Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart[a][b] (27 January 1756 – 5 December 1791) was a prolific and influential
composer of the Classical period. Despite his short life, his rapid pace of composition resulted in
more than 800 works representing virtually every Western classical genre of his time. Many of these
compositions are acknowledged as pinnacles of the symphonic, concertante, chamber, operatic,
and choral repertoire. Mozart is widely regarded as one of the greatest composers in the history of
Western music,[1] with his music admired for its "melodic beauty, its formal elegance and its
richness of harmony and texture".[2]

Born in Salzburg, Mozart showed prodigious ability from his earliest childhood. At age five he was
already competent on keyboard and violin, he had begun to compose, and he performed before
European royalty. His father took him on a grand tour of Europe and then three trips to Italy. At 17, he
was a musician at the Salzburg court but grew restless and travelled in search of a better position.
Mozart's search for employment led to positions in Paris, Mannheim, Munich, and again in Salzburg,
during which he wrote his five violin concertos, Sinfonia Concertante, and Concerto for Flute and
Harp, as well as sacred pieces and masses, the motet Exsultate Jubilate, and the opera Idomeneo,
among other works.

While visiting Vienna in 1781, Mozart was dismissed from his Salzburg position. He stayed in
Vienna, where he achieved fame but little financial security. During Mozart’s early years in Vienna, he
produced several notable works, such as the opera Die Entführung aus dem Serail, the Great Mass in
C Minor, the "Haydn" Quartets and a number of symphonies. Throughout his Vienna years, Mozart
composed over a dozen piano concertos, many considered some of his greatest achievements. In
the final years of his life, Mozart wrote many of his best-known works, including his last three
symphonies, culminating in the Jupiter Symphony, the serenade Eine kleine Nachtmusik, his Clarinet
Concerto, the four operas Le nozze di Figaro, Don Giovanni, Così fan tutte and The Magic Flute and his
Requiem. The Requiem was largely unfinished at the time of his death at age 35, the circumstances
of which are uncertain and much mythologised.
Life and career Wolfgang Amadeus Mozart

Mozart's birthplace at
Getreidegasse 9, Salzburg Portrait, c. 1781

Early life Born 27 January

1756
Family and childhood Getreidegasse
9, Salzburg
Wolfgang Amadeus Mozart was born on 27 January 1756
to Leopold Mozart and Anna Maria, née Pertl, at Died 5 December
Getreidegasse 9 in Salzburg.[3] Salzburg was the capital of 1791 (aged 35)
the Archbishopric of Salzburg, an ecclesiastic principality in Vienna

the Holy Roman Empire (today in Austria).[c] He was the Works List of
youngest of seven children, five of whom died in infancy. compositions
His elder sister was Maria Anna Mozart (1751–1829),
Spouse Constanze
nicknamed "Nannerl". Mozart was baptised the day after his
Weber
birth, at St. Rupert's Cathedral in Salzburg. The baptismal
record gives his name in Latinized form, as Joannes Parents Leopold Mozart
Chrysostomus Wolfgangus Theophilus Mozart. He generally Anna Maria
called himself "Wolfgang Amadè Mozart"[4] as an adult, but Mozart

his name had many variants. Relatives Mozart family

Leopold Mozart, a native of Augsburg,[5] then an Imperial Signature

Free City in the Holy Roman Empire, was a minor composer
and an experienced teacher. In 1743, he was appointed as
the fourth violinist in the musical establishment of Count
Leopold Anton von Firmian, the ruling Prince-Archbishop of Salzburg.[2] Four years later, he married
Anna Maria in Salzburg. Leopold became the orchestra's deputy Kapellmeister in 1763. During the
year of his son's birth, Leopold published a violin textbook, Versuch einer gründlichen Violinschule,
which achieved success.[6]

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.[7]

Mozart family on tour:

Leopold, Wolfgang, Nannerl;
watercolour by Carmontelle,
c. 1763[8]

These early pieces, K. 1–5, were recorded in the Nannerl Notenbuch. There is some scholarly debate
about whether Mozart was four or five years old when he created his first musical compositions,
though there is little doubt that Mozart composed his first three pieces of music within a few weeks
of each other: K. 1a, 1b, and 1c.[9]

In his early years, Wolfgang's father was his only teacher. Along with music, he taught his children
languages and academic subjects.[10] Biographer Solomon notes that, while Leopold was a devoted
teacher to his children, there is evidence that Mozart was keen to progress beyond what he was
taught.[10] His first ink-spattered composition and his precocious efforts with the violin were of his
initiative and came as a surprise to Leopold,[11] who eventually gave up composing when his son's
musical talents became evident.[12]

1762–73: Travel

While Wolfgang was young, 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 Prince-elector
Maximilian III of Bavaria in Munich, and at the Imperial Courts in Vienna and Prague. A long concert
tour followed, spanning three and a half years, taking the family to the courts of Munich, Mannheim,
Paris, London,[13] Dover, The Hague, Amsterdam, Utrecht, Mechelen and again to Paris, and back
home via Zürich, Donaueschingen, and Munich.[14] During this trip, Wolfgang met many musicians
and acquainted himself with the works of other composers. A particularly significant influence was
Johann Christian Bach, whom he visited in London in 1764 and 1765. When he was eight years old,
Mozart wrote his first symphony, most of which was probably transcribed by his father.[15]

