I came to them, Mozart said to me: “Now, dear Sophie, tell your mother that I feel very well, and that a week after her name day (November 22 ) I will come to congratulate her.”

"The Last Hours of Mozart's Life"

Late in the evening they sent for a doctor, and after a long search they found him in the theater; he agreed to come after the end of the performance. In secret, he told Süssmeier about the hopelessness of Mozart's position, and ordered a cold compress to be applied to his head. This affected the dying Mozart so that he lost consciousness [k. 8]. From that moment on, Mozart lay flat, delirious. Around midnight, he sat up in bed and stared motionlessly into space, then leaned against the wall and dozed off. After midnight, at five minutes to one, that is, already on December 5, death occurred.

Already at night, Baron van Swieten appeared at Mozart's house, and, trying to console the widow, ordered that she move to friends for several days. At the same time, he gave her urgent advice to arrange the burial as simply as possible: indeed, the last debt was given to the deceased in the third class, which cost 8 florins 36 kreuzers and another 3 florins for a hearse. Shortly after van Swieten, Count Deim arrived and removed from Mozart death mask. "To dress the gentleman," Diner was called early in the morning. People from the funeral parish, having covered the body with a black cloth, carried it on a stretcher to the working room and placed it next to the piano. During the day, many of Mozart's friends came there to express their condolences and see the composer again.

Funeral

Contrary to popular belief, Mozart was not buried in a linen bag in a mass grave along with the poor, as was shown in the movie Amadeus. His funeral took place according to the third category, which included burial in a coffin, but in a common grave along with 5-6 other coffins. Mozart's funeral was not unusual for the time. It wasn't a beggar's funeral. Only very rich people and representatives of the nobility could be buried in a separate grave with a tombstone or monument. The impressive (albeit second-class) funeral of Beethoven in 1827 took place in a different era and, moreover, reflected the sharply increased social status of the musicians.

For the Viennese, Mozart's death passed almost imperceptibly, but in Prague, with a large crowd of people (about 4,000 people), in memory of Mozart, 9 days after his death, 120 musicians performed with special additions, written back in 1776 "Requiem" by Antonio Rosetti.

The exact burial place of Mozart is not known for certain: in his time, the graves remained unmarked, tombstones were allowed to be placed not at the site of the burial itself, but at the cemetery wall. Mozart's grave was visited for many years by the wife of his friend Johann Georg Albrechtsberger, who took her son with her. He remembered exactly where the composer was buried, and when, on the occasion of the fiftieth anniversary of Mozart's death, they began to look for his burial place, he was able to show him. One simple tailor planted a willow on the grave, and then, in 1859, a monument was erected there according to the design of von Gasser - the famous Weeping Angel. In connection with the centenary of the composer's death, the monument was moved to the "musical corner" of the Central Cemetery in Vienna, which again raised the danger of losing the real grave. Then the overseer of the cemetery of St. Mark, Alexander Kruger, built a small monument from the various remains of the former tombstones. Currently, the Weeping Angel has been returned to its original location.

Appearance and character

According to the memoirs of contemporaries, when Mozart was not sitting at the piano, his body was in constant motion: he either gesticulated with his hands or tapped with his foot. His face was extremely mobile: his expression was constantly changing, which spoke of strong nervousness. His sister-in-law Sophie Heibl reports in addition that he constantly played "like a clavier" with the most different things- hat, cane, watch chain, table, chairs.

Mozart did not have a beautiful or even attractive appearance: he was small in stature - about 160 centimeters. The shape of the head was normal, except for its size - the head was too big for his height. Only the ears stood out: they did not have lobes, and the shape of the auricle was also different. This defect caused him suffering, and therefore curls of hair covered his ears so that they could not be seen. His hair was blond and rather thick, his complexion was pale - the result of many diseases and unhealthy image life. This was also the reason that his large beautiful blue eyes had a distracted and disturbing, according to the memoirs of contemporaries, look. The broad, but too high forehead sloped back, the nose continued its line, barely separated from it by a small indentation. The nose itself was quite large, which was noted by contemporaries. Mozart, judging by the portraits, inherited his facial features from his mother. The mouth was of normal size, the upper lip was rather large, the corners of the mouth turned up.

