"Mozart" redirects here. For other uses, see Mozart (disambiguation).

Mozart c. 1780, detail from portrait b !ohann "epomu# della $roce

Wolfgang Amadeus Mozart (%erman& '(lfa) amadeus motsat*, +nglish see fn.,'1* -7 !anuar 17./ 0 . 1ecember 1721), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart,'-* 3as a prolific and influential composer of the $lassical era. Mozart sho3ed prodigious abilit from his earliest childhood. 4lread competent on #e board and (iolin, he composed from the age of fi(e and performed before +uropean ro alt . 4t 17, he 3as engaged as a court musician in 5alzburg, but gre3 restless and tra(elled in search of a better position, al3a s composing abundantl . 6hile (isiting 7ienna in 1781, he 3as dismissed from his 5alzburg position. 8e chose to sta in the capital, 3here he achie(ed fame but little financial securit . 1uring his final ears in 7ienna, he composed man of his best9#no3n s mphonies, concertos, and operas, and portions of the :e;uiem, 3hich 3as largel unfinished at the time of his death. <he circumstances of his earl death ha(e been much m thologized. 8e 3as sur(i(ed b his 3ife $onstanze and t3o sons. 8e composed o(er /00 3or#s, man ac#no3ledged as pinnacles of s mphonic, concertante, chamber, operatic, and choral music. 8e is among the most enduringl popular of classical composers, and his influence on subse;uent 6estern art music is profound, =eetho(en composed his o3n earl 3or#s in the shado3 of Mozart, and !oseph 8a dn 3rote that "posterit 3ill not see such a talent again in 100 ears."'>*

Contents

1 +arl life o 1.1 Famil and childhood o 1.- 17/-07>& <ra(el - 177>077& +mplo ment at the 5alzburg court > 1777078& <he ?aris @ourne A 7ienna o A.1 1781& 1eparture o A.- +arl ears o A.> 178/087& :eturn to opera . Bater ears and death o ..1 1788020 o ..- 1721 o ..> Final illness and death / 4ppearance and character 7 6or#s, musical st le, and inno(ations o 7.1 5t le o 7.- Cnfluence o 7.> DEchel catalogue 8 5ee also 2 "otes 10 :eferences 11 Further reading 1- +Fternal lin#s

Early life
Family and childhood

4non mous portrait of the child Mozart, possibl b ?ietro 4ntonio Borenzoni, painted in 17/> on commission from Beopold Mozart 6olfgang 4madeus Mozart 3as born on -7 !anuar 17./ to Beopold Mozart (17120 1787) and 4nna Maria, nGe ?ertl (17-001778), at 2 %etreidegasse in 5alzburg. <his 3as

the capital of the 4rchbishopric of 5alzburg, an ecclesiastic principalit in 3hat is no3 4ustria, then part of the 8ol :oman +mpire.'A* 8e 3as the oungest of se(en children, fi(e of 3hom died in infanc .'.* 8is elder sister 3as Maria 4nna (17.1018-2), nic#named ""annerl". Mozart 3as baptized the da after his birth at 5t. :upertHs $athedral. <he baptismal record gi(es his name in Batinized form as Joannes Chrysostomus Wolfgangus Theophilus Mozart. 8e generall called himself "6olfgang 4madI Mozart"'/* as an adult, but his name had man (ariants. Beopold Mozart, a nati(e of 4ugsburg,'7* 3as a minor composer and an eFperienced teacher. Cn 17A>, he 3as appointed as fourth (iolinist in the musical establishment of $ount Beopold 4nton (on Firmian, the ruling ?rince94rchbishop of 5alzburg.'8* Four ears later, he married 4nna Maria in 5alzburg. Beopold became the orchestraHs deput Dapellmeister in 17/>. 1uring the ear of his sonHs birth, Beopold published a (iolin teFtboo#, Versuch einer grndlichen Violinschule, 3hich achie(ed success.'2* 6hen "annerl 3as se(en, she began #e board lessons 3ith her father 3hile her three9 ear9old brother loo#ed on. Jears later, after her brotherHs death, she reminisced& 8e often spent much time at the cla(ier, pic#ing out thirds, 3hich he 3as e(er stri#ing, and his pleasure sho3ed that it sounded good.... Cn the fourth ear of his age his father, for a game as it 3ere, began to teach him a fe3 minuets and pieces at the cla(ier.... 8e could pla it faultlessl and 3ith the greatest delicac , and #eeping eFactl in time.... 4t the age of fi(e, he 3as alread composing little pieces, 3hich he pla ed to his father 3ho 3rote them do3n.'10*