Mozart aged 14 in January 1770

(School of Verona, attributed to
Giambettino Cignaroli)

The family trips were often challenging, and travel conditions Antiphon "Quaerite primum
were primitive. [16]
They had to wait for invitations and regnum Dei", K. 86/73v

reimbursement from the nobility, and they endured long, near- 1:02

fatal illnesses far from home: first Leopold (London, summer Composed 9 October 1770 for
admission to the Accademia
1764),[17] then both children (The Hague, autumn 1765).[18] The Filarmonica di Bologna;
Performed by Phillip W. Serna,
family again went to Vienna in late 1767 and remained there treble, tenor & bass viols
until December 1768.
After one year in Salzburg, Leopold and Wolfgang set off for Italy, leaving Anna Maria and Nannerl at
home. This tour lasted from December 1769 to March 1771. As with earlier journeys, Leopold
wanted to display his son's abilities as a performer and a rapidly maturing composer. Wolfgang met
Josef Mysliveček and Giovanni Battista Martini in Bologna and was accepted as a member of the
famous Accademia Filarmonica. There exists a myth, according to which, while in Rome, he heard
Gregorio Allegri's Miserere twice in performance in the Sistine Chapel. Allegedly, he subsequently
wrote it out from memory, thus producing the "first unauthorized copy of this closely guarded
property of the Vatican". However, both origin and plausibility of this account are
disputed.[19][20][d][21]

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 twice to Milan (August–
December 1771; October 1772 – March 1773) for the composition and premieres of Ascanio in Alba
(1771) and Lucio Silla (1772). Leopold hoped these visits would result in a professional appointment
for his son, and indeed ruling Archduke Ferdinand contemplated hiring Mozart, but owing to his
mother Empress Maria Theresa's reluctance to employ "useless people", the matter was dropped[e]
and Leopold's hopes were never realized.[22] Toward the end of the journey, Mozart wrote the solo
motet Exsultate, jubilate, K.165.

1773–77: Employment at the Salzburg court

Tanzmeisterhaus, Salzburg,
Mozart family residence
from 1773; reconstructed
1996

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
many friends and admirers in Salzburg[23] and had the opportunity to work in many genres, including
symphonies, sonatas, string quartets, masses, 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♭ concerto K. 271 of early 1777, considered by critics to be a
breakthrough work.[24]

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;[25] Mozart longed to compose operas, and Salzburg provided only rare occasions for these.
The situation worsened in 1775 when the court theatre was closed, especially since the other
theatre in Salzburg was primarily reserved for visiting troupes.[26]

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.[27]

1777–78: Journey to Paris

Mozart wearing the badge of

the Order of the Golden Spur
which he received in 1770 from
Pope Clement XIV in Rome.
The painting is a 1777 copy of
a work now lost.[28]

In August 1777, Mozart resigned his position at Salzburg[29][f] and on 23 September ventured out
once more in search of employment, with visits to Augsburg, Mannheim, Paris, and Munich.[30]
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 of a musical family. There
were prospects of employment in Mannheim, but they came to nothing,[31] and Mozart left for Paris
on 14 March 1778[32] 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.[33] He fell into debt
and took to pawning valuables.[34] The nadir of the visit occurred when Mozart's mother was taken
ill and died on 3 July 1778.[35] There had been delays in calling a doctor—probably, according to
Halliwell, because of a lack of funds.[36] Mozart stayed with Melchior Grimm at Marquise d'Épinay's
residence, 5 rue de la Chaussée-d'Antin.[37]

While Mozart was in Paris, his father was pursuing opportunities of employment for him in
Salzburg.[38] With the support of the local nobility, Mozart was offered a post as court organist and
concertmaster. The annual salary was 450 florins,[39] but he was reluctant to accept.[40] By that time,
relations between Grimm and Mozart had cooled, and Mozart moved out. After leaving Paris in
September 1778 for Strasbourg, he lingered 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.[41] Mozart finally returned to Salzburg on 15 January
1779 and took up his new appointment, but his discontent with Salzburg remained undiminished.[42]

Among the better-known works which Mozart wrote on the Paris journey are the A minor piano
sonata, K. 310/300d, the "Paris" Symphony (No. 31), which were performed in Paris on 12 and 18
June 1778;[43] and the Concerto for Flute and Harp in C major, K. 299/297c.[44]

Vienna

1781: Departure

Mozart family, c. 1780 (della Croce);

the portrait on the wall is of Mozart's
mother.

In January 1781, Mozart's opera Idomeneo premiered with "considerable success" in Munich.[45] The
following March, Mozart was summoned to Vienna, where his employer, Archbishop Colloredo, was
attending the celebrations for the accession of Joseph II to the Austrian throne. For Colloredo, this
was simply a matter of wanting his musical servant to be at hand (Mozart indeed was required to
dine in Colloredo's establishment with the valets and cooks).[g] He planned a bigger career as he
continued in the archbishop's service;[47] for example, he wrote to his father:

My main goal right now is to meet the emperor in some agreeable fashion,
I am absolutely determined he should get to know me. I would be so happy
if I could whip through my opera for him and then play a fugue or two, for
that's what he likes.[48]

Mozart did indeed soon meet the Emperor, who eventually was to support his career substantially
with commissions and a part-time position.

