Las 3 GRANDES Mentiras que te Han Contado sobre la Vida de Mozart

En este video revelamos la verdad detrás de las 3 grandes mentiras que la mayoría de la gente cree sobre Mozart. Hablamos sobre su muerte, su rivalidad con Salieri y sus problemas financieros. ¡Descubre la historia real! y ¿Crees que Mozart fue envenenado por su rival Salieri? ¿O que era un genio excéntrico y pobre que murió en la miseria? ¡La verdad es mucho más fascinante! En este video, desmentimos los 3 mitos más populares sobre la vida de Wolfgang Amadeus Mozart que la historia (y Hollywood) nos ha hecho creer. Prepárate para descubrir al verdadero genio detrás del mito. #culture #historia #culturageneral #cultural #cultura #culturalheritage #culturapop #culturalcelebration #culturalexchange #culturalidentity #culturismo #history #histoire #historyfacts #historical #historias #história #historyshorts #historicalfacts #historiasreales #leyendas #leyendanegra #leyendasmedievales #leyendasurbanas #leyenda #leyendaurbana #leyendasoscuras #documentaries #document #documentary #documental #documents #documentaire #documentário #documentaryfilm #documentalcriminal #curiosidades #viral #viralreels #viralshort #viralvideo #viralshorts #viralvideos #viratkohlia #viralsong #viral_video #viralnews #mozartpiano #1million #mozartforbabies #mozarteffect #mozartforbabies #mozart @historiasdelmundo-cy8oe ​

Johannes Crisostomus Wolf Gangus Theophilus Mozart Salzburg, January 27, 1756 – Vienna, December 5, 1791, better known as Wolfgang Amadeus Mozart, was an Austrian-born composer, pianist, conductor, and teacher. From the former Archbishopric of Salzburg, formerly part of the Holy Roman Empire, now part of Austria, a master of classicism, he is considered one of the most influential and outstanding musicians in history. Mozart’s work covers all the musical genres of his time and includes more than 600 creations, most of which are recognized as masterpieces of symphonic, concertante, chamber music for piano, operatic, and choral music, achieving international popularity and diffusion. During his early childhood in Salzburg, Mozart displayed a prodigious ability in mastering keyboard instruments and the violin. At just 5 years old, he was already composing musical works, and his performances were appreciated by European aristocracy and royalty. At 17, he was hired as a musician at the court of Salzburg, but his restlessness led him to travel in search of a better position, always composing prolifically . During his visit to Vienna in 1781, after being dismissed from his position at court, he decided to settle in that city, where he achieved the fame that remained for the rest of his life, despite enduring difficult financial circumstances. In his later years, he composed many of his best-known symphonies, concertos, and operas, as well as his Rekiem. The circumstances of his early death have been the subject of much speculation and elevated to myth. According to music critics such as Nicolas Steel, Mozart always learned voraciously from other musicians and developed a splendor and maturity of style that ranged from light and elegance to darkness and passion, all grounded in a vision of humanity redeemed by art, forgiven and reconciled with nature and the absolute. His influence on all subsequent Western music is profound. Ludwig van Beethoven wrote his early compositions in the shadow of Mozart, of whom Joseph Heiden wrote that posterity would not see talent again for 100 years. Biography, family and childhood, Mozart’s birthplace, Getrey de Gase 9, Salzburg. See also Mozart family and Mozart and smallpox. Wolfgang Amadeus Mozart was born on January 27, 1756, in Salzburg, in present-day Austria, which at that time was an independent archbishopric of the Holy Roman Empire. He was the last son of Leopold Mozart, a musician in the service of the Prince Archbishop of Salzburg. Leopold was the second Kapellmeister at the archbishop’s court, although he was an experienced teacher. His mother’s name was Anna Maria Pertle. Due to the extremely high infant mortality rate in Europe at the time, of the seven children born to the couple, only Maria Anna, affectionately nicknamed Naner, and Wolfgang Amadeus survived. He was baptized in St. Rupert’s Cathedral the day after his birth with the names Joanes, Chrisostomus, Wolfgangus, and Theophilus Mozart. Throughout his life, he would sign his name with various variations on his original name, one of the most common being Wolfgang Amadeus Mozart. Mozart’s birthplace is located on the Salzburg River. It is a house that currently houses a large number of period objects and instruments that belonged to Mozart during his childhood. It is one of the most visited places in Salzburg and a kind of sanctuary for musicians and music lovers from all over the world. Leopold composed and gave music lessons. The year Wolfgang was born, he published a successful treatise on violin playing entitled Versuk Einer Grundlen Violin Schule. After Wolfgang’s birth, he abandoned everything except the duties of his position to devote himself exclusively to his son’s training. He was demanding as a father and as a teacher and was constantly aware of Wolfgang’s development in order to guide him as a man and as an artist. Nanel and Wolfgang Amadeus showed musical talents from a very young age. Nanel began keyboard lessons with her father when she was 7 years old, and her brother, 4 and a half years younger than her, looked at her with evident fascination. Years after the After the death of her brother, she reminisced. She often spent a lot of time at the keyboard choosing thirds, which always surprised him, and she showed with pleasure that she liked the sound. In his fourth year, his father began to teach him as a game, to play some minutets and other pieces on the keyboard. He could play it flawlessly and with the greatest delicacy, keeping exactly the tempo. At the age of 5, he was already composing small pieces that he played for his father, to whom they were dedicated. Portrait of Wolfgang Amadeus Mozart, painted at the request of Leopold Mozart in 1763. The author is unknown, although it was possibly Pietro Antonio Lorenzoni. Among these small pieces are the Andante for keyboard in C major, Kelignis, KV 1, and the Elegro for keyboard in C major, KV 1B. When Wolfgang Amadeus was 4, he played the harpsichord and composed small works of considerable difficulty. At six, he was skillfully playing the harpsichord and violin. He could sight-read music. He had a prodigious memory and an inexhaustible ability to improvise musical phrases. He