Musical instruments, Composers

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Above is just a small part of our gift-packed souvenir stamp-collection; inquire by email if the picture or subject of your interest is not here: we will be obliged to accomodate your wishes.
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ヴォルフガング・アマデウス・モーツァルト（Wolfgang Amadeus Mozart, 1756年1月27日 - 1791年12月5日）は最も有名なクラシック音楽の作曲家の一人であり、また、ハイドン、ベートーヴェンと並ぶウィーン古典派三巨匠の一人。オーストリアのザルツブルクに生まれ、ウィーンで没した。
目次
[非表示]
1 家族と名前
1.1 家族
1.2 名前
2 生涯
2.1 年譜
3 作品
3.1 代表的な作品
4 作風
5 モーツァルトの顔と姿
6 モーツァルトの人物像
7 死と墓
7.1 死と死因
7.2 葬儀と墓
8 関連項目
9 モーツァルトを扱った作品
10 参考文献と脚注
10.1 参考文献
10.2 脚注
11 外部リンク
家族と名前

家族

ウォルフガング・アマデウス・モーツァルト（1789年の肖像画）
父親はザルツブルクの宮廷作曲家、ヴァイオリニストであったレオポルト・モーツァルト（Leopold Mozart, 1719年 アウクスブルク - 1787年ザルツブルク）、母親はアンナ・マリーア・ペルトル（Anna Maria Pertl, 1720年 ザンクト・ギルゲン - 1778年パリ）、姉はマリーア・アンナ（Maria Anna Mozart, 1751年 - 1829年）愛称ナンネル (Nannerl) である。なお、祖先の姓はモッツハルト（Motzhardt)。
モーツァルトは妻コンスタンツェ（Constanze, 1762年 - 1842年）との間に四男二女をもうけたが、そのうち成人したのはカール・トーマス（Karl Thomas, 1784年 - 1858年）とフランツ・クサーヴァー（Franz Xaver, 1791年 - 1844年）だけで、残りの4人は乳幼児のうちに死亡している。フランツ・クサーヴァーは職業音楽家となり、「モーツァルト2世」を名乗った。成人した2人の男子はどちらも子供を残さなかったため、モーツァルトの直系の子孫はいない。
名前
モーツァルトの洗礼名はJohannes Chrysostomus Wolfgangus Theophilus Mozartである。Theophilos（テオフィロス）はギリシア語で「神を愛する」または「神に愛された」の意で、Theophilusはラテン語形。当時はイタリアの音楽家がもてはやされており、モーツァルトはTheophilosをラテン語で意訳したAmadeus（アマデウス）を通称として使用していた。
石井宏は、モーツァルトはAmadeusではなくイタリア語ふうのAmadeo（アマデーオ）を主に使っていたとしている。[1]フランス語ふうのAmade´（アマデ）、ドイツ語ふうのGottlieb（ゴットリーブ） も用いたことがある。
生涯