In the same letter to his father just quoted, Mozart outlined his plans to participate as a soloist in
the concerts of the Tonkünstler-Societät, a prominent benefit concert series;[48] this plan as well
came to pass after the local nobility prevailed on Colloredo to drop his opposition.[49]

Colloredo's wish to prevent Mozart from performing outside his establishment was in other cases
carried through, raising the composer's anger; one example was a chance to perform before the
Emperor at Countess Thun's for a fee equal to half of his yearly Salzburg salary.

The quarrel with the archbishop 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.[50]

The quarrel with Colloredo was more difficult 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 of his
father's demands to return. Solomon characterizes Mozart's resignation as a "revolutionary step"
that significantly altered the course of his life.[51]

Early years

Mozart's new career in Vienna began well. He often performed as a pianist, notably in a competition
before the Emperor with Muzio Clementi on 24 December 1781,[50] and he soon "had established
himself as the finest keyboard player in Vienna".[50] 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 considerable success. The work was soon being
performed "throughout German-speaking Europe",[50] and thoroughly established Mozart's
reputation as a composer.

1782 portrait of Constanze

Mozart by her brother-in-law
Joseph Lange

Near the height of his quarrels with Colloredo, Mozart moved in with the Weber family, who had
moved to Vienna from Mannheim. The family's father, Fridolin, had died, and the Webers were now
taking in lodgers to make ends meet.[52]

Marriage and children

After failing to win the hand of Aloysia Weber, who was now married to the actor and artist Joseph
Lange, Mozart's interest shifted to the third daughter of the family, Constanze.

The courtship did not go entirely smoothly; surviving correspondence indicates that Mozart and
Constanze briefly broke up in April 1782, over an episode involving jealousy (Constanze had
permitted another young man to measure her calves in a parlor game).[53] Mozart also faced a very
difficult task getting permission for the marriage from his father, Leopold.[54]

The marriage took place in an atmosphere of crisis. Daniel Heartz suggests that eventually
Constanze moved in with Mozart, which would have placed her in disgrace by the mores of the
time.[55] Mozart wrote to Leopold on 31 July 1782, "All the good and well-intentioned advice you
have sent fails to address the case of a man who has already gone so far with a maiden. Further
postponement is out of the question."[55] Heartz relates, "Constanze's sister Sophie had tearfully
declared that her mother would send the police after Constanze if she did not return home
[presumably from Mozart's apartment]."[55] On 4 August, Mozart wrote to Baroness von Waldstätten,
asking: "Can the police here enter anyone's house in this way? Perhaps it is only a ruse of Madame
Weber to get her daughter back. If not, I know no better remedy than to marry Constanze tomorrow
morning or if possible today."[55]

The couple were finally married on 4 August 1782 in St. Stephen's Cathedral, the day before his
father's consenting letter arrived in the mail. In the marriage contract, Constanze "assigns to her
bridegroom five hundred gulden which ... the latter has promised to augment with one thousand
gulden", with the total "to pass to the survivor". Further, all joint acquisitions during the marriage
were to remain the common property of both.[56]

The couple had six children, of whom only two survived infancy:[57]

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, 16 November 1789)

Franz Xaver Wolfgang Mozart (26 July 1791 – 29 July 1844)

1782–87

In 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 musical language, for example in fugal passages in Die
Zauberflöte ("The Magic Flute") and the finale of Symphony No. 41.[2]

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.[58]

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.[59] Haydn wrote,
"posterity will not see such a talent again in 100 years"[60] and 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."[61]
From 1782 to 1785 Mozart mounted concerts with himself as a soloist, presenting three or four new
piano concertos in each season. Since space in the theatres was scarce, he booked unconventional
venues: a large room in the Trattnerhof apartment building, and the ballroom of the Mehlgrube
restaurant.[62] The concerts were very popular, and his concertos premiered there are still firm
fixtures in his 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".[62]

With substantial returns from his concerts and elsewhere, Mozart and his wife adopted a more
luxurious lifestyle. They moved to an expensive apartment, with a yearly rent of 460 florins.[63]
Mozart bought a fine fortepiano from Anton Walter for about 900 florins, and a billiard table for
about 300.[63] The Mozarts sent their son Karl Thomas to an expensive boarding school[64][65] and
kept servants. During this period Mozart saved little of his income.[66][67]

On 14 December 1784, Mozart became a Freemason, admitted to the lodge Zur Wohltätigkeit
("Beneficence").[68] Freemasonry played an essential 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, e.g. the Maurerische Trauermusik.[69]

1786–87: Return to opera

Fortepiano played by Mozart

in 1787, Czech Museum of
Music, Prague[70]