was definitely not an ordinary child. His father was an intelligent, proud, and religious man. He believed his son’s musical gifts were a divine miracle that he, as a father, had an obligation to cultivate. When the boy was about to turn 6, Leopold decided to showcase his son’s musical gifts before the leading courts of Europe. According to Wolfgang’s early biographers, his father wanted to share his son’s miraculous talent with the world. Leopold believed that proclaiming this miracle to the world was a duty to his country, his prince, and his god, and therefore he had to show it to European high society, otherwise he would be a most ungrateful creature. Biographer Meinar Solomon states that while Leopold was a faithful teacher to his sons, there is evidence that Wolfgang worked hard to advance beyond what he was taught. His first printed composition and his precocious efforts with the violin were his own initiative, and Leopold was greatly surprised. Father and son had a very close relationship, and these childhood achievements brought Leopold to tears of joy more than once. Eventually, Leopold stopped composing when his son’s exceptional musical talent became evident. He was Wolfgang’s only teacher in his early years and taught him music as well as all other academic subjects. Years of travel. The Mozart family during their trip. Leopold playing the violin. Wolfgang Amadeus on the harpsichord and Nanel singing. Watercolor by Luis Carrois Carmontel around 1763. During the years when Mozart was starting his family, he made several trips around Europe, during which he and his sister Naner were shown as child prodigies. On January 12, 1762, the entire family left for Munich, beginning with a performance at the court of the Elector of Bavaria, Maximilian I, and later that same year at the imperial court of Joseph II of Habsburg, in Vienna and Prague. Their stay in Vienna, one of the leading centers of music at the time, culminated with two recitals before the imperial family at the Schämbron Palace. Little Wolfgang caused a sensation at each concert. Although the money raised on this trip was not as much as the praise received, it could be said that this was a testing trip for Leopold. On January 5, 1763, the Mozart family returned to Salzburg. The trip had lasted just under a year. On June 9, 1763, they began a long concert tour that lasted three and a half years. During this tour, the family traveled to the courts of Munich, Mannheim, Paris, London, the Aya, back to Paris, and returned home via Surich, Donau Weshingen, and Munich, achieving great success. During this trip, Mozart met a large number of musicians and the works of other composers, particularly Johan Christian Bach, whom Mozart visited in London in 1764 and 1765. Bach was an important influence on the young composer. The family returned to Vienna at the end of 1767 and remained in the city until December of the following year. In Vienna, they were summoned to the palace by the Emperor’s mother, Maria Theresa, who was so enchanted by the infant Wolfgang Amadeus that she even sat him on her lap and kissed him. At Versailles, The Mozarts played for King Louis X. The anecdote was that on that occasion the king’s mistress, the haughty Madame de Pompadour, did not allow the boy Wolfgang to embrace her for fear of ruining her suit. In London they aroused the admiration of King George I and during this trip the young musician composed his first symphony in E flat major KV 16. In the Netherlands he dazzled playing the organ and composed his first oratorio, The Shudic Kate Jevotes KV 35, at the age of 9. These trips were often difficult due to the rudimentary means of transport at that time, the need to wait patiently for invitations and payment for the performances by the nobility, and the long illnesses, some almost fatal, suffered far from home. First, Leopold fell ill in the summer of 1764 during his stay in London , and then both children fell ill at the Aya in the autumn of 1765. The family returned to Salzburg on November 30, 1766. After a year in the city, Leopold and Wolfgang traveled to Italy, leaving Wolfgang’s mother and sister at home. These trips lasted from December 1769 to March 1771. Like their earlier journeys, they were intended to showcase the young man’s rapidly maturing abilities as a performer and composer. In Bologna, Mozart met Giovanni Batista Martini, an important music theorist of the time and for whom Mozart always held great affection. He was accepted as a member of the Bologna Philharmonic Academy, considered the center of musical scholarship of the time. Mozart’s entry into the academy was extraordinary, as he was still well short of 20, the minimum age required by the regulations. Wolf Gang playing the harpsichord and Thomas Lindley, the same age, playing the violin, during their stay in Florence in 1770. They arrived in Rome on 11 April 1770, where he heard Gregorio Alegri’s Miserere once during a performance in the Sistine Chapel. This work was secret, as it could only be performed there and the publication of its score was forbidden under penalty of excommunication. However, as soon as he arrived at the inn where he was staying, the young composer wrote a very approximate version of the complete score from memory. Pope Clement X, admired by the talent of the 14-year-old musician, not only did not excommunicate him, but made him a knight of the Order of the Golden School. In Milan Mozart wrote the opera Mitridate (kv. 87) in 1770, which was successfully performed . This resulted in the commissioning of two new operas, and Wolfgang and Leopold returned to Milan twice more, from December 1771 to August 1772 and from October of that same year to March 1773, for the composition and premieres of Azcanio Inalba, KV 11 (1771) and Lucio Silla, KV 135 (1772). In 1772, Leopold hoped that these visits would secure a professional engagement for his son in Italy, but his hopes were never fulfilled. Towards the end of this final Italian trip, Mozart wrote the first of his most famous works, still widely performed today : the motet Exultate, Jubilate, KV 165. Each performance by the young Wolfgang Amadeus was a showcase of his virtuosity on the harpsichord and violin. It is said that even at this early age he could play the keyboard blindfolded and amazed the audience by improvising on any theme proposed to him. Mozart’s relationship with his patron, the Archbishop of Salzburg, Jerónimus Bonko Lyloredo, was quite turbulent due to their constant arguments and led to the composer’s resignation and departure for Vienna. Mozart