MozartHs birthplace at %etreidegasse 2, 5alzburg <hese earl pieces, D. 10., 3ere recorded in the Nannerl Notenbuch. =iographer Ma nard 5olomon'11* notes that, 3hile Beopold 3as a de(oted teacher to his children, there is e(idence that Mozart 3as #een to progress be ond 3hat he 3as taught. 8is first in#9spattered composition and his precocious efforts 3ith the (iolin 3ere of his o3n initiati(e and came as a surprise to his father.'1-* Beopold e(entuall ga(e up composing 3hen his sonHs musical talents became e(ident.'1>* Cn his earl ears, MozartHs father 3as his onl teacher. 4long 3ith music, he taught his children languages and academic sub@ects.'11*

176 !7"# Tra$el

Main articles& Mozart famil grand tour and Mozart in Ctal 1uring MozartHs outh, his famil made se(eral +uropean @ourne s in 3hich he and "annerl performed as child prodigies. <hese began 3ith an eFhibition, in 17/-, at the court of the ?rince9elector MaFimilian CCC of =a(aria in Munich, and at the Cmperial $ourt in 7ienna and ?rague. 4 long concert tour spanning three and a half ears follo3ed, ta#ing the famil to the courts of Munich, Mannheim, ?aris, Bondon, <he 8ague, again to ?aris, and bac# home (ia Kurich, 1onaueschingen, and Munich.'citation
needed*

<he Mozart famil on tour& Beopold, 6olfgang, and "annerl. 6atercolor b $armontelle, ca. 17/>'1A* 1uring this trip, Mozart met a number of musicians and ac;uainted himself 3ith the 3or#s of other composers. 4 particularl important influence 3as !ohann $hristian =ach, 3hom Mozart (isited in Bondon in 17/A and 17/.. <he famil again 3ent to 7ienna in late 17/7 and remained there until 1ecember 17/8. <hese trips 3ere often difficult and tra(el conditions 3ere primiti(e.'1.* <he famil had to 3ait for in(itations and reimbursement from the nobilit and the endured long, near9 fatal illnesses far from home& first Beopold (Bondon, summer 17/A)'1/* then both children (<he 8ague, autumn 17/.).'17* 4fter one ear in 5alzburg, Beopold and Mozart set off for Ctal , lea(ing MozartHs mother and sister at home. <his tra(el lasted from 1ecember 17/2 to March 1771. 4s 3ith earlier @ourne s, Beopold 3anted to displa his sonHs abilities as a performer and a rapidl maturing composer. Mozart met !osef M sli(eLe# and %io(anni =attista Martini in =ologna and 3as accepted as a member of the famous Accademia Filarmonica. Cn :ome, he heard %regorio 4llegriHs Miserere t3ice in performance in the 5istine $hapel and 3rote it out from memor , thus producing the first unauthorized cop of this closel guarded propert of the 7atican.'18*'12* Cn Milan, Mozart 3rote the opera Mitridate re di !onto (1770), 3hich 3as performed 3ith success. <his led to further opera commissions. 8e returned 3ith his father later t3ice to Milan (4ugust01ecember 1771, Mctober 177- 0 March 177>) for the composition and premieres of Ascanio in Alba (1771) and "ucio #illa (177-). Beopold hoped these (isits 3ould result in a professional appointment for his son in Ctal , but these hopes 3ere ne(er realized.'-0* <o3ard the end of the final Ctalian @ourne , Mozart 3rote the first of his 3or#s to be still 3idel performed toda , the solo motet $%sultate &ubilate, D. 1/..

177"!77# Employment at the %alz&urg court

4fter finall returning 3ith his father from Ctal on 1> March 177>, Mozart 3as emplo ed as a court musician b the ruler of 5alzburg, ?rince94rchbishop 8ieron mus $olloredo. <he composer had a great number of friends and admirers in 5alzburg'-1* and had the opportunit to 3or# in man genres, including s mphonies, sonatas, string ;uartets, masses, serenades, and a fe3 minor operas. =et3een 4pril and 1ecember 177., Mozart de(eloped an enthusiasm for (iolin concertos, producing a series of fi(e (the onl ones he e(er 3rote), 3hich steadil increased in their musical sophistication. <he last threeND. -1/, D. -18, D. -12Nare no3 staples of the repertoire. Cn 177/ he turned his efforts to piano concertos, culminating in the +9flat concerto D. -71 of earl 1777, considered b critics to be a brea#through 3or#.'--* 1espite these artistic successes, Mozart gre3 increasingl discontented 3ith 5alzburg and redoubled his efforts to find a position else3here. Mne reason 3as his lo3 salar , 1.0 florins a ear,'->* Mozart longed to compose operas, and 5alzburg pro(ided onl rare occasions for these. <he situation 3orsened in 177. 3hen the court theater 3as closed, especiall since the other theater in 5alzburg 3as largel reser(ed for (isiting troupes.'-A* <3o long eFpeditions in search of 3or# interrupted this long 5alzburg sta & Mozart and his father (isited 7ienna from 1A !ul to -/ 5eptember 177>, and Munich from / 1ecember 177A to March 177.. "either (isit 3as successful, though the Munich @ourne resulted in a popular success 3ith the premiere of MozartHs opera "a finta giardiniera.'-.*