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. Around the end of 1785,
Mozart moved away from keyboard writing[71] and began his famous operatic collaboration with the
librettist Lorenzo Da Ponte. The year 1786 saw the successful premiere of Le nozze di 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, but less success in Vienna during 1788.[72] The two are among Mozart's most famous
works and are mainstays of operatic repertoire today, though at their premieres their musical
complexity caused difficulty both for listeners and for performers. These developments were not
witnessed by Mozart's father, who had died on 28 May 1787.[73]

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). This modest income became important to Mozart when hard times arrived. Court records
show that Joseph aimed to keep the esteemed composer from leaving Vienna in pursuit of better
prospects.[74][1] (https://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart#endnote_A_more_recent_view,_Wolff_2012,_is_that_
Mozart's_position_was_a_more_substantial_one_than_is_traditionally_maintained,_and_that_some_of_Mozart's_chamber_music_fro

m_this_time_was_written_as_part_of_his_imperial_duties.)

In 1787, the young Ludwig van Beethoven spent several weeks in Vienna, hoping to study with
Mozart.[75] No reliable records survive to indicate whether the two composers ever met.

Later years

1788–90

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

Toward the end of the decade, Mozart's circumstances worsened. Around 1786 he had ceased to
appear frequently in public concerts, and his income shrank.[76] This was a difficult time for
musicians in Vienna because of the Austro-Turkish War: both the general level of prosperity and the
ability of the aristocracy to support music had declined. In 1788, Mozart saw a 66% decline in his
income compared to his best years in 1781.[77]

By mid-1788, Mozart and his family had moved from central Vienna to the suburb of Alsergrund.[76]
Although it has been suggested that Mozart aimed to reduce his rental expenses by moving to a
suburb, as he wrote in his letter to Michael von Puchberg, Mozart had not reduced his expenses but
merely increased the housing space at his disposal.[78] Mozart began to borrow money, most often
from his friend and fellow mason Puchberg; "a pitiful sequence of letters pleading for loans"
survives.[79] Maynard Solomon and others have suggested that Mozart was suffering from
depression, and it seems his musical output slowed.[80] 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 some long journeys hoping to improve his fortunes, visiting Leipzig,
Dresden, and Berlin in the spring of 1789, and Frankfurt, Mannheim, and other German cities in
1790.

1791

Mozart's last year was, until his final illness struck, a time of high productivity—and by some
accounts, one of personal recovery.[81][h] 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♭); the Clarinet
Concerto K. 622; the last in his series of string quintets (K. 614 in E♭); the motet Ave verum corpus
K. 618; and the unfinished Requiem K. 626.

Mozart's financial situation, a source of anxiety in 1790, finally began to improve. Although the
evidence is inconclusive,[82] it appears that wealthy patrons in Hungary and Amsterdam pledged
annuities to Mozart in return for the occasional composition. He is thought to have benefited from
the sale of dance music written in his role as Imperial chamber composer.[82] Mozart no longer
borrowed large sums from Puchberg and began to pay off his debts.[82]

He experienced great satisfaction in the public success of some of his works, notably The Magic
Flute (which was performed several times in the short period between its premiere and Mozart's
death)[83] and the Little Masonic Cantata K. 623, premiered on 17 November 1791.[84]
Final illness and death

Posthumous painting by
Barbara Krafft in 1819

Mozart fell ill while in Prague for the premiere, on 6 September 1791, of his opera La clemenza di
Tito, which was written in that same year on commission for Emperor Leopold II's coronation
festivities.[85] He continued his professional functions for some time and conducted the premiere of
The Magic Flute on 30 September. His health deteriorated on 20 November, at which point he
became bedridden, suffering from swelling, pain, and vomiting.[86]

Mozart was nursed in his final days by his wife and her youngest sister, and was attended by the
family doctor, Thomas Franz Closset. He was mentally occupied with the task of finishing his
Requiem, but the evidence that he dictated passages to his student Franz Xaver Süssmayr is
minimal.[87]

Mozart died in his home on 5 December 1791 (aged 35) at 12:55 am.[88] The New Grove describes
his funeral:

Mozart was interred 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 Otto 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.[89]

The expression "common grave" refers to neither a communal grave nor a pauper's grave, but an
individual grave for a member of the common people (i.e., not the aristocracy). Common graves
were subject to excavation after ten years; the graves of aristocrats were not.[90]

The cause of Mozart's death is not known with certainty. The official record of hitziges Frieselfieber
("severe miliary fever", referring to a rash that looks like millet seeds) is more a symptomatic
description than a diagnosis. Researchers have suggested more than a hundred causes of death,
including acute rheumatic fever,[91][92] streptococcal infection,[93][94] trichinosis,[95][96] influenza,
mercury poisoning, and a rare kidney ailment.[91]

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, his reputation rose substantially. Solomon describes an "unprecedented wave of
enthusiasm"[97] for his work; biographies were written first by Schlichtegroll, Niemetschek, and
Nissen, and publishers vied to produce complete editions of his works.[97]

Appearance and character

Detail of portrait of Mozart by his

brother-in-law Joseph Lange

Mozart's physical appearance was described by tenor Michael Kelly in his Reminiscences: "a
remarkably small man, very thin and pale, with a profusion of fine, fair hair of which he was rather
vain". 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.[98] 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."[99]
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." Based on
paintings that researchers were able to find of Mozart, he seemed to wear a white wig for most of
his formal occasions—researchers of the Salzburg Mozarteum declared that only one of his
fourteen portraits they had found showed him without his wig.[98]