One of the characteristic features of Mozart's personality was a natural observation in dealing with people. It is characterized by the amazing sharpness and accuracy with which he characterizes the people he meets. However, there was no moralizing pathos in his judgments, they contained only the joy of observation as such and, above all, the desire to reveal in this person essential. Mozart's highest moral asset was his honor, to which he constantly returns in his letters, and if there was a threat to his freedom, then he generally forgot about the fear of people. However, he never took advantage of his own person, did not envy another in personal well-being, and, moreover, did not deceive anyone for the sake of it. Inborn self-esteem never left him in aristocratic houses - Mozart always knew his own worth.

From the source of Mozart's worldview mentioned above, two main aspects of his personality follow - humor and irony. Mozart inherited his light character, as well as a penchant for rude and, at times, vulgar speech, from his mother, who loved all kinds of jokes and practical jokes. Mozart's jokes were quite witty, especially if he was describing people. Toilet jokes and other vulgarities abound in his early letters to his family.

According to the memoirs of Joseph Lange, Mozart's entourage had to listen to a lot of vulgarity just when he was internally occupied with any major work.

It is worth noting, however, that these jokes are quite natural with him: it never occurred to Mozart to consciously pretend to be a humorist. In addition, he was characterized by grotesque rhymes and puns: he often came up with playful names and surnames for himself and his inner circle: he once called himself Trats [k. 10], putting the letters of his last name in reverse order. Even in the marriage registration book of St. Stephen's Cathedral, he entered himself as Wolfgang Adam (instead of Amadeus).

Another feature of his personality was a special susceptibility to friendship. This was facilitated by his innate cordial kindness, readiness to always come to the aid of his neighbor in all troubles. But at the same time, he never imposed on another person. On the contrary, he had a remarkable ability (again, derived from his observations of people) to instinctively recognize in every person who tried to get close to him what he had to offer himself, and treated him accordingly. He acted with his acquaintances in the same way as with his wife: he revealed to them only that part of the inner world that they were able to understand.

Mozart's apartments in Vienna

After leaving Salzburg after a break with the archbishop, Mozart first settled in Vienna in the house of Frau Weber, the mother of his first beloved Aloysia. Here began his affair with Constance, who later became the wife of the composer. However, even before the wedding, in order to stop unwanted rumors about his connection with Constance, he moved to a new place. Four months after the wedding, in the winter of 1782, the couple moved to the house of Herberstein Jr. on Hohe Brück. In September 1784, when Mozart was at the height of his fame, his family settled at Groß Schulerstraße 5, in what is now called the "house of Figaro". In 1788, Mozart settled in the Viennese suburb of Alsergrund at Waringerstrasse 135, in the house "At the Three Stars" [k. eleven]. It is noteworthy that in a letter to Puchberg, Mozart praises his new home for the fact that the house has its own garden [p. 8]. It is in this apartment that the composer composes the opera “Everyone does it this way” and the last three symphonies.

Creation

Mozart is one of the greatest melodists. Its melody combines the features of Austrian and German folk songs with the melodiousness of the Italian cantilena. Despite the fact that his works are distinguished by poetry and subtle grace, they often contain melodies of a courageous nature, with great dramatic pathos and contrasting elements.

Mozart attached particular importance to opera. His operas represent a whole epoch in the development of this type of musical art. Along with Gluck, he was the greatest reformer of the genre of opera, but unlike him, he considered music to be the basis of opera. Mozart created a completely different type musical dramaturgy where opera music is in complete unity with the development of stage action. As a result, in his operas there are no uniquely positive and negative characters, the characters are lively and multifaceted, the relationships between people, their feelings and aspirations are shown. The most popular operas were The Marriage of Figaro, Don Giovanni and The Magic Flute.