1777!7'# The (aris )ourney

?ortrait of Mozart 3earing the Mrder of the %olden 5pur, recei(ed in 1770 from ?ope $lement OC7 in :ome, c. 1777'-/* Cn 4ugust 1777, Mozart resigned his 5alzburg position'-7* and, on -> 5eptember, (entured out once more in search of emplo ment, 3ith (isits to 4ugsburg, Mannheim, ?aris, and Munich.'-8*

Mozart became ac;uainted 3ith members of the famous orchestra in Mannheim, the best in +urope at the time. 8e also fell in lo(e 3ith 4lo sia 6eber, one of four daughters in a musical famil . <here 3ere prospects of emplo ment in Mannheim, but the came to nothing,'-2* and Mozart left for ?aris on 1A March 1778'>0* to continue his search. Mne of his letters from ?aris hints at a possible post as an organist at 7ersailles, but Mozart 3as not interested in such an appointment.'>1* 8e fell into debt and too# to pa3ning (aluables. '>-* <he nadir of the (isit occurred 3hen MozartHs mother 3as ta#en ill and died on > !ul 1778.'>>* <here had been dela s in calling a doctorNprobabl , according to 8alli3ell, because of a lac# of funds.'>A* 6hile Mozart 3as in ?aris, his father 3as pursuing opportunities for his son bac# in 5alzburg.'>.* 6ith the support of local nobilit , Mozart 3as offered a post as court organist and concertmaster. <he earl salar 3as A.0 florins,'>/* but he 3as reluctant to accept.'>7* 4fter lea(ing ?aris in 5eptember 1778, he tarried in Mannheim and Munich, still hoping to obtain an appointment outside 5alzburg. Cn Munich, he again encountered 4lo sia, no3 a (er successful singer, but she 3as no longer interested in him.'>8* Mozart finall reached home on 1. !anuar 1772 and too# up the ne3 position, but his discontent 3ith 5alzburg 3as undiminished.'citation needed* 4mong the better #no3n 3or#s that Mozart 3rote on the ?aris @ourne are the 4 minor piano sonata, D. >10P>00d and the "?aris" 5 mphon ("o. >1), these 3ere performed in ?aris on 1- and 18 !une 1778.'>2*

*ienna
5ee also& Bist of operas b Mozart

17'1# +eparture

<he Mozart famil c. 1780. <he portrait on the 3all is of MozartHs mother. Cn !anuar 1781, MozartHs opera 'domeneo premiered 3ith "considerable success" in Munich.'A0* <he follo3ing March, Mozart 3as summoned to 7ienna, 3here his emplo er, 4rchbishop $olloredo, 3as attending the celebrations for the accession of !oseph CC to the 4ustrian throne. Fresh from the adulation he had earned in Munich, Mozart 3as offended 3hen $olloredo treated him as a mere ser(ant and particularl 3hen the archbishop

forbade him to perform before the +mperor at $ountess <hunHs for a fee e;ual to half of his earl 5alzburg salar . <he resulting ;uarrel came to a head in Ma & Mozart attempted to resign and 3as refused. <he follo3ing month, permission 3as granted but in a grossl insulting 3a & the composer 3as dismissed literall "3ith a #ic# in the arse", administered b the archbishopHs ste3ard, $ount 4rco. Mozart decided to settle in 7ienna as a freelance performer and composer.'A1* <he ;uarrel 3ith the archbishop 3ent harder for Mozart because his father sided against him. 8oping fer(entl that he 3ould obedientl follo3 $olloredo bac# to 5alzburg, MozartHs father eFchanged intense letters 3ith his son, urging him to be reconciled 3ith their emplo er. Mozart passionatel defended his intention to pursue an independent career in 7ienna. <he debate ended 3hen Mozart 3as dismissed b the archbishop, freeing himself both of his emplo er and his fatherHs demands to return. 5olomon characterizes MozartHs resignation as a "re(olutionar step", and it greatl altered the course of his life.'A-*

Early years
5ee also& 8a dn and Mozart and Mozart and Freemasonr MozartHs ne3 career in 7ienna began 3ell. 8e performed often as a pianist, notabl in a competition before the +mperor 3ith Muzio $lementi on -A 1ecember 1781,'A1* and he soon "had established himself as the finest #e board pla er in 7ienna".'A1* 8e also prospered as a composer, and in 178- completed the opera (ie $ntfhrung aus dem #erail ("<he 4bduction from the 5eraglio"), 3hich premiered on 1/ !ul 178- and achie(ed a huge success. <he 3or# 3as soon being performed "throughout %erman9 spea#ing +urope",'A1* and full established MozartHs reputation as a composer.