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.[100]

Mozart lived at the center of the Viennese musical world, and knew a significant number and variety
of people: fellow musicians, theatrical performers, fellow Salzburgers, and aristocrats, including
some acquaintance with Emperor Joseph II. Solomon considers his three closest friends to have
been Gottfried von Jacquin, Count August Hatzfeld, and Sigmund Barisani; others included his elder
colleague Joseph Haydn, singers Franz Xaver Gerl and Benedikt Schack, and the horn player Joseph
Leutgeb. Leutgeb and Mozart carried on a kind of friendly mockery, often with Leutgeb as the butt of
Mozart's practical jokes.[101]

He enjoyed billiards, dancing, and kept pets, including a canary, a starling, a dog, and a horse for
recreational riding.[102] He had a startling fondness for scatological humour, which is preserved in
his surviving letters, notably those written to his cousin Maria Anna Thekla Mozart around 1777–
1778, and in his correspondence with his sister and parents.[103] Mozart also wrote scatological
music, a series of canons that he sang with his friends.[104] He had an ear for languages, and having
traveled all over Europe as a boy, was fluent in Latin, Italian, and French in addition to his native
Salzburg dialect of German. He possibly also understood and spoke some English, having jokingly
written "You are an ass" after his 19-year-old student Thomas Attwood made a thoughtless mistake
on his exercise papers.[105][106]

Mozart was raised a Catholic and remained a devout member of the Church throughout his
life.[107][108] He embraced the teachings of Freemasonry in 1784.[109]

Works, musical style, and innovations

Style

Mozart's music, like Haydn's, stands as an archetype of the Symphonie Nr. 40 G minor, K.
550. Movement: 1. Molto allegro
Classical style. At the time he began composing, European
8:14
music was dominated by the style galant, a reaction against the
highly evolved intricacy of the Baroque. Progressively, and in Overture to Don Giovanni

large part at the hands of Mozart himself, the contrapuntal 6:49

complexities of the late Baroque emerged once more, Both performed by the Fulda
Symphonic Orchestra, conductor:
moderated and disciplined by new forms, and adapted to a new Simon Schindler
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, as well as dances, divertimenti, serenades, and other forms of light
entertainment.[110]

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.[111]

During his last decade, Mozart frequently exploited chromatic harmony. A notable instance is his
String Quartet in C major, K. 465 (1785), whose introduction abounds in chromatic suspensions,
giving rise to the work's nickname, the "Dissonance" quartet.

Mozart had a gift for absorbing and adapting the valuable features of others' music. His travels
helped in the forging of a unique compositional language.[112] 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
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.[113] 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.

Facsimile sheet of music from the

Dies Irae movement of the Requiem
Mass in D minor (K. 626) in Mozart's
handwriting (Mozarthaus, Vienna)

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 Le nozze di 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 colour, 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.[114]
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." or "KV" 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.[115]

Instruments

Although some of Mozart's early pieces were written for harpsichord, he also became acquainted in
his early years with fortepianos made by Regensburg builder Franz Jakob Späth. Later when Mozart
was visiting Augsburg, he was impressed by Stein fortepianos and shared this in a letter to his
father.[116] On 22 October 1777, Mozart had premiered his triple-piano concerto, K. 242, on
instruments provided by Stein. The Augsburg Cathedral organist Demmler was playing the first,
Mozart the second and Stein the third part.[117] In 1783 when living in Vienna he purchased an
instrument by Walter.[118] Leopold Mozart confirmed the attachment which Mozart had with his
Walter fortepiano: "It is impossible to describe the hustle and bustle. Your brother's pianoforte has
been moved at least twelve times from his house to the theatre or to someone else's house."[119]

Influence

Mozart Monument,
Mozartplatz, Frankfurt

His most famous pupil was Johann Nepomuk Hummel,[120] a transitional figure between the
Classical and Romantic eras whom the Mozarts took into their Vienna home for two years as a
child.[121] 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 classical
musicians' training.[122]

Ludwig van Beethoven, Mozart's junior by fifteen years, was deeply influenced by his work, with
which he was acquainted as a teenager.[123] He is thought to have performed Mozart's operas while
playing in the court orchestra at Bonn[124] and travelled 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.[125][i]

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).[126] Others include Fernando Sor's
Introduction and Variations on a Theme by Mozart (1821), Mikhail Glinka's Variations on a Theme
from Mozart's Opera The Magic Flute (1822), Frédéric Chopin's Variations on "Là ci darem la mano"
from Don Giovanni (1827), and Max Reger's Variations and Fugue on a Theme by Mozart (1914),
based on the variation theme in the piano sonata K. 331.[127] Pyotr Ilyich Tchaikovsky, who revered
Mozart, wrote his Orchestral Suite No. 4 in G, Mozartiana (1887), as a tribute to him.[128]