and his father returned to Salzburg for good on March 13, 1773. There they learned of the death of Prince Archbishop Sigismund von Schrottenbach, who had always supported them. A new, much more difficult period then began, in which Jeronimus Bonko Lyloredo, the new Prince Archbishop of Salzburg, was authoritarian and inflexible in fulfilling the obligations imposed on his subordinates. Mozart was a favorite son of the city, where he had many friends and admirers and had the opportunity to work on numerous musical genres, including symphonies, sonatas, string quartets, serenades, divertimenti, and many other works. sacred music and some minor operas. Several of these early works are still performed. Between April and December 1775, Mozart developed an enthusiasm for violin concertos, producing a series of five concertos, the only ones he would write in his lifetime, constantly increasing his musical sophistication. The last three, KV 216, KV 218, and KV 219, are now staples in the violin repertoire. In 1776, he focused his efforts on concertos for piano and orchestra, of which he would compose a total of 27, culminating in the nine-piece piano concerto in E-flat major, KV 271, renamed Genom in early 177, considered by critics to be the turning point in his work. Despite these musical successes and being confirmed in his position as concertmaster, Mozart grew increasingly dissatisfied with his situation in Salzburg and redoubled his efforts to establish himself elsewhere . One of the reasons for this discontent was his low salary, 150 florins per year, but he also needed a lot of time to compose his operas, and the city rarely allowed him to do so . The situation worsened in 1775 when the court theater was closed, especially since the other theater in Salassburg was reserved mainly for visiting companies. Leopold and Wolfgang made two long expeditions in search of work during their extended stay in Salzburg. They visited Vienna from July 14 to September 26, 1773 , and Munich from December 6, 1774, to March 1775. These visits were unsuccessful, although the trip to Munich was met with great popular acclaim with the premiere of the opera La finta jardiniera (KV 196). The trip to Vienna was positive for his art, as he became acquainted with the new style, particularly through the music of Joseph Haiden. During his trip to Paris, Mozart became acquainted with the members of the famous Mannheim orchestra, the best in Europe at the time. This orchestra was known for its distinctive and distinctive way of explicitly exaggerating the difference between soft and loud passages. This style became known as the Mannheim style and a few decades later would become a central feature of Romantic music. He also fell in love with Aloicia Weber, one of the four daughters of the Weber family, whom he met during a stopover in Munich. There were some employment prospects in Mannheim, but they found nothing, and the Mozarts left for Paris on March 14, 1778, to continue their search. There, his fortunes hardly improved. In one of his letters home, he hinted at the possibility of establishing himself as an organist at Versailles. But Mozart was not overly interested in this position. His financial situation was so precarious that, due to debt, he had to pawn valuables. The low point of his trip came when Mozart’s mother fell ill and died on July 3, 1778. It probably took too long to call a doctor, according to Hollywell, due to a lack of funds. During Wolfgang’s stay in Paris, Leopold continued to vigorously seek opportunities for his son’s return to Salzburg and, with the support of the local nobility, secured him a better position as court organist and first violinist. The annual salary was 450 florins, but Wolfgang was reluctant to accept it. After leaving Paris on September 26, 1778, he stopped in Mannheim and Munich, still hoping to obtain an appointment outside Salzburg. In Munich, he met again with Aloisia, who had become a successful singer, but she made it clear that she was not interested in him. Finally, Wolfgang returned home on January 15, 1779, and accepted the new position, but his dissatisfaction with Salzburg had not diminished. The piano sonata No. 8 in A minor, KV 310, and the symphony No. 3 in D major, KV 297, entitled Paris, are among the best-known works from Mozart’s stay in Paris, where they were performed on June 12 and 18, 1778, respectively. Aviena March. Mozart attended the celebrations for the accession of Joseph II of Habsburg to the Austrian throne as emperor, which took place in Vienna. In January 1781, the opera and domeo Redic premiered in Munich. Mozart’s Crete KV 36 with considerable success. And in March, the composer was summoned to Vienna, where his patron, Archbishop Colloredo, attended the celebrations for the accession of Joseph II of Absburg to the Austrian throne as emperor. Mozart, bolstered by the praise he had received in Munich, was offended when Colloredo treated him like a mere servant, particularly when the archbishop forbade him from playing before the emperor at the home of Countess Maria Wilgelmine Tun, a performance for which he would have received a fee equal to half his annual salary in Salzburg. The confrontation arose in May when Mozart refused to carry a package sent by Colloredo to Salzburg. Upon his refusal to become a messenger, Mozart was insulted by his patron, and the composer boldly interrupted him in his anger. ” Your grace is not pleased with me.” Colloredo’s response was more insults and ended with “Go away now.” Mozart attempted to resign from his post by submitting his resignation to the archbishop’s assistant, Count Arco, but the archbishop rejected it. He was granted leave the following month, but in an insulting manner. Days later, when Mozart attempted to personally deliver a final memorandum to Colloredo , Count Arco blocked his way into the archbishop’s antechamber, leading to another violent scene, and the composer was literally kicked out. The argument with the archbishop was very harsh for Mozart because his father took a stand against him, fervently hoping that he would obediently follow Colloredo back to Assam. Leopold exchanged letters with his misguided son, urging him to reconcile with his employer. But Wolfgang passionately defended his intentions to pursue an independent career in Vienna. The debate ended when Mozart resigned his post, freeing himself from the demands of an oppressive employer and an overly solicitous father. Solomon characterizes Mozart’s resignation as a revolutionary step that greatly altered the course of his