178- portrait of $onstanze Mozart b her brother9in9la3 !oseph Bange "ear the height of his ;uarrels 3ith $olloredo, Mozart mo(ed in 3ith the 6eber famil , 3ho had mo(ed to 7ienna from Mannheim. <he father, Fridolin, had died, and the 6ebers 3ere no3 ta#ing in lodgers to ma#e ends meet.'A>* 4lo sia, 3ho had earlier re@ected MozartHs suit, 3as no3 married to the actor and artist !oseph Bange. MozartHs

interest shifted to the third 6eber daughter, $onstanze. <he courtship did not go entirel smoothl , sur(i(ing correspondence indicates that Mozart and $onstanze briefl separated in 4pril 178-.'AA* Mozart faced a (er difficult tas# in getting his fatherHs permission for the marriage.'A.* <he couple 3ere finall married on A 4ugust 178- in 5t. 5tephenHs $athedral, the da before his fatherHs consent arri(ed in the mail.'A.* <he couple had siF children, of 3hom onl t3o sur(i(ed infanc &

:aimund Beopold (17 !une 0 12 4ugust 178>) Darl <homas Mozart (-1 5eptember 178A 0 >1 Mctober 18.8) !ohann <homas Beopold (18 Mctober 0 1. "o(ember 178/) <heresia $onstanzia 4delheid Friederic#e Maria 4nna (-7 1ecember 1787 0 -2 !une 1788) 4nna Maria (died soon after birth, -. 1ecember 1782) Franz Oa(er 6olfgang Mozart (-/ !ul 1721 0 -2 !ul 18AA)

Cn the course of 178- and 178>, Mozart became intimatel ac;uainted 3ith the 3or# of !ohann 5ebastian =ach and %eorge Frideric 8andel as a result of the influence of %ottfried (an 53ieten, 3ho o3ned man manuscripts of the =aro;ue masters. MozartHs stud of these scores inspired compositions in =aro;ue st le, and later influenced his personal musical language, for eFample in fugal passages in (ie )auberfl*te ("<he Magic Flute") and the finale of 5 mphon "o. A1.'8* Cn 178>, Mozart and his 3ife (isited his famil in 5alzburg. 8is father and sister 3ere cordiall polite to $onstanze, but the (isit prompted the composition of one of MozartHs great liturgical pieces, the Mass in $ minor. <hough not completed, it 3as premiered in 5alzburg, 3ith $onstanze singing a solo part.'A/* Mozart met !oseph 8a dn in 7ienna around 178A, and the t3o composers became friends. 6hen 8a dn (isited 7ienna, the sometimes pla ed together in an impromptu string ;uartet. MozartHs siF ;uartets dedicated to 8a dn (D. >87, D. A-1, D. A-8, D. A.8, D. A/A, and D. A/.) date from the period 178- to 178., and are @udged to be a response to 8a dnHs Mpus >> set from 1781.'A7* 8a dn in 178. told MozartHs father& "C tell ou before %od, and as an honest man, our son is the greatest composer #no3n to me b person and repute, he has taste and 3hat is more the greatest s#ill in composition."'A8* From 178- to 178. Mozart mounted concerts 3ith himself as soloist, presenting three or four ne3 piano concertos in each season. 5ince space in the theaters 3as scarce, he boo#ed uncon(entional (enues& a large room in the <rattnerhof (an apartment building), and the ballroom of the Mehlgrube (a restaurant).'A2* <he concerts 3ere (er popular, and the concertos he premiered at them are still firm fiFtures in the repertoire. 5olomon 3rites that during this period Mozart created "a harmonious connection bet3een an eager composer9performer and a delighted audience, 3hich 3as gi(en the opportunit of 3itnessing the transformation and perfection of a ma@or musical genre".'A2*