References

Notes
a. Sources vary regarding the English pronunciation of Mozart's name. Fradkin 1996, a guide for classical
music radio, strongly recommends the use of the phoneme [ts] for the letter z (thus /ˈwʊlfɡæŋ ˌæməˈdeɪəs
ˈmoʊtsɑːrt/ WUULF-gang AM-ə-DAY-əs MOHT-sart), but otherwise considers English-like pronunciation fully
acceptable. The German pronunciation is [ˈvɔlfɡaŋ ʔamaˈdeːʊs ˈmoːtsaʁt] .

b. Baptised as Joannes Chrysostomus Wolfgangus Theophilus Mozart. Mozart used, at different times and
places, different versions of his own name; for details, see Mozart's name.

c. Source: Wilson 1999, p. 2. The many changes of European political borders since Mozart's time make it
difficult to assign him an unambiguous nationality; for discussion, see Mozart's nationality.

d. For further details of the story, see Miserere (Allegri) § History.

e. Eisen & Keefe 2006, p. 268: "You ask me to take the young Salzburger into your service. I do not know why
not believing that you have need for a composer or of useless people. ... What I say is intended only to
prevent you from burdening yourself with useless people and giving titles to people of that sort. In
addition, if they are at your service, it degrades that service when these people go about the world like
beggars."
 f. Archbishop Colloredo responded to the request by dismissing both Mozart and his father, though the
dismissal of the latter was not actually carried out.

g. Mozart complains of this in a letter to his father, dated 24 March 1781.[46]

h. More recently, Wolff 2012 has forcefully advocated a view of Mozart's career at the end of his life as being
on the rise, interrupted by his sudden death.

i. For further details, see Beethoven and Mozart.

Citations
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40. Halliwell 1998, p. 322. 63. Solomon 1995, p. 298

41. Sadie 1998, §3. 64. Solomon 1995, p. 430.

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Yale University Press. ISBN 978-0-300-07223-5. OCLC 70401564 (https://www.worldcat.org/oclc/
70401564) .

Barry, Barbara R. (2000). The Philosopher's Stone: Essays in the Transformation of Musical
Structure. Hillsdale, New York: Pendragon Press. ISBN 978-1-57647-010-7. OCLC 466918491 (http
s://www.worldcat.org/oclc/466918491) .

Buch, David (2017). "Wolfgang Amadeus Mozart" (https://www.oxfordbibliographies.com/view/do

cument/obo-9780199757824/obo-9780199757824-0193.xml) . Oxford Bibliographies: Music.
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3%2FOBO%2F9780199757824-0193) .(subscription required)

Churgin, Bathia (Autumn 1987). "Beethoven and Mozart's Requiem: A New Connection" (http://pub
likationen.ub.uni-frankfurt.de/files/11509/MIN_AD_3_Beeth-Moz19-39.pdf) (PDF). The Journal
of Musicology. 5 (4): 457–477. doi:10.2307/763840 (https://doi.org/10.2307%2F763840) .
JSTOR 763840 (https://www.jstor.org/stable/763840) .

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 (https://www.worldcat.org/oclc/8991008) .

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 978-0-304-92483-7.
OCLC 456644858 (https://www.worldcat.org/oclc/456644858) .

Eisen, Cliff; Keefe, Simon P., eds. (2006). The Cambridge Mozart Encyclopedia. Cambridge:
Cambridge University Press. ISBN 978-0-521-85659-1.
Eisen, Cliff; Sadie, Stanley (2001). "Mozart, Wolfgang Amadeus" (https://www.oxfordmusiconline.
com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-600227
8233) . Grove Music Online. Oxford: Oxford University Press.
doi:10.1093/gmo/9781561592630.article.6002278233 (https://doi.org/10.1093%2Fgmo%2F9781
561592630.article.6002278233) . (subscription or UK public library membership (https://www.oxfor
dmusiconline.com/page/subscribe#public) required)

Fradkin, Robert A (1996). The Well-Tempered Announcer: A Pronunciation Guide to Classical Music.
Bloomington: Indiana University Press. ISBN 978-0-253-21064-7.

Freeman, Daniel E. (2021). Mozart in Prague. Minneapolis: Calumet Editions. ISBN 978-1-950743-
50-6.

Grove's Dictionary of Music and Musicians (https://archive.org/details/grovesdictionary01grov)

(5th ed.). New York: Macmillam Press. 1954.

Gutman, Robert (2000). Mozart: A Cultural Biography. London: Harcourt Brace. ISBN 978-0-15-
601171-6. OCLC 45485135 (https://www.worldcat.org/oclc/45485135) .

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 (https://www.worldcat.org/oclc/36423516) .

Haberl, Dieter (2006). "Beethovens erste Reise nach Wien: die Datierung seiner Schülerreise zu
W.A. Mozart". Neues Musikwissenschaftliches Jahrbuch (in German) (14). OCLC 634798176 (http
s://www.worldcat.org/oclc/634798176) .

Heartz, Daniel (2003). Music in European Capitals: The Galant Style, 1720–1780 (1st ed.). New York
City: W. W. Norton & Company. ISBN 978-0-393-05080-6. OCLC 50693068 (https://www.worldcat.
org/oclc/50693068) .