ウォルフガング・アマデウス・モーツァルトを描いた肖像画の中でも特に有名なこの一枚は、モーツァルト死後の1819年にバーバラ・クラフトによって描かれたものである
1756年、ザルツブルクに生まれる。父レオポルトは息子が天才であることを見出し、幼少時からモーツァルトに音楽教育を与えた。モーツァルトは父とともに音楽家としてザルツブルクの大司教ヒエロニュムス・コロレドの宮廷に仕えた。一方で、モーツァルト親子は何度もウィーン、パリ、ロンドン、およびイタリア各地に大旅行を行った。これは、神童の演奏を披露したり、よりよい就職先を求めたりするためであったが、どこの宮廷でも就職活動に失敗する。
1781年、25歳のモーツァルトはザルツブルグと決別し、ウィーンに定住。フリーの音楽家として、演奏会、オペラの作曲、レッスン、楽譜の出版などで生計を立てた。ウィーンではピアニストとして人気を誇ったが、晩年までの数年間は収入が減り、借金を求める手紙が残されている。1787年以降は、ヨーゼフ2世から「宮廷作曲家」の称号を与えられ年俸を受けたが、死ぬまで公的な地位には就けなかった。1791年、ウィーンでレクイエムの作曲中に35歳の若さで没した。葬式に参列する者は一人もおらず、さみしくウィーン郊外の共同墓地に葬られた。
年譜
1756年 - (0歳) 1月27日、ザルツブルクに生まれる。
1759年 - (3歳) クラヴィーア（ピアノの前身）を弾き始める。
1761年 - (5歳) 最初の作曲を行う（『アンダンテ ハ長調 K.1a』）。
1762年 - (6歳)
1月 ミュンヘン旅行。
9月 ウィーン旅行（シェーンブルン宮殿にてマリア・テレジア御前演奏。7歳のマリア・アントーニア（後のマリー・アントワネット ）にプロポーズしたという。）。
1763年〜1766年 - (7〜10歳) パリ・ロンドン旅行。
1767年〜1769年 - (11〜13歳) 第2回ウィーン旅行。オペラ『ラ・フィンタ・センプリーチェ』上演。
1769年〜1771年 - (13〜15歳) 第1回イタリア旅行。父と共にミラノ、ボローニャを経てローマへ。システィーナ礼拝堂では、門外不出の秘曲とされていた、ドメニコ・アレグリ（Domenico Allegri, 1587年-1629年）の9声部の『ミゼレーレ』を聴き、暗譜で書き記したという逸話が残されている。
1771年 - (15歳) 第2回イタリア旅行。セレナード『アルバのアスカニオ』ミラノで上演。
1772年〜1773年 - (16〜17歳) 第3回イタリア旅行。ミラノでオペラ『ルチオ・シルラ』上演。
1773年 - (17歳) 第3回ウィーン旅行。
1774年〜1775年 - (18〜19歳) 第2回ウィーン旅行。オペラ『偽りの女庭師』上演。
1777年 - (21歳) ザルツブルクでの職を辞しミュンヘン、マンハイムへ就職旅行したが成果無し。マンハイムでは、マンハイム楽派の影響を受ける。
1778年 - (22歳) マンハイム→パリ旅行。アロイジア・ヴェーバーに恋愛。パリでの就職も不首尾に終わる。
7月3日、同行した母パリで死す。帰路ミュンヘンでアロイジアに失恋。
1779年 - (23歳) ザルツブルクに帰郷。ザルツブルク宮廷にオルガニストとして復帰。
1780年 - (24歳) オペラ『イドメネオ』の準備のためにミュンヘンに赴く。女帝マリア・テレジア崩御。
1781年 - (25歳) 3月、ザルツブルク大司教ヒエロニュムス・コロレドの命でミュンヘンからウィーンへ。6月、コロレドとの衝突、解雇。そのままウィーンに定住を決意。
1782年 - (26歳) オペラ『後宮からの誘拐』をウィーンで初演（7月）。
8月3日 父の反対を押し切りコンスタンツェ・ヴェーバー（Constanze Weber, 1762年-1842年）と結婚。彼女はかつて片思いの恋をしたアロイジアの妹で、『魔弾の射手』の作曲家カール・マリア・フォン・ヴェーバーの従姉である。
このころから自ら主催の演奏会用にピアノ協奏曲の作曲が相次ぐ。
1783年 - (27歳) ザルツブルクに帰郷。『大ミサ曲ハ短調 K.427(417a)』を上演。
6月長男誕生するもザルツブルク旅行中に死亡。
1784年 - (28歳) 第2子カール・トーマス・モーツァルト（1784年-1851年）誕生。
フリーメイソンに入会（12月）。以後その思想に影響を受けたとみられる。
1785年 - (29歳) 弦楽四重奏曲集をハイドンに献呈（「ハイドン・セット」）。
2月、父レオポルトがウィーン訪問。息子の演奏会が盛況なことを喜ぶ。レオポルトはハイドンから息子の才能について賛辞を受ける。
1786年 - (30歳) オペラ『フィガロの結婚 K.492』をブルク劇場で初演。
1787年 - (31歳) 「フィガロの結婚」がプラハで大ヒットしたため同地訪問。
4月 - ベートーヴェンがモーツァルトを訪れる（？記録無し）。
5月 - 父レオポルト死去。
10月 - 新作の作曲依頼を受け、オペラ『ドン・ジョヴァンニ K.527』を作曲、初演。
このころから借金依頼が頻繁に行われる。
1788年 - (32歳)　“3大交響曲”（交響曲第39番〜第41番）を作曲。
1789年 - (33歳) ベルリン旅行。
1790年 - (34歳) オペラ『コジ・ファン・トゥッテ K.588』初演（1月）。
2月、皇帝ヨーゼフ2世が逝去し、レオポルト2世即位。フランクフルトで行われた戴冠式に同行。同地で私費を投じてコンサートを開催し、ピアノ協奏曲26番ニ長調「戴冠式」同19番ヘ長調「第二戴冠式」などを演奏するも、観客は不入りだった。
1791年 - (35歳) 7月 第6子フランツ・クサーヴァー・モーツァルト（モーツァルト二世）（1791年-1844年）誕生。
最後のピアノ協奏曲第27番変ロ長調作曲（1月）。この曲を自ら初演した3月4日のイグナーツ・ヤーン邸でのコンサートが、演奏家としてのモーツァルト最後のステージとなる。
プラハで行われたレオポルト2世のボヘミア王戴冠式に同行、オペラ『皇帝ティトの慈悲』K.621初演。
9月、シカネーダー（1751年-1812年）の一座のためにジングシュピール『魔笛』K.620を作曲、初演。
健康を崩し、11月から悪化。12月5日にウィーンで35年の生涯を終えた（死と死因を参照）。遺体が埋葬された位置は不明である（葬儀と墓を参照）。
作品