6ith substantial returns from his concerts and else3here, Mozart and his 3ife adopted a rather plush lifest le. <he mo(ed to an eFpensi(e apartment, 3ith a earl rent of A/0 florins.'.0* Mozart bought a fine fortepiano from 4nton 6alter for about 200 florins, and a billiard table for about >00.'.0* <he Mozarts sent their son Darl <homas to an eFpensi(e boarding school,'.1*'.-* and #ept ser(ants. 5a(ing 3as therefore impossible, and the short period of financial success did nothing to soften the hardship the Mozarts 3ere later to eFperience.'.>*'.A* Mn 1A 1ecember 178A, Mozart became a Freemason, admitted to the lodge Kur 6ohltQtig#eit ("=eneficence").'..* Freemasonr pla ed an important role in the remainder of MozartHs life& he attended meetings, a number of his friends 3ere Masons, and on (arious occasions he composed Masonic music, e. g. the Maurerische <rauermusi#.'citation
needed*

17'6!'7# ,eturn to opera

5ee also& Mozart and dance 1espite the great success of (ie $ntfhrung aus dem #erail, Mozart did little operatic 3riting for the neFt four ears, producing onl t3o unfinished 3or#s and the one9act (er #chauspieldire+tor. 8e focused instead on his career as a piano soloist and 3riter of concertos. 4round the end of 178., Mozart mo(ed a3a from #e board 3riting'./* 'page needed* and began his famous operatic collaboration 3ith the librettist Borenzo 1a ?onte. 178/ sa3 the successful premiere of The Marriage of Figaro in 7ienna. Cts reception in ?rague later in the ear 3as e(en 3armer, and this led to a second collaboration 3ith 1a ?onte& the opera (on ,io-anni, 3hich premiered in Mctober 1787 to acclaim in ?rague, but less success in 7ienna in 1788.'.7* <he t3o are among MozartHs most important 3or#s and are mainsta s of the operatic repertoire toda , though at their premieres their musical compleFit caused difficult for both listeners and performers. <hese de(elopments 3ere not 3itnessed b MozartHs father, 3ho had died on -8 Ma 1787.'citation needed* Cn 1ecember 1787, Mozart finall obtained a stead post under aristocratic patronage. +mperor !oseph CC appointed him as his "chamber composer", a post that had fallen (acant the pre(ious month on the death of %luc#. Ct 3as a part9time appointment, pa ing @ust 800 florins per ear, and re;uired Mozart onl to compose dances for the annual balls in the :edoutensaal. <his modest income became important to Mozart 3hen hard times arri(ed. $ourt records sho3 that !osephHs aim 3as to #eep the esteemed composer from lea(ing 7ienna in pursuit of better prospects.'.8* Cn 1787 the oung Bud3ig (an =eetho(en spent se(eral 3ee#s in 7ienna, hoping to stud 3ith Mozart.'.2* "o reliable records sur(i(e to indicate 3hether the t3o composers e(er met.

-ater years and death

17''!./
5ee also& MozartHs =erlin @ourne

1ra3ing of Mozart in sil(erpoint, made b 1ora 5toc# during MozartHs (isit to 1resden, 4pril 1782 <o3ard the end of the decade, MozartHs circumstances 3orsened. 4round 178/ he had ceased to appear fre;uentl in public concerts, and his income shran#.'/0* <his 3as a difficult time for musicians in 7ienna because of the 4ustro9<ur#ish 6ar, and both the general le(el of prosperit and the abilit of the aristocrac to support music had declined.'./* = mid91788, Mozart and his famil had mo(ed from central 7ienna to the suburb of 4lsergrund.'/0* 4lthough it has been thought that Mozart reduced his rental eFpenses, research sho3s that b mo(ing to the suburb, Mozart had not reduced his eFpenses (as claimed in his letter to ?uchberg), but merel increased the housing space at his disposal. '/1* Mozart began to borro3 mone , most often from his friend and fello3 Mason Michael ?uchberg, "a pitiful se;uence of letters pleading for loans" sur(i(es.'/-* Ma nard 5olomon and others ha(e suggested that Mozart 3as suffering from depression, and it seems that his output slo3ed.'/>* Ma@or 3or#s of the period include the last three s mphonies ("os. >2, A0, and A1, all from 1788), and the last of the three 1a ?onte operas, Cos. fan tutte, premiered in 1720. 4round this time, Mozart made long @ourne s hoping to impro(e his fortunes& to Beipzig, 1resden, and =erlin in the spring of 1782, and to Fran#furt, Mannheim, and other %erman cities in 1720. <he trips produced onl isolated success and did not relie(e the famil Hs financial distress.'citation needed*

17.1
MozartHs last ear 3as, until his final illness struc#, a time of great producti(it Nand b some accounts, one of personal reco(er .'/A* 8e composed a great deal, including some of his most admired 3or#s& the opera The Magic Flute, the final piano concerto (D. .2. in