Mozart paid great attention to symphonic music. Due to the fact that throughout his life he worked simultaneously on operas and symphonies, his instrumental music is distinguished by the melodiousness of an opera aria and dramatic conflict. The most popular were the last three symphonies - No. 39, No. 40 and No. 41 ("Jupiter"). Mozart also became one of the creators of the classical concerto genre.

Mozart's chamber and instrumental creativity is represented by a variety of ensembles (from duets to quintets) and works for piano (sonatas, variations, fantasies). Mozart abandoned the harpsichord and clavichord, which have a weaker sound compared to the piano. Mozart's piano style is distinguished by elegance, distinctness, careful finishing of melody and accompaniment.

The thematic catalog of Mozart's works, with notes, compiled by Köchel ("Chronologisch-thematisches Verzeichniss sämmtlicher Tonwerke W. A. ​​Mozart´s", Leipzig, 1862), is a volume of 550 pages. According to Kechel's calculation, Mozart wrote 68 sacred works (masses, offertorias, hymns, etc.), 23 works for the theater, 22 sonatas for harpsichord, 45 sonatas and variations for violin and harpsichord, 32 string quartets, about 50 symphonies, 55 concertos and etc., a total of 626 works.

Pedagogical activity

Mozart and Freemasonry

On December 14, 1784, Mozart entered the Masonic Order, and by 1785 he had already been initiated into the degree of Master Mason. The same thing happened later with Joseph Haydn and Leopold Mozart (the father of the composer), who came to the degree of Master in 16 days from the date of entry into the lodge.

There are several versions of Mozart joining the Masonic brotherhood. According to one of them, Emmanuel Schikaneder, his friend and future librettist of The Magic Flute, was the guarantor for admission to the Viennese lodge "Zur Wohltatigkeit" ("In the name of charity"). Prominent brothers of the lodge included the philosophers Reichfeld and Ignaz von Born. Later, on the recommendation of Mozart himself, Wolfgang's father, Leopold Mozart, was admitted to the same lodge (in 1787).

After becoming a Master Mason, Mozart within a short time created a lot of music intended directly for work in the lodge. As A. Einstein points out,

“Mozart was a passionate, convinced Freemason, not at all like Haydn, who, although he was listed as such, from the moment he was accepted into the brotherhood of “free masons”, never participated in the activities of the lodge and did not write a single Masonic work. Mozart not only left us a number of significant works written specifically for Masonic rites and celebrations - the very thought of Freemasonry permeates his work.
Among the "Masonic" works of Mozart, vocal works predominate: in some cases these are small choral songs, in other cases they are components of cantatas. Musicologists note characteristics of these works: "a simple, somewhat hymnical warehouse, chordal three-voice, somewhat rhetorical general character."

Among them are such works as:

"Funeral Masonic Music" (K.477/479a)
Adagio for two basset horns and bassoon in F major. (K.410/484d) Used to accompany ritual Masonic processions.
Adagio for 2 clarinets and 3 basset horns in B major (K.411/484a) for entry into the lodge brothers.
Cantata "Sehen, wie dem starren Forschcrauge." E major, (K.471)
Adagio and Fugue in C Minor for String Orchestra, (K.546)
Adagio and Rondo in C minor for flute, oboe, viola, cello and glass harmonica, (K.617)
Little Cantata "Laut verkünde unsre Freude" (K.623), and others.
The opera The Magic Flute (1791), the libretto for which was written by the freemason Emmanuel Schikaneder, is most saturated with the views, ideas and symbols of Freemasonry.

According to journalists A. Rybalka and A. Sinelnikov, who deal with the history of Freemasonry, the creation of the opera is due to the fact that by the time Mozart entered the Masonic lodge, Europe began to experience social and political instability. The liberation struggle intensified in Italy and in many regions of the Austrian Empire. In this demoralizing environment, Mozart and Schikaneder decided that their Magic Flute singspiel would be a demonstration of the freemasons' benevolence and loyalty to power. According to the same authors, one can guess in the symbolism of the opera: a benevolent allusion to the Empress Maria Theresa (the image of the Queen of the Night), Emperor Joseph II (Prince Tamino), Ignaz von Born, the famous ideologist of the Austrian Masons (priest Sarastro), the image of the kind and glorious Austrian people (Papageno and Papagena).