詳細はモーツァルトの楽曲一覧およびモーツァルトの楽曲をご覧ください。
作品総数は、断片も含め700曲以上に及ぶ。作品はあらゆるジャンルにわたり、声楽曲（オペラ、教会用の宗教音楽、歌曲など）と器楽曲（交響曲、協奏曲、室内楽曲、ピアノソナタなど）のどちらにも多数の作品が残されている。
作品を識別するには、植物学者のルートヴィヒ・フォン・ケッヘルが分類した作曲順の目録であるケッヘル番号（K.＋数字）が使われる。ケッヘル番号は何度か改訂されており、最新のものは第8版である。モーツァルト自身は、1784年以降に自作の作品目録を付けている。1784年より前の作品や、モーツァルト自身の作品目録に載っていない作品には、作曲の時期がはっきりしないものもある。
代表的な作品
オペラ：後宮からの誘拐、フィガロの結婚、ドン・ジョヴァンニ、コジ・ファン・トゥッテ、魔笛
宗教音楽：大ミサ曲、レクイエム
交響曲：第25番、第38番『プラハ』、第39番、第40番、第41番『ジュピター』
セレナード：アイネ・クライネ・ナハトムジーク
ピアノ協奏曲：第20番、第21番、第23番、第24番、第26番、第27番
管楽器のための協奏曲：クラリネット協奏曲
弦楽四重奏曲：ハイドン・セット、弦楽五重奏曲：第3番、第4番
その他室内楽曲：クラリネット五重奏曲
ピアノソナタ：第9番、第11番『トルコ行進曲付き』
作風

古典派音楽の代表であり、ハイドン、ベートーヴェンと並んでウィーン古典派三大巨匠の一人である。最初は父経由でヨハン・ショーベルトなどの当時のヨーロッパで流行した作曲家たちの様式を、クラヴサン曲を中心に学んだ。その後ヨハン・クリスティアン・バッハの影響をピアノ・管弦楽曲の双方で受けた。後期に入るとハイドンとヨハン・ゼバスティアン・バッハの影響が強い。
モーツァルトの作品はほとんどが長調で、装飾音の多い軽快で優美な曲が多い。これは、当時の音楽の流行を反映したもので、ロココ様式あるいはギャラント様式と呼ばれる。晩年に向かうにつれて、長調の作品であっても深い哀しみを帯びた作品が増え、しばしば「天国的」と形容される。また、短調作品は非常に少ないながら悲壮かつ哀愁あふれる曲調で、交響曲第40番ト短調のように人気が高い。
モーツァルトの時代には、ポリフォニー音楽が流行遅れになり、ホモフォニー音楽が支配的になっていた。しかしモーツァルトはバッハやヘンデルの作品を研究し、交響曲第41番の終楽章のように対位法を活用する手腕もあった。
「下書きをしない天才」と言われることがある。モーツァルトが非凡な記憶力を持っていたのは多くの記録からも確かめられているが、自筆譜の中には完成・未完成曲含めて草稿及び修正の跡が多く発見されているというのが事実である。人気の高いピアノ協奏曲23番においては、数年前に書かれた草稿が発見されている。
モーツァルトの作品の多くは、生計を立てるために注文を受けて書かれた。実際、数枚の手紙で証明されている。モーツァルトの時代は作曲家がのちの時代のように「自己表現の方法として音楽を用い、聴衆にもそれが理解される」という状態には至っておらず、モーツァルトも芸術家というよりあくまで「音楽の職人」だった。また、ピアノ協奏曲は彼のウィーンにおける全盛期にたびたび開催された「予約演奏会」で自らの弾き振りによって披露されることが多く、受注作曲の作品より創作時の自由度は大きかったであろう。モーツァルトの作品に長調の曲が多いのは、それだけ当時はその注文が多かった（したがって人気があった）事の証でもある。
モーツァルトの顔と姿