Heartz, Daniel (2009). Mozart, Haydn and early Beethoven, 1781–1802. New York: W. W. Norton.
ISBN 978-0-393-06634-0.

Landon, Howard Chandler Robbins (1990). 1791: Mozart's Last Year. London: Flamingo. ISBN 978-
0-00-654324-4. OCLC 20932333 (https://www.worldcat.org/oclc/20932333) .

Lorenz, Michael (9 August 2010). "Mozart's Apartment on the Alsergrund" (https://web.archive.or

g/web/20141101233808/http://homepage.univie.ac.at/michael.lorenz/alsergrund/) . Archived
from the original (http://homepage.univie.ac.at/michael.lorenz/alsergrund/) on 1 November
2014. 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 978-0-14-102262-8.
OCLC 416204627 (https://www.worldcat.org/oclc/416204627) .
Mozart, Wolfgang; Mozart, Leopold (1966). Anderson, Emily (ed.). The Letters of Mozart and his
Family (2nd ed.). London: Macmillan. ISBN 978-0-393-02248-3. OCLC 594813 (https://www.world
cat.org/oclc/594813) .

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"Mozart, Mozart's Magic Flute and Beethoven" (https://web.archive.org/web/20101127053721/ht

tp://raptusassociation.org/beethmoze.html) . Raptus Association for Music Appreciation.
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Rosen, Charles (1998). The Classical Style: Haydn, Mozart, Beethoven (https://archive.org/details/c
lassicalstyleha00rose) (2nd ed.). New York City: W. W. Norton & Company. ISBN 978-0-393-
31712-1. OCLC 246977555 (https://www.worldcat.org/oclc/246977555) .

Sadie, Stanley, ed. (1998). The New Grove Dictionary of Opera. New York: Grove's Dictionaries of
Music. ISBN 978-0-333-73432-2. OCLC 39160203 (https://www.worldcat.org/oclc/39160203) .

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Solomon, Maynard (1995). Mozart: A Life (https://archive.org/details/mozartlife00solo)

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orldcat.org/oclc/31435799) .

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nozze di Figaro, Don Giovanni, and Così fan tutte (https://archive.org/details/mozartdaponteope00
00step) . Oxford: Clarendon Press. ISBN 978-0-19-816221-6. OCLC 22895166 (https://www.worl
dcat.org/oclc/22895166) .

"Award of the Papal Equestrian Order of the "Golden Spur" to Wolfgang Amadeus Mozart" (https://
web.archive.org/web/20100918061819/http://asv.vatican.va/en/doc/1770.htm) . Vatican Secret
Archives. 4 July 1770. Archived from the original (http://asv.vatican.va/en/doc/1770.htm) on 18
September 2010. Retrieved 27 September 2010.

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com/2010/08/25/arts/music/25death.html) . The New York Times.

Wilson, Peter Hamish (1999). The Holy Roman Empire, 1495–1806. London: MacMillan.

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 Zaslaw, Neal; Cowdery, William, eds. (1990). The Compleat Mozart: A Guide to the Musical Works
of Wolfgang Amadeus Mozart (https://books.google.com/books?id=CChN90GGcQQC) . New
York and London: W. W. Norton & Company. ISBN 978-0-393-02886-7.

Further reading

See Buch 2017 for an extensive bibliography

Badura-Skoda, Eva; Badura-Skoda, Paul (2018). Interpreting Mozart: The Performance of His Piano
Pieces and Other Compositions (2nd ed.). Routledge. ISBN 9781135868505.

Baumol, William J., and Hilda Baumol. "On the economics of musical composition in Mozart's
Vienna." Journal of Cultural Economics 18.3 (1994): 171–198. online (http://people.stern.nyu.edu/
wbaumol/OnTheEconomicsOfMusicalCompositionInMozartsVienna.pdf)

Braunbehrens, Volkmar (1990). Mozart: Lebensbilder. G. Lubbe. ISBN 978-3-7857-0580-3.

Cairns, David (2006). Mozart and His Operas. Berkeley, California: University of California Press.
ISBN 978-0-520-22898-6. OCLC 62290645 (https://www.worldcat.org/oclc/62290645) .

Holmes, Edward (2005). The Life of Mozart. New York: Cosimo Classics. ISBN 978-1-59605-147-8.
OCLC 62790104 (https://www.worldcat.org/oclc/62790104) . (first published by Chapman and
Hall in 1845).

Kallen, Stuart A. (2000). Great Composers (https://archive.org/details/historymakersgre00stua) .

San Diego: Lucent. ISBN 978-1-56006-669-9.

Keefe, Simon P. Mozart (Routledge, 2018).

Keefe, Simon P., ed. Mozart in Context (Cambridge University Press, 2018).

Marshall, Robert Lewis. Bach and Mozart: Essays on the Enigma of Genius (University of Rochester
Press, 2019).

Mozart, Wolfgang (1972). Mersmann, Hans (ed.). Letters of Wolfgang Amadeus Mozart (https://ar
chive.org/details/lettersofwolfgan00moza) . New York: Dover Publications. ISBN 978-0-486-
22859-4. OCLC 753483 (https://www.worldcat.org/oclc/753483) .