In the symbolism of the opera, a declaration of the basic Masonic principles is clearly traced. The triunities characteristic of Masonic philosophy permeate the action in all directions: three fairies, three boys, three geniuses, etc. The action opens with the fact that three fairies kill a snake - the personification of evil. Both in the first and second acts of the opera there are clear echoes with Masonic symbols denoting: life and death, thought and action. Mass scenes literally demonstrating Masonic rituals are woven into the development of the opera plot.

The central image of the opera is the priest Sarastro, in whose philosophical declarations there are the most important Masonic triads: Strength, Knowledge, Wisdom, Love, Joy, Nature. As T. N. Livanova writes,

“... the victory of the wise Sarastro over the world of the Queen of the Night has a moral and instructive, allegorical meaning. Mozart even brought the episodes associated with his image closer to the musical style of his Masonic songs and choirs. But to see in all the fantasy of The Magic Flute primarily a Masonic sermon means not to understand the diversity of Mozart's art, its direct sincerity, its wit, which is alien to any didactics.

IN musically, as T. N. Livanova notes, “in the duet and choirs of the priests from the first act, there is a noticeable great resemblance to the simple and rather strict hymn-everyday nature of Mozart’s Masonic songs, their typical diatonicism, chordal polyphony.”

The main tonality of the orchestral overture is the tonality of E-flat major, which has three flats in the key and characterizes virtue, nobility and peace. This tonality was often used by Mozart in Masonic compositions, in later symphonies, and in chamber music. In addition, three chords are persistently repeated in the overture, which again reminds of Masonic symbolism.

There are also other points of view on the relationship between Mozart and Freemasonry. In 1861, a book was published by the German poet H. F. Daumer, a supporter of the Masonic conspiracy theory, who believed that the image of Masons in The Magic Flute was a caricature.

Artworks

operas

• The Duty of the First Commandment (Die Schuldigkeit des ersten Gebotes), 1767. Theatrical oratorio
• "Apollo and Hyacinth" (Apollo et Hyacinthus), 1767 - student musical drama in Latin text
• "Bastienne and Bastienne" (Bastien und Bastienne), 1768. Another student thing, a singspiel. German version of the famous comic opera by J.-J. Rousseau - "The Village Sorcerer"
• "The Feigned Simple Girl" (La finta semplice), 1768 - an exercise in the genre of opera buffa on the libretto by Goldoni
• "Mithridates, King of Pontus" (Mitridate, re di Ponto), 1770 - in the tradition of the Italian opera seria, based on the tragedy of Racine
• "Ascanius in Alba" (Ascanio in Alba), 1771. Opera-serenade (pastoral)
• Betulia Liberata, 1771 - oratorio. Based on the story of Judith and Holofernes
• The Dream of Scipio (Il sogno di Scipione), 1772. Opera-serenade (pastoral)
• "Lucio Sulla" (Lucio Silla), 1772. Opera series
• "Thamos, King of Egypt" (Thamos, König in Ägypten), 1773, 1775. Music for Gebler's drama
• "The Imaginary Gardener" (La finta giardiniera), 1774-5 - again a return to the traditions of opera buff
• "The Shepherd King" (Il Re Pastore), 1775. Opera-serenade (pastoral)
• Zaide, 1779 (reconstructed by H. Chernovin, 2006)
• "Idomeneo, King of Crete" (Idomeneo), 1781
• The Abduction from the Seraglio (Die Entführung aus dem Serail), 1782. Singspiel
• "Cairo Goose" (L'oca del Cairo), 1783
• "Deceived Husband" (Lo sposo deluso)
• The Theater Director (Der Schhauspieldirektor), 1786. Musical comedy
• The Marriage of Figaro (Le nozze di Figaro), 1786. The first of the 3 great operas. In the genre of opera buff.
• "Don Giovanni" (Don Giovanni), 1787
• “So do everyone” (Così fan tutte), 1789
• The Mercy of Titus (La clemenza di Tito), 1791
• The Magic Flute (Die Zauberflöte), 1791. Singspiel