=9flat), the $larinet $oncerto D. /--, the last in his great series of string ;uintets (D. /1A in +9flat), the motet 4(e (erum corpus D. /18, and the unfinished :e;uiem D. /-/. MozartHs financial situation, a source of eFtreme anFiet in 1720, finall began to impro(e. 4lthough the e(idence is inconclusi(e,'/.* it appears that 3ealth patrons in 8ungar and 4msterdam pledged annuities to Mozart in return for the occasional composition. 8e is thought to ha(e benefited from the sale of dance music 3ritten in his role as Cmperial chamber composer.'/.* Mozart no longer borro3ed large sums from ?uchberg, and made a start on pa ing off his debts.'/.* 8e eFperienced great satisfaction in the public success of some of his 3or#s, notabl The Magic Flute (3hich 3as performed se(eral times in the short period bet3een its premiere and MozartHs death)'//* and the Bittle Masonic $antata D. /->, premiered on 1. "o(ember 1721.'/7*

Final illness and death

Main article& 1eath of 6olfgang 4madeus Mozart

?osthumous painting b =arbara Drafft in 1812 Mozart fell ill 3hile in ?rague for the / 5eptember 1721 premiere of his opera "a clemenza di Tito, 3ritten in that same ear on commission for the +mperorHs coronation festi(ities.'/8* 8e continued his professional functions for some time, and conducted the premiere of The Magic Flute on >0 5eptember. 8is health deteriorated on -0 "o(ember, at 3hich point he became bedridden, suffering from s3elling, pain, and (omiting.'/2* Mozart 3as nursed in his final illness b his 3ife and her oungest sister, and 3as attended b the famil doctor, <homas Franz $losset. 8e 3as mentall occupied 3ith the tas# of finishing his :e;uiem, but the e(idence that he actuall dictated passages to his student Franz Oa(er 5Rssma r is minimal.'70*'71*

Mozart died in his home on . 1ecember 1721 (aged >.) at 1&00 am. <he Ne/ ,ro-e describes his funeral& Mozart 3as interred in a common gra(e, in accordance 3ith contemporar 7iennese custom, at the 5t. MarF $emeter outside the cit on 7 1ecember. Cf, as later reports sa , no mourners attended, that too is consistent 3ith 7iennese burial customs at the time, later !ahn (18./) 3rote that 5alieri, 5Rssma r, (an 53ieten and t3o other musicians 3ere present. <he tale of a storm and sno3 is false, the da 3as calm and mild.'7-* <he eFpression "common gra(e" refers to neither a communal gra(e nor a pauperHs gra(e, but to an indi(idual gra(e for a member of the common people (i.e., not the aristocrac ). $ommon gra(es 3ere sub@ect to eFca(ation after ten ears, the gra(es of aristocrats 3ere not.'7>* <he cause of MozartHs death cannot be #no3n 3ith certaint . <he official record has it as "hitziges Frieselfieber" ("se(ere miliar fe(er", referring to a rash that loo#s li#e millet seeds), a description that does not suffice to identif the cause as it 3ould be diagnosed in modern medicine. :esearchers ha(e posited at least 118 causes of death, including trichinosis, influenza, mercur poisoning, and a rare #idne ailment.'7A* Mne of the most 3idel accepted h potheses is that Mozart died of acute rheumatic fe(er.'7A*'7.* MozartHs modest funeral did not reflect his standing 3ith the public as a composer& memorial ser(ices and concerts in 7ienna and ?rague 3ere 3ell9attended. Cndeed, in the period immediatel after his death, his reputation rose substantiall & 5olomon describes an "unprecedented 3a(e of enthusiasm"'7/* for his 3or#, biographies 3ere 3ritten (first b 5chlichtegroll, "iemetsche#, and "issen), and publishers (ied to produce complete editions of his 3or#s.'7/*