Reisinger, Elisabeth. "The Prince and the Prodigies: On the Relations of Archduke and Elector
Maximilian Franz with Mozart, Beethoven, and Haydn." Acta Musicologica 91.1 (2019): 48–70
excerpt (https://muse.jhu.edu/article/727283/summary) .

Schroeder, David. Experiencing Mozart: A Listener's Companion (Scarecrow, 2013). excerpt (http
s://www.amazon.com/Experiencing-Mozart-Listeners-David-Schroeder/dp/0810884283/)
 Swafford, Jan (2020). Mozart – The Reign of Love. New York: Harper. ISBN 978-0-06-243357-2.
OCLC 1242102319 (https://www.worldcat.org/oclc/1242102319) .

Till, Nicholas (1995). Mozart and the Enlightenment: Truth, Virtue and Beauty in Mozart's Operas (htt
ps://archive.org/details/mozartenlightenm00till) . New York City: W. W. Norton & Company.
ISBN 978-0-393-31395-6. OCLC 469628809 (https://www.worldcat.org/oclc/469628809) .

Woodfield, Ian. "The Early Reception of Mozart's Operas in London: Burney's Missed Opportunity."
Eighteenth-Century Music 17.2 (2020): 201–214.

External links

Homepage (https://mozarteum.at/#first-section) for the Salzburg Mozarteum Foundation

"Discovering Mozart" (https://bbc.co.uk/mozart) . BBC Radio 3.

Wolfgang Amadeus Mozart (https://www.imdb.com/name/nm0003665/) at IMDb

Digitized documents

Works by Wolfgang Amadeus Mozart (https://www.gutenberg.org/ebooks/author/1368) at

Project Gutenberg

Works by or about Wolfgang Amadeus Mozart (https://archive.org/search.php?query=%28Mozar

t%29) at the Internet Archive

Works by Wolfgang Amadeus Mozart (https://librivox.org/author/6286) at LibriVox (public

domain audiobooks)

"Mozart" Titles (https://books.google.com/books?as_q=&num=10&lr=&as_brr=3&btnG=Google+S

earch&as_epq=&as_oq=&as_eq=&as_brr=3&as_pt=ALLTYPES&lr=&as_vt=Mozart+%7C++Mozarts
&as_auth=&as_pub=&as_sub=&as_drrb_is=b&as_minm_is=0&as_miny_is=1700&as_maxm_is=0&a
s_maxy_is=1940&as_isbn=&as_issn=) ; Mozart as author (https://books.google.com/books?lr=&
as_brr=3&q=inauthor%3AMozart+-inauthor%3A%22J.+Mozart%22&btnG=Search+Books&as_drrb_
is=b&as_minm_is=0&as_miny_is=1756&as_maxm_is=0&as_maxy_is=1930) at Google Books

Digital Mozart Edition (http://dme.mozarteum.at/DME/main/index.php?l=2) Archived (https://w

eb.archive.org/web/20170218214113/http://dme.mozarteum.at/DME/main/index.php?l=2) 18
February 2017 at the Wayback Machine (Internationale Stiftung Mozarteum)

"Mozart" titles (http://gallica.bnf.fr/Search?q=Mozart&p=1&lang=en&ArianeWireRechercheHaut=p

alette) from Gallica (in French)

From the British Library

 Mozart's Thematic Catalogue (http://www.bl.uk/onlinegallery/ttp/mozart/accessible/introdu
ction.html)

Mozart's Musical Diary (http://www.bl.uk/onlinegallery/ttp/ttpbooks.html)

Background information on Mozart and the Thematic Catalogue (http://www.bl.uk/onlinegall

ery/onlineex/musicmanu/mozart/index.html)

Letters of Leopold Mozart und Wolfgang Amadeus Mozart (https://web.archive.org/web/2009122

2083620/http://www.blb-karlsruhe.de/virt_bib/mozart/) (in German) (Baden State Library)
Sheet music

Complete sheet music (scores) (http://dme.mozarteum.at/DME/nma/start.php?l=2) from the

Neue Mozart-Ausgabe (Internationale Stiftung Mozarteum)

Mozart scores (https://www.digitale-sammlungen.de/en/search?query=all%3AMozart&filter=type

_content%3A%22score%22) from the Munich Digitization Center (MDZ)

Mozart titles (https://urresearch.rochester.edu/viewContributorPage.action?personNameId=66

4) from the University of Rochester

Free scores by Wolfgang Amadeus Mozart at the International Music Score Library Project
(IMSLP)

Free scores by Wolfgang Amadeus Mozart in the Choral Public Domain Library (ChoralWiki)

Free typeset sheet music (http://cantorion.org/musicsearch/composer/mozart/) of Mozart's

works from Cantorion.org

The Mutopia Project has compositions by Wolfgang Amadeus Mozart (http://www.mutopiaprojec

t.org/cgibin/make-table.cgi?Composer=MozartWA)

Wolfgang Amadeus Mozart (https://musopen.org/composer/wolfgang-amadeus-mozart/) at

the Musopen project

Portals: Classical music Opera Biography Music