Other works

• 17 masses, including:
• "Coronation" in C major, K.317 (1779)
• "Great Mass" C minor, K.427/417a (1782)
• "Requiem" in D minor, K.626 (1791)
• Mozart's manuscript. Dies irae from Requiem
• More than 50 symphonies 12], including:
• No. 21 in A major, K.134 (1772)
• No. 22 in C major, K.162 (1773)
• No. 24 in B Flat Major, K.182/173dA (1773)
• No. 25 G minor, K.183/173dB (1773)
• No. 27 in G major, K.199/161b (1773)
• No. 31 "Paris" in D major, K.297/300a (1778)
• No. 34 in C major, K.338 (1780)
• No. 35 "Haffner" in D major, K.385 (1782)
• No. 36 "Linzskaya" in C major, K.425 (1783)
• No. 38 "Prague" in D major, K.504(1786)
• No. 39 in E flat major, K.543 (1788)
• No. 40 in G minor, K.550 (1788)
• No. 41 "Jupiter" in C major, K.551 (1788)
• 27 concertos for piano and orchestra, including:
• Piano Concerto No. 20 in D minor, K.466 (1785)
• concertos for two and three pianos and orchestra
• 6 concertos for violin and orchestra
• Concerto for two violins and orchestra in C major, K.190/186E (1774)
• Symphony Concertante for violin and viola and orchestra in E flat major, K.364/320d (1779)
• 2 concertos for flute and orchestra (1778)
• No. 1 in G Major, K.313/285c
• No. 2 in D Major, K.314/285d
• Concerto for flute and harp and orchestra in C major, K.299/297c (1778)
• Concerto for oboe and orchestra in C major K.314/271k (1777)
• Clarinet Concerto in A Major K.622 (1791)
• Concerto for bassoon and orchestra in B flat major, K.191/186e (1774)
• 4 concertos for horn and orchestra:
• No. 1 in D major K.412/386b (1791)
• No. 2 in E flat major K.417 (1783)
• No. 3 in E flat major K.447 (1787)
• No. 4 in E flat major K.495 (1787)
• 10 serenades for string orchestra, including:
• Serenade No. 6 "Serenata notturna" in D major, K.239 (1776)
• Serenade No. 13 "Little Night Serenade" G Major, K.525 (1787)
• 7 divertissements for orchestra
• Various brass ensembles
• Sonatas for various tools, trio, duets
• 19 piano sonatas, including:
• Sonata No. 10 in C major, K.330/300h (1783)
• Sonata No. 11 "Alla Turca" in A major, K.331/300i (1783)
• Sonata No. 12 in F major, K.332/300k (1778)
• Sonata No. 13 in B flat major, K.333/315c (1783)
• Sonata No. 14 in C minor, K.457 (1784)
• Sonata No. 15 in F Major, K.533/494 (1786, 1788)
• Sonata No. 16 in C major, K.545 (1788)
• 15 cycles of variations for piano, including:
• 10 Variations on Ariette "Unser dummer Pöbel meint", K.455 (1784)
• Rondo, fantasies, plays, including:
• Fantasia No. 3 in D minor, K.397/385g (1782)
• Fantasia No. 4 in C minor, K.475 (1785)
• Over 50 arias
• Ensembles, choirs, songs, canons

Works about Mozart

Drama. Plays. Books.