life. In Vienna, Mozart had noticed some promising opportunities and decided to settle there as an independent performer and composer. Mozart’s new career in Vienna got off to a good start. He often performed as a pianist, excelling in a competition before the emperor with Mutzo Clementi on December 24, 1781, and soon established himself as Vienna’s finest keyboard player. He also prospered as a composer and in 1782 completed the opera The Abduction from the Serray (KV 384), which premiered on July 16 of that same year to enormous acclaim. It would also initiate the operatic genre known as SSPIL, or German opera, at a time when Italian was the most common language for opera. The work was soon performed throughout German-speaking Europe and fully cemented Mozart’s reputation as a composer. As an anecdote, Emperor Joseph Segi remarked at the end of the opera’s premiere, “Wonderful music for our ears. I truly believe it has too many notes,” to which the composer replied, ” Exactly how many are necessary.” Although Mozart had not yet achieved his definitive maturity and depth, this work perhaps expresses for the first time the dramatic dimension that is evident in the Salzburg composer’s later operas. This opera gave Mozart the greatest theatrical success he would experience during his lifetime. At the time when his disputes with Archbishop Colloredo were at their height, Mozart moved in with the Weber family, who had moved to Vienna from Mannheim. Father Fridolin had died, and the rest of the family now took in boarders as a means of subsistence. After his romantic failure with Aloisa Weber, who was now married to the actor Joseph Lange, he found solace in his younger sister, Constance, but he knew that his father, Leopold, disliked that family, since he rightly believed that they, especially his mother, wanted to take advantage of her son’s success. However, there is sufficient evidence that Constance truly loved Mozart and never shared her mother’s schemes . Since her father’s consent was essential to Mozart, he wanted to travel to Salzburg. to formally present the bride to him, but several events postponed the dreaded trip to confront his father. Finally, on August 4, 1782, without his father’s consent, Wolfgang Amadeus and Constance were married in Vienna. To celebrate their union and to appease his father, Mozart composed the unfinished Great Mass in Domenor, KV 427. He planned to premiere it in Salzburg with Constance as the first soprano soloist. He was only able to do so in August 1783, but he failed to achieve his goal. He wanted to show his family that he had made a wise choice, but Leopold and Nan would never fully accept Constance. In the marriage contract, Constance allocates 500 florins to her fiancé, which she promised to later increase by 1,000 florins to survive on the total. Furthermore, all joint acquisitions during the marriage were to become the common property of both. The marriage had six children: Raymond Leopold, June 17, 1783 and August 19 of the same year. Carl Thomas Mozart September 21, 1784 and October 31, 1858. Johan Thomas Leopold October 18, 1786 and 15 RT Adelhe Frederick Maria Anna December 27, 178 December 1780 December 1788 Anna Maria 289 died during the years 1782 and 1783. She became deeply familiar with the work of G Friedrich Handel and Johann Sebastian Bach through Godfreed Van Suiten, a collector and music lover who had a library with a large number of works by Baroque composers. Among the works she studied were Hendel’s oratorios and Bach’s Well-Tempered Clavier. Mozart assimilated the compositional modes of both, fusing them with his own, giving most of the works of this period a contrapuntal touch, noticeable in his transcriptions of some fugues from The Well-Tempered Clavier, KV 405, and the piano fugues KV 394, KV 401, and KV 426. The latter was later transcribed for strings under the catalog number KV 546. But the influence of Hendel and Bach can especially be seen in the fugal passages of The Magic Flute and the finale of the Jupiter Symphony. The study of these composers was so important to Mozart that he even composed arrangements for works such as The Messiah (KV 572) and Alexander the Great (KV 591), both oratorios by Hendel. In 1783, Mozart and Constance visited Hendel’s family in Salzburg. Leopold and Anel were at most merely courteous to Constance, but the visit at least prompted the composition of one of Mozart’s great liturgical works, the aforementioned Mass in D Minor, KV 427. Although not completed, it premiered in Salzburg with Constance singing the solo parts. Mozart met Joseph Heiden in Vienna. When Heiden visited the city, they sometimes performed together in an improvised string quartet . Mozart’s six quartets dedicated to Heiden KV 387, KV 421, KV 428, KV 458, KV 464 and KV 465 date from the period 1782 to 1785 and represent a carefully considered response to the Russian Opus 33 string quartets that Heiden had composed in 1781. Upon hearing them, Heiden stood as a sign of respect for Mozart and, as his sister later recalled, said to Leopold of Wolfgang, “I tell you before God and as an honest man that your son is the greatest composer known to me in person and by reputation, he has taste and also the greatest ability for composition.” From 1782 to 1785, Mozart organized concerts in which he gave solo performances, introducing three or four new piano concertos at each season. Since theater space was scarce, he reserved unconventional venues for his concerts, such as a large room in the Tratnerhof, an apartment building, and the ballroom of the Melgrube, a restaurant, among others. The concerts were very popular, and some of the ones he premiered are still staples in his repertoire. Solo Mon writes that during this period Mozart created a harmonious connection between an impatient composer-performer and an enchanted audience that provided an opportunity to witness the transformation and perfection of a major musical genre. With the substantial earnings from his concerts and other performances, the Mozart couple adopted a rather luxurious lifestyle. They moved to a expensive apartment with an annual rent of 460 florins. Mozart also purchased an excellent piano from Anton Walter for approximately 900 florins, a billiard table for about 300. He sent his son Carl Thomas to an expensive boarding school and hired servants. Thus, with this way of life, saving was impossible, and the short period of financial success did nothing to offset the difficulties Mozart would later experience. On December 14, 1784, Mozart became a Freemason and was