Appearance and character

5ee also& Mozart and :oman $atholicism and Mozart and scatolog

Cncompletel enlarged'77* portrait of Mozart b his brother9in9la3 !oseph Bange

MozartHs ph sical appearance 3as described b tenor Michael Dell , in his 0eminiscences& "a remar#abl small man, (er thin and pale, 3ith a profusion of fine, fair hair of 3hich he 3as rather (ain". 4s his earl biographer "iemetsche# 3rote, "there 3as nothing special about 'his* ph si;ue. '...* 8e 3as small and his countenance, eFcept for his large intense e es, ga(e no signs of his genius." 8is facial compleFion 3as pitted, a reminder of his childhood case of smallpoF. <here is a photofit of Mozart, created from four contemporar portraits.'78* 8e lo(ed elegant clothing. Dell remembered him at a rehearsal& "'8e* 3as on the stage 3ith his crimson pelisse and gold9laced coc#ed hat, gi(ing the time of the music to the orchestra." Mf his (oice his 3ife later 3rote that it "3as a tenor, rather soft in spea#ing and delicate in singing, but 3hen an thing eFcited him, or it became necessar to eFert it, it 3as both po3erful and energetic".'72* Mozart usuall 3or#ed long and hard, finishing compositions at a tremendous pace as deadlines approached. 8e often made s#etches and drafts, unli#e =eetho(enHs these are mostl not preser(ed, as his 3ife sought to destro them after his death.'80* 8e 3as raised a :oman $atholic and remained a member of the $hurch throughout his life.'citation needed* Mozart li(ed at the center of the 7iennese musical 3orld, and #ne3 a great number and (ariet of people& fello3 musicians, theatrical performers, fello3 5alzburgers, and aristocrats, including some ac;uaintance 3ith the +mperor !oseph CC. 5olomon considers his three closest friends to ha(e been %ottfried (on !ac;uin, $ount 4ugust 8atzfeld, and 5igmund =arisani, others included his older colleague !oseph 8a dn, singers Franz Oa(er %erl and =enedi#t 5chac#, and the horn pla er !oseph Beutgeb. Beutgeb and Mozart carried on a curious #ind of friendl moc#er , often 3ith Beutgeb as the butt of MozartHs practical @o#es.'81* 8e en@o ed billiards and dancing, and #ept pets& a canar , a starling, a dog, and a horse for recreational riding.'8-* 8e had a startling fondness for scatological humor, 3hich is preser(ed in his sur(i(ing letters, notabl those 3ritten to his cousin Maria 4nna <he#la Mozart around 177701778, and in his correspondence 3ith his sister and parents.'8>* Mozart also 3rote scatological music, a series of canons that he sang 3ith his friends.
'citation needed*

Wor0s1 musical style1 and inno$ations

5ee also& Bist of compositions b 6olfgang 4madeus Mozart and MozartHs compositional method

%tyle
MozartHs music, li#e 8a dnHs, stands as an archet pe of the $lassical st le. 4t the time he began composing, +uropean music 3as dominated b the style galant, a reaction against the highl e(ol(ed intricac of the =aro;ue. ?rogressi(el , and in large part at the hands of Mozart himself, the contrapuntal compleFities of the late =aro;ue emerged once more, moderated and disciplined b ne3 forms, and adapted to a ne3 aesthetic and social milieu. Mozart 3as a (ersatile composer, and 3rote in e(er ma@or genre, including

s mphon , opera, the solo concerto, chamber music including string ;uartet and string ;uintet, and the piano sonata. <hese forms 3ere not ne3, but Mozart ad(anced their technical sophistication and emotional reach. 8e almost single9handedl de(eloped and popularized the $lassical piano concerto. 8e 3rote a great deal of religious music, including large9scale masses, as 3ell as dances, di(ertimenti, serenades, and other forms of light entertainment.'citation needed*

4 facsimile sheet of music from the 1ies Crae mo(ement of the :e;uiem Mass in 1 minor (D. /-/) in MozartHs o3n hand3riting. Ct is located at the Mozarthaus in 7ienna. <he central traits of the $lassical st le are all present in MozartHs music. $larit , balance, and transparenc are the hallmar#s of his 3or#, but simplistic notions of its delicac mas# the eFceptional po3er of his finest masterpieces, such as the ?iano $oncerto "o. -A in $ minor, D. A21, the 5 mphon "o. A0 in % minor, D. ..0, and the opera (on ,io-anni. $harles :osen ma#es the point forcefull & Ct is onl through recognizing the (iolence and sensualit at the center of MozartHs 3or# that 3e can ma#e a start to3ards a comprehension of his structures and an insight into his magnificence. Cn a paradoFical 3a , 5chumannHs superficial characterization of the % minor 5 mphon can help us to see MozartHs daemon more steadil . Cn all of MozartHs supreme eFpressions of suffering and terror, there is something shoc#ingl (oluptuous.'8A* +speciall during his last decade, Mozart eFploited chromatic harmon to a degree rare at the time, 3ith remar#able assurance and to great artistic effect.'citation needed* Mozart al3a s had a gift for absorbing and adapting (aluable features of othersH music. 8is tra(els helped in the forging of a uni;ue compositional language.'8.* Cn Bondon as a child, he met !. $. =ach and heard his music. Cn ?aris, Mannheim, and 7ienna he met 3ith other compositional influences, as 3ell as the a(ant9garde capabilities of the Mannheim orchestra. Cn Ctal he encountered the Ctalian o(erture and opera buffa, both of 3hich deepl affected the e(olution of his o3n practice. Cn Bondon and Ctal , the galant st le 3as in the ascendent& simple, light music 3ith a mania for cadencing, an emphasis on tonic, dominant, and subdominant to the eFclusion of other harmonies, s mmetrical phrases, and clearl articulated partitions in the o(erall form of mo(ements.'8/* 5ome of MozartHs earl s mphonies are Ctalian o(ertures, 3ith three mo(ements running into each other, man are homotonal (all three mo(ements ha(ing the same #e signature, 3ith the slo3 middle mo(ement being in the relati(e minor). Mthers mimic the 3or#s of !. $.