• 1830 - “Little tragedies. Mozart and Salieri. - A. S. Pushkin, drama
• 1855 - "Mozart on the way to Prague". - Eduard Mörike, story
• 1967 - "Sublime and earthly". — Weiss, David, novel
• 1970 - "Murder of Mozart". — Weiss, David, novel
• 1979 - "Amadeus". — Peter Schaeffer, play.
• 1991 - "Mozart: the sociology of one genius" - Norbert Elias, a sociological study of the life and work of Mozart in the conditions of contemporary society. Original Title: Mozart. Zur Sociologie eines Genies»
• 2002 - "Several meetings with the late Mr. Mozart". - E. Radzinsky, historical essay.
• A highly acclaimed book about the composer was written by G. V. Chicherin
• "Old Chef" - K. G. Paustovsky

The outstanding Austrian composer W. A. ​​Mozart is one of the representatives of the school. His gift manifested itself from early childhood. Mozart's works reflect the ideas of the Sturm und Drang movement and the German Enlightenment. The artistic experience of various traditions and national schools is implemented in music. The most famous list of which is huge, have taken their place in the history of musical art. He wrote more than twenty operas, forty-one symphonies, concertos for different instruments with orchestra, chamber-instrumental and piano compositions.

Brief information about the composer

Wolfgang Amadeus Mozart (Austrian composer) was born on 01/27/1756 in the beautiful town of Salzburg. Apart from composing? he was an excellent harpsichordist, bandmaster, organist and virtuoso violinist. He had an absolute chic memory and a craving for improvisation. Wolfgang Amadeus Mozart is one of the most not only of his time, but also of modernity. His genius was reflected in works written in different forms and genres. Mozart's works are still popular today. And this indicates that the composer has passed the "test of time". His name is most often mentioned in the same row with Haydn and Beethoven as a representative of Viennese classicism.

Biography and creative way. 1756-1780 years of life

Mozart was born on January 27, 1756. He began to compose early, from about the age of three. My father was my first music teacher. In 1762, he set off with his father and sister on a great artistic journey to various cities in Germany, England, France, Switzerland, and the Netherlands. At this time, the first works of Mozart were created. Their list is gradually expanding. Since 1763 he lives in Paris. Creates sonatas for violin and harpsichord. In the period 1766-1769 he lived in Salzburg and Vienna. With pleasure plunges into the study of the compositions of the great masters. Among them are Handel, Durante, Carissimi, Stradella and many others. In 1770-1774. located mainly in Italy. He meets the then-famous composer Josef Myslivechek, whose influence can be traced in the further work of Wolfgang Amadeus. In 1775-1780 he traveled to Munich, Paris and Mannheim. Experiencing financial difficulties. Loses his mother. Many of Mozart's works were written during this period. The list of them is huge. This:

• concerto for flute and harp;
• six clavier sonatas;
• several spiritual choirs;
• Symphony 31 in the key of D major, which is known as the Parisian;
• twelve ballet numbers and many other compositions.

Biography and creative way. 1779-1791 years of life

In 1779 he worked in Salzburg as a court organist. In 1781, his opera Idomeneo premiered in Munich with great success. It was a new turn in the fate of a creative person. Then he lives in Vienna. In 1783 he married Constance Weber. During this period, they go badly operatic works Mozart. Their list is not so great. These are the operas L'oca del Cairo and Lo sposo deluso, which remained unfinished. In 1786, his excellent Marriage of Figaro was written, based on a libretto by Lorenzo da Ponte. It was staged in Vienna and enjoyed great success. Many considered it to be Mozart's best opera. In 1787, an equally successful opera was released, which was also created in collaboration with Lorenzo da Ponte. Then he receives the post of "imperial and royal chamber musician." For which he is paid 800 florins. He writes dances for masquerades and a comic opera. In May 1791, Mozart was taken to the post of assistant conductor of the Cathedral. She was not paid, but provided an opportunity after the death of Leopold Hoffmann (who was very ill) to take his place. However, this did not happen. In December 1791 brilliant composer died. There are two versions of the cause of his death. The first is the complication of rheumatic fever after the illness. The second version is similar to the legend, but is supported by many musicologists. This is the poisoning of Mozart by the composer Salieri.