admitted to the Survoltaicite lodge. Freemasonry played an important role in the rest of the composer’s life, as he attended many meetings, many of his friends were Freemasons, and on several occasions he composed Masonic music. Mozart yearned for social reforms in the sense of progress, but not to the point of supporting the social demands that Pierro Augustine de Bomarch advocated in the original piece of The Marriage of Figaro. Mozart’s spirit of the Masonic ideal was completely opposite to that of the Jacobins. He did not consider the status of servant or footman dishonorable. Despite the great success of The Abduction from the Serray in 1782, Mozart composed little operatic literature in the following four years, producing only two unfinished works, Madwoman of Cairo (KV 422) and The Husband of the Use (KV 430), and the one-act comedy of the Conductor (Schauspel, KV 486). He focused primarily on his career as a solo pianist and as a composer of concertos. However, around 1785, Mozart abandoned the composition of keyboard works and began his famous operatic collaboration with the librettist Lorenzo Daponte. In 1786, the successful premiere of The Marriage of Figaro (KV 492) took place in Vienna, based on the play of the same name by Pier Agustín de Bomaché, which was not without controversy due to its political content. However, Mozart and Donte managed to exclude from this work anything that might unnerve the Belgian authorities and it managed to slip past the censors. The emperor’s concern was that the work suggested class struggle, which in France had already caused some unrest among his sister, Marie Antoinette. In the section of Figaro Sebuelva Vallare, some of this content, which he sought to downplay, is evident: Figaro, with a subtle but intense irony, intones a cabatina addressed to his patron, Count Alma Viva. His reception in Prague later that same year was even warmer, and this led to a second collaboration with Da Ponte. The opera Don Giovanni (KV 527), which premiered in Prague in October 1787, was a resounding success, as was its Vienna premiere in 1788. This work, which narrates the adventures of Don Juan, had been a recurring theme in literature and theater. Therefore, Da Ponte does not base his work on a particular text, but rather draws information from multiple sources. The opera was classified by Mozart as a drama giosa and its original title was Il disoluto Punito, Il Giovanni. The dramatic content of this work is present from the beginning, with the death of the Commendatore, to the end, and it contains some of the most beautiful passages in Mozart’s work. Both operas are among Mozart’s most important works and are staples of the current operatic repertoire, although at their premieres their musical complexity caused difficulties for both listeners and performers. The composer’s father, Leopold, was unable to witness these events, having died on May 28, 1787. This plunged his son into great distress, as his father had been his closest advisor and friend, a fact documented in the extensive correspondence between them. In December 1787, Mozart finally obtained a stable position under aristocratic patronage. Emperor Joseph II appointed him as his chamber composer Camer Musicus, a post that had become vacant the previous month following the death of Christoph Willybald Gluk. This was a part-time appointment, receiving only 800 florins per year and requiring only Mozart to compose works for the annual balls at the Imperial Palace. Mozart complained to Constance that the pay was too much for what I do, too little for what I could do. However, despite Although this income was modest, it was important to Mozart when hard times came. Court records show that the Emperor’s goal was to prevent his esteemed composer from leaving Vienna in search of better prospects. In 1787, the young Ludig van Beethoven spent two weeks in Vienna hoping to study with Mozart. The existing documents about this meeting are contradictory, and at least three hypotheses are in force: that Mozart heard Beethoven’s performance and praised him; that Mozart rejected Beethoven as a student, and that they never met; and that financial difficulties. Towards the end of the 1780s, Mozart’s financial situation worsened. Around 1786, he stopped appearing frequently in public concerts, so his income dwindled. This was a time of great hardship for all musicians in Vienna because of the war between Austria and Turkey and the decline in the prosperity and economic status of the aristocracy that financed them . The city of Vienna would gradually lose musical interest in Mozart due to the arrival of other pianists with a much more seasoned technique, such as Muso Clementi, whose scales in thirds and more resonant chords were ideal for English-made pianos, with a more robust sound, as opposed to the delicate, well-known ones, suited to the scales and subtleties of Mozart’s pianism. His academies or subscription concerts, which had been one of his best sources of income throughout his stay in Vienna, as well as inspiration and motivation for composing his piano and orchestra concerts, began to lose audiences starting with KV 413, and were no longer profitable. In mid -1788, Mozart and his family moved from central Vienna to cheaper accommodations in the outlying neighborhood of Altergrund. Mozart began borrowing money increasingly frequently from Johan Michael Pushberg, a friend and fellow Mason, documented by a lamentable sequence of letters pleading for loans. Meard Solomon and others have suggested that Mozart was suffering from depression and that his financial recovery seemed to be slowing. Major works from this period include the last three symphonies No. 39 in E-flat major, KV 543, No. 40 in G minor, KV 550 and Eno Subijue, KV 551 Jupiter, all of 1788, and the last of the three operas written in collaboration with Daponte, Cosifan Tut, KV 58, premiered in 1790. Around this time, Mozart undertook a series of extended journeys in the hope of increasing his income, to Leipzig, Düsseldorf, and Berlin in the spring of 1789, and to Frankfurt, Mannheim, and other German cities in 1790. These trips produced only isolated successes and did not alleviate the family’s financial difficulties. In 1789, he received an offer from the English impresario Johan Peter Salomon, who proposed that he and Heiden go on a concert tour of England. It was agreed that Heiden would be the first to go during the 1791-1792 season, and Mozart would follow Heiden’s return, which he was unable to do due to his death. Last year of his life. Mozart’s last