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A Night at the Symphony. The Story of Mozart in Words and Music. Symphony in D; Mozart: He complained, however, that he had not made enough money from the opera, and he began to devote more time and energy in other directions. Among the influences on this music, besides the Austrian ecclesiastical tradition, was that of the Baroque music Bach, Handel, and others that Mozart had become acquainted with, probably for the first time, at the house of his patron Baron Gottfried van Swieten, a music collector and antiquarian.
Mozart and his wife visited Salzburg in the summer and autumn of , when the completed movements were performed, with as always intended Constanze singing the solo soprano parts, at St. Back in Vienna Mozart entered on what was to be the most fruitful and successful period of his life. In February he began to keep a catalog of his own music, which suggests a new awareness of posterity and his place in it in fact his entries are sometimes misdated.
At concerts he would normally play the piano, both existing pieces and improvisations ; his fantasias—such as the fine C Minor one K of —and his numerous sets of variations probably give some indication of the kind of music his audiences heard. He would also conduct performances of his symphonies using earlier Salzburg works as well as the two written since he had settled in Vienna, the Haffner of , composed for the Salzburg family, and the Linz [ Symphony No.
With the group he established a new level of piano concerto writing; these concertos are at once symphonic, melodically rich, and orchestrally ingenious, and they also blend the virtuoso element effectively into the musical and formal texture of the work. Much melodic material is assigned to the wind instruments, and a unique melodic style is developed that lends itself to patterns of dialogue and instrumental interplay. After the relatively homogeneous group K , , , , , and , all of which begin with themes stated first by the orchestra and later taken up by the piano, Mozart moved on in the concertos of K , , and to make the piano solo a reinterpretation of the opening theme.
These concertos are increasingly individual in character—one a stormy and romantic D Minor work, the next a closely argued concerto in C Major with a slow movement remarkable for its troubled beauty, and the third, in E-flat Major, notable for its military rhythms and wind colouring. The group begins with the refined but conservatively lyrical K , but then follow two concertos with a new level of symphonic unity and grandeur, that in C Minor K , using the largest orchestra Mozart had yet called for in the concert hall, and the imperious concerto in C Major K The two final concertos K and represent no new departures.
The outpouring of included the fine piano sonata K and the piano and violin sonata K written for a visiting violin virtuoso, it was produced in such haste that Mozart could not write out the piano part and played from blank paper at the premiere. He also wrote, in a style close to that of the concertos, a quintet for piano and wind instruments K , which he considered his finest work to date; it was first heard at a concert in the house of his pupil Barbara Ployer, for whom two of the concertos had been written K and In spite of his success as a pianist and composer, Mozart had serious financial worries, and they worsened as the famously fickle Viennese found other idols.
His sense of being as good a man as any privileged nobleman led him and his wife into tastes that for his actual station in life, and his income, were extravagant. He saw a court appointment as a possible source of salvation but knew that the Italian musical influence at court, under the Kapellmeister Antonio Salieri , was powerful and exclusive—even if he and Salieri were never on less than friendly terms personally.
Success in the court opera house was all-important. Joseph II had now reverted to Italian opera, and since Mozart had been seeking suitable librettos he had even started work on two but broke off when he came to realize their feebleness for his purpose. Nonetheless, the music of Figaro makes the social distinctions clear.
Figaro , as well as the later opera Don Giovanni , treats the traditional figure of the licentious nobleman, but the earlier work does so on a more directly comic plane even though the undercurrents of social tension run stronger. Perhaps the central achievement of Figaro lies in its ensembles with their close link between music and dramatic meaning. The Act 3 Letter Duet, for instance, has a realistic representation of dictation with the reading back as a condensed recapitulation.
These features, coupled with the elaborate commentary on character and action that is embodied in the orchestral writing, add depth to the situations and seriousness to their resolution and set the work apart from the generality of Italian opere buffe. Figaro reached the stage on May 1, , and was warmly received. After accepting a further operatic commission for Prague, he returned to Vienna in February No Viennese appearances at all are recorded for In April he heard that his father was gravely ill.
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Leopold died in May Clearly this genre, with the opportunities it offered for richness of sonority and patterns of symmetry , had a particular appeal for him. The quintet in C Major K is the most expansive and most richly developed of all his chamber works, while the G Minor K has always been recognized for its depth of feeling, which in the circumstances it is tempting to regard as elegiac. From this period come a number of short but appealing lieder and three instrumental works of note: Da Ponte rewrote the libretto, inserting new episodes into the one-act original, which explains certain structural features.
As in Figaro , the two act finales are again remarkable: On his return from Prague in mid-November , Mozart was at last appointed to a court post, as Kammermusicus , in place of Gluck, who had died. It was largely a sinecure, the only requirement being that he should supply dance music for court balls, which he did, in abundance and with some distinction, over his remaining years.
Their debts, however, were never large, and they were always able to continue employing servants and owning a carriage; their anxieties were more a matter of whether they could live as they wished than whether they would starve. In a series of letters begging loans from a fellow Freemason, Michael Puchberg, began; Puchberg usually obliged, and Mozart seems generally to have repaid him promptly.