=ach, and others sho3 the simple rounded binar forms turned out b 7iennese composers. 4s Mozart matured, he progressi(el incorporated more features adapted from the =aro;ue. For eFample, the 5 mphon "o. -2 in 4 ma@or D. -01 has a contrapuntal main theme in its first mo(ement, and eFperimentation 3ith irregular phrase lengths. 5ome of his ;uartets from 177> ha(e fugal finales, probabl influenced b 8a dn, 3ho had included three such finales in his recentl published Mpus -0 set. <he influence of the #turm und (rang ("5torm and 5tress") period in music, 3ith its brief foreshado3ing of the :omantic era, is e(ident in the music of both composers at that time. MozartHs 5 mphon "o. -. in % minor D. 18> is another eFcellent eFample. Mozart 3ould sometimes s3itch his focus bet3een operas and instrumental music. 8e produced operas in each of the pre(ailing st les& opera buffa, such as The Marriage of Figaro, (on ,io-anni, and Cos. fan tutte, opera seria, such as 'domeneo, and 5ingspiel, of 3hich (ie )auberfl*te is the most famous eFample b an composer. Cn his later operas he emplo ed subtle changes in instrumentation, orchestral teFture, and tone color, for emotional depth and to mar# dramatic shifts. 8ere his ad(ances in opera and instrumental composing interacted& his increasingl sophisticated use of the orchestra in the s mphonies and concertos influenced his operatic orchestration, and his de(eloping subtlet in using the orchestra to ps chological effect in his operas 3as in turn reflected in his later non9operatic compositions.'87*

2nfluence
MozartHs most famous pupil, 3hom the Mozarts too# into their 7ienna home for t3o ears as a child, 3as probabl !ohann "epomu# 8ummel, a transitional figure bet3een $lassical and :omantic eras.'88* More important is the influence Mozart had on composers of later generations. +(er since the surge in his reputation after his death, stud ing his scores has been a standard part of the training of classical musicians. Bud3ig (an =eetho(en, MozartHs @unior b fifteen ears, 3as deepl influenced b his 3or#, 3ith 3hich he 3as ac;uainted as a teenager. 8e is thought to ha(e performed MozartHs operas 3hile pla ing in the court orchestra at =onn,'82* and he tra(eled to 7ienna in 1787 hoping to stud 3ith the older composer. 5ome of =eetho(enHs 3or#s ha(e direct models in comparable 3or#s b Mozart, and he 3rote cadenzas (6oM .8) to MozartHs 1 minor piano concerto D. A//. For further details see Mozart and =eetho(en. 4 number of composers ha(e paid homage to Mozart b 3riting sets of (ariations on his themes. =eetho(en 3rote four such sets (Mp. //, 6oM -8, 6oM A0, 6oM A/). Mthers include FrGdGric $hopinHs 7ariations on "BS ci darem la mano" from (on ,io-anni (18-7), MaF :egerHs 7ariations and Fugue on a <heme b Mozart (121A), based on the (ariation theme in the piano sonata D. >>1,'20* Fernando 5orHs Cntroduction and 7ariations on a <heme b Mozart (18-1), and Mi#hail %lin#aHs 7ariations on a <heme from MozartHs Mpera 1ie KauberflEte (18--). ? otr Cl ich <chai#o(s# 3rote his Mrchestral 5uite "o. A in %, "Mozartiana" (1887), as a tribute to Mozart.

34chel catalogue
Main article& DEchel catalogue For unambiguous identification of 3or#s b Mozart, a 1*chel catalogue number is used. <his is a uni;ue number assigned, in regular chronological order, to e(er one of his #no3n 3or#s. 4 3or# is referenced b the abbre(iation "D." or "D7" follo3ed b this number. <he first edition of the catalogue 3as completed in 18/- b Bud3ig (on DEchel. Ct has since been repeatedl updated, as scholarl research impro(es #no3ledge of the dates and authenticit of indi(idual 3or#s