year of life, 1791, was, until his final illness, a time of great productivity and, in a sense, a time of personal recovery. He composed numerous works, including some of his most admired works. The opera The Magic Flute (KV 620), the last concerto for piano and orchestra No. 27 in CbE Mol major, KV 595, the clarinet concerto in A major, KV 622, the last of his great series of string quintets, KV 614 in E-flat major, the motet To Drink a Corpus, KV 618, and Mozart’s financial situation, a source of extreme anxiety, finally began to improve in 1790. Although the evidence is not conclusive, wealthy patrons appeared in Hungary and Amsterdam, promising Mozart annuities in return for occasional compositions. He probably also profited from the sale of dance music he composed in his role as imperial chamber composer. Mozart no longer borrowed money from Pushberg and began to make good on his debts. He experienced great satisfaction from the public success of some of his works, notably the Magic Flute, performed numerous times in the short period between its premiere and the composer’s death, and the small Masonic cantata KV 623, premiered on November 15, 1791. In March 1791, Mozart gave one of his last public concerts. He played the piano concerto KV 595. His last child, Franz Cover, was born on July 26. Final illness and death. Mozart’s Lete. Mozart’s Last Days by Herman von Kalbach. 1873. The composer’s health began to decline, and his concentration was diminishing. Mozart fell ill during his stay in Prague on September 6, during the premiere of his opera La clemenza di Tito Cubie 621, composed that year as a commission for the celebrations of the coronation of Leopold I as emperor. The work was coolly received by the public. Upon returning to Vienna, Mozart began working on the Rekiem and, together with the theater entrepreneur and singer Emanuel Chicaneder, prepared rehearsals for The Magic Flute. The performance premiered to enormous acclaim on September 30, with Mozart himself conducting. At that time, Mozart wrote the clarinet concerto in A major, KV 62, composed for the clarinetist Anton Statler. In October, his health worsened. He was walking with his wife through the Prater when he suddenly sat down on a bench and, very agitated, told Constance that someone had poisoned him. On November 20, his illness worsened, and he became bedridden, suffering from swelling, pain, and vomiting. Mozart was cared for by his wife, Constance, and his younger sister, Sofie, during his final illness and was attended by Dr. Thomas Franz Closet. It is a proven fact that he was mentally preoccupied with the completion of his Rekiem. However, there is very little evidence that he actually dictated passages to his pupil, Franz Saber Susmair. On December 4, 1791, at approximately 11 p.m., Dr. Closet arrived from the opera house and ordered cold compresses of water and vinegar to be placed on his forehead to lower his fever, although Sofi was reluctant to do so, believing that such a sudden change in temperature would not be good for the patient. This had such an effect on him that he lost consciousness and never recovered. According to Sofi, Mozart’s last breaths were as if he had tried with his mouth to imitate the timpani of his Requiem. At 12:55 a.m., Mozart died in Vienna at the age of 35 years, 10 months, and 8 days. His funeral took place at St. Stephen’s Cathedral, where he had previously married Constance on December 6. It was love slashed according to the Masonic funeral ritual, a black cloak with a hood. Mozart’s burial was very humble, considered third-class, costing eight florins and 56 crores plus a supplement of three florins to pay for the hearse, the usual price for members of the middle bourgeoisie. He was buried at dusk, his coffin being taken by horse-drawn carriage to St. Marx Cemetery in Vienna, where he was laid to rest in a simple communal grave, similar to a common grave. The weather that night was mild and calm, with frequent fog, not stormy or blizzard-like, as has been mistakenly thought. Biographer Ottojan stated in 1856 that the burial was attended by Antonio Salieri, Susmire, Godfri Van Sen, and two other musicians. The small turnout at Mozart’s funeral did not reflect his stature as a composer, as funerals and concerts in Vienna and Prague were well attended. Certainly, in the period immediately following his death, Mozart’s reputation increased considerably. Solomon describes this as an unprecedented wave of enthusiasm for his works. Several writers wrote biographies of the composer, including Friedrich Schlel, Franz Kever Nimcheek, and Georg Nicolaus von Nisen, among others. Publishers competed to publish complete editions of his works. Mozart’s unexpected and mysterious death has aroused great interest from the beginning. The official death certificate stated that the Austrian composer had died of hitsiges freezel fever, referring to a skin rash resembling millet seeds—a description that falls far short of the mark. to identify the cause in modern medicine and which is too broad and inaccurate, as an autopsy was not performed due to the advanced state of decomposition of the body. A multitude of theories have been proposed for the composer’s death, including trichinosis, influenza, mercury poisoning, and a rare kidney ailment. The practice of bloodletting patients was common at the time and is also cited as a possible contributing factor . However, the most widely accepted version is that he died from acute rheumatic fever. He is known to have had three or even four attacks since childhood, and this disease recurs with increasingly more serious consequences with each attack, such as uncontrolled infection or damage to the heart valves. Mozart’s physical appearance was described by tenor Michael Kelly in his Reminiscences as a remarkable little man, very thin and pale, with a prominent head of light hair, of which he was very vain. As Franz Cybernimeck, one of his early biographers, wrote, there was nothing special about his physique. He was small, and his appearance, except for his large, intense eyes, showed no signs of his genius. His facial complexion was pockmarked, a result of the smallpox he suffered in childhood. He liked elegant clothes. Kelly remembered him at a rehearsal as follows. He stood on stage in his crimson pelisse and bicorne with gold lace, setting the tempo for the music for the orchestra. For her part, Constance later wrote that he was a rather gentle tenor in speech and delicate in singing, but when something excited him or effort was required, he was as powerful