During the time of this depression Mozart was working on a series of three symphonies, in E-flat Major K , G Minor K , and C Major the Jupiter , K , usually numbered 39, 40, and 41; these, with the work written for Prague K , represent the summa of his orchestral output. It is not known why they were composed; possibly Mozart had a summer concert season in mind.
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The Prague work was a climax to his long series of brilliant D Major orchestral pieces, but the closely worked, even motivic form gives it a new power and unity, adding particular force to its frequently dark tone. The E-flat Major work, scored with clarinets and more lyrical in temper, makes fewer departures, except in the intensity of its slow movement, where Mozart used a new palette of darker orchestral colours, and the epigrammatic wit of its finale. In the G Minor work the tone of passion and perhaps of pathos , in its constant falling figures, is still more pronounced.
The Jupiter the name dates from the early 19th century summarized the series of C Major symphonies, with their atmosphere of military pomp and ceremony, but it went far beyond them in its assimilation of opera buffa style, profundity of expression in its andante , and richness of working—especially in the finale, which incorporates fugal procedures and ends with a grand apotheosis in five-voice fugal counterpoint.
Early in Mozart accepted an invitation to travel to Berlin with Prince Karl Lichnowsky; they paused in Prague, Dresden where he played at court , and Leipzig where he improvised on the Thomaskirche organ. He appeared at the Prussian court and probably was invited to compose piano sonatas for the princess and string quartets with a prominent cello part for King Friedrich Wilhelm II.
He did in fact write three quartets, in parts of which he allowed the individual instruments including the royal cello special prominence, and there is one sonata his last, K that may have been intended for the Prussian princess. But it is unlikely that Mozart ever sent this music or was paid for it. The summer saw the composition of the clarinet quintet , in which a true chamber style is warmly and gracefully reconciled with the solo writing. This opera, the subtlest, most consistent, and most symmetrical of the three, was long reviled from Beethoven onward on account of its subject, female fickleness; but a more careful reading of it, especially in light of the emotional texture of the music, which gains complexity as the plot progresses, makes it clear that it is no frivolous piece but a penetrating essay on human feelings and their mature recognition.
The music of Act 1 is essentially conventional in expression, and conventional feeling is tellingly parodied in certain of the arias; but the arias of Act 2 are on a deeper and more personal level. The year was difficult and unproductive: In the autumn, anxious to be noticed in court circles, he went to Frankfurt for the imperial coronation of Leopold II, but as an individual rather than a court musician. His concert, which included two piano concertos and possibly one of the new symphonies, was ill timed, poorly attended, and a financial failure.
Anxieties about money were a recurrent theme in his letters home. But promised to be a better year. Music was flowing again: In April he applied successfully for the role of unpaid assistant to the elderly Kapellmeister of St. Then he received another commission, anonymously delivered, for a requiem , to be composed under conditions of secrecy. Constanze was away taking a cure at Baden during much of the summer and autumn; in July she gave birth to their sixth child, one of the two to survive Carl Thomas, —, and Franz Xaver Wolfgang, —, a composer and pianist.
Schikaneder took its plot from a collection of fairy tales by Christoph Martin Wieland but drew too on other literary sources and on current thinking about Freemasonry—all viewed in the context of Viennese popular theatre. Musically it is distinguished from contemporary singspiels not merely by the quality of its music but also by the serious ideas that lie below what may seem to be merely childish pantomime or low comedy , welding together the stylistically diverse elements.
Mozart had been ill during the weeks in Prague, but to judge by his letters to Constanze in October he was in good spirits and, with some cause, more optimistic about the future. He wrote a Masonic cantata for his lodge and directed a performance of it on November He was also working steadily on the commissioned requiem. Later in November he was ill and confined to bed; some apparent improvement on December 3 was not sustained, and on December 5 he died. There is no evidence to support the tale that he was poisoned by Salieri a colleague and friend, hardly a real rival or anyone else.
He was buried in a multiple grave, standard at the time in Vienna for a person of his social and financial situation; a small group of friends attended the funeral. Constanze Mozart was anxious to have the requiem completed, as a fee was due; it had been commissioned, in memory of his wife, by Count von Walsegg-Stuppach to pass off as his own. The sombre grandeur of the work, with its restrained instrumental colouring and its noble choral writing, hints at what might have been had Mozart lived to take on the Kapellmeistership of St.
Although up to the middle of the century Mozart was still widely regarded as having been surpassed in most respects by Beethoven, with the increased historical perspective of the later 20th century he came to be seen as an artist of a formidable , indeed perhaps unequaled, expressive range. The traditional image of the child prodigy turned refined drawing-room composer, who could miraculously conceive an entire work in his head before setting pen to paper always a distortion of the truth , gave way to the image of the serious and painstaking creative artist with acute human insight, whose complex psychology demanded exploration by writers, historians, and scholars.
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