Major works of Mozart. List of compositions

Opera is one of the main genres of his work. He has a school opera, singspiel, opera seria and buffa, as well as a grand opera. From the compo pen:

• school opera: "Transformation of Hyacinth", also known as "Apollo and Hyacinth";
• opera series: "Idomeneo" ("Elijah and Idamant"), "Mercy of Titus", "Mithridates, King of Pontus";
• buffa operas: "The Imaginary Gardener", "The Deceived Groom", "The Marriage of Figaro", "They All Are Like This", "The Cairo Goose", "Don Juan", "The Feigned Simple Girl";
• singshpils: "Bastienne and Bastienne", "Zaida", "Abduction from the Seraglio";
• grand opera: "The Magic Flute";
• ballet-pantomime "Trinkets";
• masses: 1768-1780, created in Salzburg, Munich and Vienna;
• requiem (1791);
• the oratorio "The Liberated Vetulia";
• cantatas: "Penitent David", "Joy of the Stonemasons", "To You, Soul of the Universe", "Little Masonic Cantata".

Wolfgang Amadeus Mozart. Works for orchestra

W. A. ​​Mozart's works for orchestra are striking in their scale. This:

• symphonies;
• concertos and rondos for piano and orchestra and for violin and orchestra;
• concertos for two violins and orchestra in the key of C major, for violin and viola and orchestra, for flute and orchestra in the key of oboe and orchestra, for clarinet and orchestra, for bassoon, for horn, for flute and harp (C major);
• concertos for two pianos and orchestra (E flat major) and three (F major);
• divertissements and serenades for symphony orchestra, string, wind ensemble.

Pieces for orchestra and ensemble

Mozart composed a lot for orchestra and ensemble. Notable works:

• Galimathias musicum (1766);
• Maurerische Trauermusik (1785);
• Einmusikalischer Spa (1787);
• marches (some of them joined the serenades);
• dances (country dances, landlers, minuets);
• church sonatas, quartets, quintets, trios, duets, variations.

For clavier (piano)

Mozart's musical compositions for this instrument are very popular with pianists. This:

• sonatas: 1774 - C major (K 279), F major (K 280), G major (K 283); 1775 - D major (K 284); 1777 - C major (K 309), D major (K 311); 1778 - A minor (K 310), C major (K 330), A major (K 331), F major (K 332), B flat major (K 333); 1784 - C minor (K 457); 1788 - F major (K 533), C major (K 545);
• fifteen cycles of variations (1766-1791);
• rondo (1786, 1787);
• fantasies (1782, 1785);
• different plays.

Symphony No. 40 by W. A. ​​Mozart

Mozart's symphonies were created from 1764 to 1788. The last three were the highest achievement of this genre. In total, Wolfgang wrote more than 50 symphonies. But according to the numbering of domestic musicology, the 41st symphony ("Jupiter") is considered the last.

The best symphonies of Mozart (No. 39-41) are unique creations that do not lend themselves to the typification established at that time. Each of them contains a fundamentally new artistic idea.

Symphony No. 40 is the most popular piece of this genre. The first part begins with an excited melody of the violins of a question-and-answer structure. Main party reminiscent of Cherubino's aria from the opera Le nozze di Figaro. The side part is lyrical and melancholic, contrasting with the main part. The development begins with a small bassoon melody. There are gloomy and mournful intonations. Dramatic action begins. The reprise heightens the tension.

The second part is dominated by a calm and contemplative mood. Sonata form is also used here. The main theme is played by the violas, then it is picked up by the violins. The second theme seems to "flutter".

The third is calm, gentle and melodious. Development returns us to an excited mood, anxiety appears. The reprise is again a bright thoughtfulness. The third movement is a minuet with the features of a march, but in three-quarter time. main topic- Courageous and determined. It is performed by violins and flute. In the trio, transparent pastoral sounds arise.

The impetuous finale continues the dramatic development, reaching the highest point - the climax. Anxiety and excitement are inherent in all sections of the fourth part. And only the last bars make a small statement.

W. A. ​​Mozart was an excellent harpsichordist, bandmaster, organist and virtuoso violinist. He had an absolute ear for music, a chic memory and a craving for improvisation. His excellent works have taken their place in the history of musical art.