as it was energetic. Mozart usually worked for a long time and energetically, completing compositions at a rapid pace due to tight deadlines. He often made sketches and rough drafts, although unlike Ludwig van Beethoven, these have not survived, as Constance destroyed them after his death. Mozart lived at the center of the Biènes musical world and knew a wide variety of people: fellow musicians, theater performers, friends who, like him, had moved from Salzburg, and many aristocrats, including an acquaintance of Emperor Joseph II. Solomon considers his three closest friends to have been Godfrey Janekin, Count August Hatfeld, and Sigmund Barisani. Many others included his old colleague Joseph Heiden, the singers Franz Gaber Girl and Benedict Shack, and the horn player Joseph Lodkep. Lodkep and Mozart maintained a curious kind of friendly banter, with Lodkep often being the butt of Mozart’s practical jokes. He enjoyed billiards and dancing and kept several pets: a canary, a starling, a dog, and also a horse for recreational riding. In particular, in his youth, Mozart had an uncanny penchant for scatological humor , not so unusual for his time, which can be seen in many of his surviving letters, especially those written to his cousin Maria Anna Thecla Mozart around 177 and 1778, but also in his correspondence with his sister Nanerl and his parents. Mozart even wrote scatological music such as the canon Lake Mitch in Arsh Kbido. 231, literally “lick my ass,” sometimes idiomatically translated as “watch my ass” or “get stuck.” Work Musical style and appraisal. Symphony No. 40 First movement. Duration 8 minutes and 14 seconds. 8:14 a.m. Molto allegro. Second movement. Duration 10 minutes and 15 seconds. 10:15 a.m. Andante. Third movement. Duration 4 minutes and 32 seconds. 4:32 a.m. Menuet. Alleegretto. Trio. Fourth movement. Duration 7 minutes and 12 seconds. 7:12 a.m. Allegro asay. Problems playing these files. Mozart is considered today one of the greatest musical geniuses in history. He was excellent. A fortepianist, organist, violinist, and conductor, he was known for his improvisations, which he often performed in his concerts and recitals. Mozart’s music , like that of Joseph Heiden, is presented as an archetypal example of the Classical style. The period in which he began to compose was the dominant style in music. European was the galant style, a reaction against the highly developed complexity of Baroque music. But increasingly, and largely in the hands of Mozart himself, the complexities of late Baroque counterpoint emerged once again, tempered and disciplined by new forms and adapted to a new aesthetic and social environment. Mozart was a versatile composer and composed works for each of the major musical genres of the time, including the symphony, opera, solo concerto, and chamber music. Within the latter genre, he composed for a variety of instrumental groupings, including the string quartet and quintet, and the piano sonata. These forms were not new, but Mozart made advances in the technical sophistication and emotional range of all of them. Almost single-handedly, he developed and popularized the classical piano concerto. He composed numerous works of religious music, including a large number of masses, but also many dances, divertimenti, serenades, and other light musical entertainments. He also composed for every type of instrument. The central features of the Classical style are all present in Mozart’s music. Clarity, balance, and transparency are hallmarks of his work, but any simplistic notion of his delicacy masks the exceptional power of his finest masterpieces, such as the Piano Concerto No. 24 in D minor (KV 491), the Symphony No. 1 in KV 550, and the opera buffa Don Giovanni. Charles Rosen emphasizes this point. It is only by recognizing the violence and sensuality at the heart of Mozart’s work that we can move toward an understanding of its structures and gain a sense of its magnificence. Paradoxically, the superficial characterization of Schumann’s Symphony in G Minor can help us see Mozart’s Demon more regularly. In all of Mozart’s supreme expressions of suffering and terror, there is something terrifyingly voluptuous. Particularly during his last decade, Mozart exploited chromatic harmony to an unprecedented extent, with remarkable assurance and great artistic effect. Mozart always had a gift for absorbing and adapting the most valuable features of other composers’ music. His travels certainly helped him forge a unique compositional language. In London, as a child, he encountered Johann Christian Bach and heard his music. In Paris, Mannheim, and Vienna, he encountered many other compositional influences, as well as the avant-garde capabilities of the Mannheim orchestra. In Italy, he was introduced to the Italian overture and opera buffa, both of which profoundly influenced the evolution of his own practice. In both London and Italy, the galant style was ascendant: simple, brilliant music with a predilection for cadence, an emphasis on the dominant and subdominant tonic, and the exclusion of other types of chords, symmetrical phrases, and clearly articulated divisions in the overall form of the movements. Some of Mozart’s early symphonies are Italian openings with three movements that flow into one another. Many are homotonal, each movement in the same key signature, with the slowest movement in the relative minor key. Other works imitate those of BAG, and still others display the simple rounded binary forms commonly written by composers from the 17th century. As Mozart matured, he incorporated more features adapted from the Baroque into his compositions. For example, the Norr symphony (KV 201) has a contrapuntal main theme in its first movement and experiments with irregular phrase lengths. Some of his quartets, from 1773 onward, have fugal endings, probably influenced by Heiden, who had included three finales in that form in his Opus 20, published around that time. The influence of the Stormund Drestad movement and its impetus on music, with its foreshadowing of the arrival of the Romantic era, is evident in the music of both composers during this period. And Mozart’s Symphony No. 25 in G Minor, KV 183, is another good example . Mozart would sometimes shift his focus between opera and instrumental music. He composed operas in each of the predominant styles. Opera buffa, such as The Marriage of Figaro, Don Giovanni, and Kosciuszko Fantut, opera seria such as Idomeneo and The Clemencia di Tito, and Spills such as The Rape from the Serray and The Magic Flute. In his later operas, he employed subtle changes in instrumentation, orchestral texture, and timbre to provide greater emotional depth and emphasize dramatic movements. Some of his advances in operatic and instrumental composition include his increasingly sophisticated use of the orchestra in symphonies and concertos, which influenced his operatic orchestration, and the development of his subtle use of the orchestra for psychological effect in his operas, a change reflected in his later non-operatic compositions. Catalog of Mozart’s operas, Mozart’s symphonies, spurious or dubious symphonies by Wolfgang Amadeus Mozart, and Mozart’s masses. Appendix: Mozart piano concertos, Mozart horn concertos, Mozart string quartets and concert areas. Songs and canons by Wolfgang Amadeus Mozart. Appendix: Spurious or dubious symphonies by Wolfgang Amadeus Mozart. Mozart’s work was catalogued by Ludwiig von Cochel in 1862 in a catalogue comprising 626 opuses coded with a number from 1 to 62 preceded by the suffix KV. Mozart’s symphonic and instrumental output consists of 41 symphonies, the most notable of which are Symphony No. 25 in G minor, KV 1831-1773; Symphony No. 1 in R major, KV 297, Paris 1778; and Symphony No. 35 in R major, KV 385. Hafner 1782. No. 36 in C major KV 551 Jupiter composed in 1788. Several concertos, 27 for piano, five for violin and several for other instruments, 18 piano sonatas, 36 for piano and violin and for other instruments which constitute key pieces of Mozart’s music, chamber music, duets, trios, quartets and quintets. Adagios, 61 divertimenti. Mozart began writing his first symphony in 1764 when he was 8 years old. This work is influenced by Italian music, as were all the symphonies he composed until the mid-1770s, when he reached full stylistic maturity. Mozart’s symphonic cycle concludes with a trilogy of masterpieces consisting of the symphonies ENA 39 in E flat major, NT40 in G minor and NT41 in C major, composed in 178. With regard to his operatic output, 22 operas, after some minor works, his major titles came from 1781 onwards: Domeneo, King of Crete (1781), The Rape from the Serpentine (1782), the first great German comic opera, The Marriage of Figaro (1786), Don Giovanni (1787) and Cosi Fantut (1790), the last three written in Italian with librettos by Lorenzo Aponte. The bulk of his religious music was written in his Saxburg period, from which there are a large number of masses, such as the Coronation Mass (KV317), 17 Dachiesa sonatas and other pieces for various services in the Catholic Church. During this period , his sacred output diminished considerably. However, the few religious works from this period are clear examples of the maturity of the Mzartian style. He composed the Mass in Domenor (KV 427), which remained unfinished, as well as the Requem, the Motet to Drink a Corpus (KV 618), and the Requem in R minor (KV 626). He also wrote beautiful songs such as Avendenfindum and Laura (KV 523), among others. He composed numerous high-quality concert sections, many of which were commissioned in operas by other composers. Among his concert sections, the following stand out for their quality and charm: Popoli and Tesaglia, Yonchiedo, Etern (KV 316), V.I.S. Piegarby odio (KV 418), both for soprano, and Perpieta (KV 420) for tenor. In early 2012, the 84-bar, 3-minute work Allegro molto was discovered in an attic in Tyrol. It is estimated that the work was composed in 1767. Although some of Mozart’s earliest pieces were written for harpsichord, in his early years he also became familiar with pianos made by the Regensburg piano maker Franz Jacobs Path. Later, when Mozart was visiting Augsburg, he was impressed by Stein pianos and shared this in a letter to his father. On October 22, 177, Mozart had premiered his Triple Piano Concerto K24 on instruments provided by Stein. The organist of Augsburg Cathedral, Demler, was playing the first part, Mozart the second, and Stein the third. In 1783, when he was living in Vienna, he purchased an instrument from Walter. Leopold Mozart confirmed the bond Mozart had with his Walter Forte piano. It is impossible to describe the hustle and bustle. His brother’s piano was moved at least 12 times from his house to the theater or someone else’s house. Influence and Legacy. Mozart’s best-known disciple was probably Johan Nepomuk Humel, whom Mozart took under his wing at his Vienna home for two years when he was a child. He was a transitional figure between Classicism and Romanticism. More important is the influence Mozart exerted on composers of later generations. Since his reputation grew after his death, the study of his scores has been a common part of the education of classical musicians. Ludwig van Beethoven, 14 years younger than Mozart, valued and was deeply influenced by the works of Mozart, whom he met as a teenager. Beethoven is thought to have played Mozart’s operas in the court orchestra of Bonn and traveled to Vienna in 1787 to study with Mozart. Some of Beethoven’s works are directly comparable to Mozart’s, and he composed Gubli cadenzas (58) from Mozart’s Piano Concerto in D minor, KV 46. Several composers have paid tribute to Mozart by composing sets of variations on his themes. Beethoven wrote four sets: OP 66, O28, O040, and O04. Other examples include Frederic Chopin’s Variations for Piano and Orchestra, Op. 2 on the and Darem, Hand from Don Giovanni, 1827, and Max Reg’s Variations and Fugue on a Theme by Mozart, 1914, based on Mozart’s Piano Sonata No. 11, kv. 331. Tchaikovsky composed his orchestral Sonata in G, Mozartiana, 1887 , as a tribute to the Salzburg composer. There is a balls by the composer Joseph Lenner on themes from Mozart’s operas called The Martisten, Op. 16. Because Wolfgang Amadeus Mozart lived a dramatic life in many ways, including his extraordinary career as a child prodigy, his struggles to achieve personal independence and develop his career, his financial problems, and his somewhat mysterious death while trying to complete his Requiem, numerous artists have found Mozart to be a source of inspiration for their works. These works have included novels, operas, films (most notably Madeus de Milos), and plays. His image has also been used on coins and postage stamps, often to commemorate the anniversaries of his birth or death. Asteroid 1034 Mozartía, discovered on September 7, 1924, by Vladimir Alexandrovic Alvitsky, and the Mozart Ice Foothill on Alexander I Island in Antarctica, are named in his honor. Furthermore, the nearby Figaro Nunatak takes its name from the character Figaro in his opera The Marriage of Figaro.