肖像画や銅像では、いずれも"神童"に相応しい顔や表情をしていることが多いが、実際の顔に関しては諸説ある。有力なのは、「11歳の時に罹った天然痘の痕がいくつもあり、丸鼻で近眼」というものである。本当の顔立ちを知る手がかりとなるはずだったデスマスクは、葬儀の後の整理の際コンスタンツェがうっかり落として割ってしまった。体躯に関しても「小男である」「肥満が著しかった」という説もある。
モーツァルトの人物像

モーツァルトが書いたとされる手紙は多く残されているが、手紙は最大五カ国語を使い分けて書かれており、モーツァルトが語学に長けていたことが伺える。
モーツァルトは従姉妹に排泄にまつわる駄洒落にあふれた手紙を送ったことがあり[2]、 『俺の尻をなめろ』（K.231、K.233）というカノンも作曲している。このことは、彼にスカトロジーの傾向があったとしばしば喧伝されるエピソードであるが、当時の南ドイツでは親しい者どうしでの尾篭な話は日常的なものであり、タブーではなかった[3]。 19世紀の伝記作者はスカトロジーの表現を無視したり破棄したりしてモーツァルトを美化したが、現在ではこうした表現は彼の快活な性格を表すものと普通に受け止められている。
死と墓

死と死因
1791年、モーツァルトは『皇帝ティートの慈悲』、『魔笛』、クラリネット協奏曲と大作を次々に書き上げ、精力的に仕事をこなしていたが、レクイエムに取り組んでいる最中の11月20日から突然病床に伏し、わずか2週間後の12月5日午前0時55分に死亡した。死亡時には全身が腫れ上がっていたという。ウィーン市の公式記録では「急性粟粒疹熱」とされる。実際の死因は「リューマチ熱」であったと考えられている [4]。
モーツァルトは病に伏す前に、妻コンスタンツェに「自分は毒を盛られた」と語ったことがある。また、死の後にウィーンの新聞は「毒殺されたのではないか」と報じた。しかし、当時モーツァルトの周囲の人間で毒殺を信じていていた者はいない。1820年ごろになって、ウィーンでは「サリエリがモーツァルトを毒殺した」という噂が流行した。老いたサリエリは、1825年に死ぬまでこの噂に悩まされることとなる。この噂をアイデアとして、『モーツァルトとサリエリ』や『アマデウス』などの作品が作られた。
葬儀と墓
葬儀の日取りは「12月6日説」と「12月7日説」の2つがある [5]。 最低料金（あくまで庶民扱いであった）の葬儀後、遺体はウィーン郊外のセント・マルクス墓地の共同墓穴に埋葬された。誰も霊柩車に同行せず、墓碑もないため、実際に埋葬された位置は不明である。
没後100年の1891年、中央墓地（ベートーヴェン、シューベルト、ブラームスら著名音楽家が多数眠る墓地）に当時セント・マルクス墓地にあった「モーツァルトの墓とされるもの」が記念碑として移動した際、またもや位置が分からなくなってしまった。現在セント・マルクス墓地にある「モーツァルトの墓とされるもの」は、移転後に墓地の看守が打ち捨てられた他人の墓の一部などを拾い集めて、適当な場所に適当に作ったものである。もちろん、「墓とされるもの」の下に骨があるわけではない。
なお、セント・マルクス墓地は1874年にウィーンの市街改造の一環で閉鎖されており、現在は墓地公園となっている。ヨハン・シュトラウス2世の弟、ヨーゼフ・シュトラウスも最初はここに埋葬されていた（1909年に中央墓地に移設）。
現在、国際モーツァルテウム財団（ザルツブルグ）にはモーツァルトのものとされる頭蓋骨が保管されている。頭蓋骨に記された由来によれば、埋葬後10年目にモーツァルトを埋葬した墓地は再利用のため整理され遺骨は散逸してしまったという。この時、頭蓋骨だけが保管され、以来、複数の所有者の手を経て1902年に同財団によって収蔵された。遺骨の真贋については、その存在が知られた当初から否定的な見方が多いが、2004年、ウィーン医科大学の研究チームがモーツァルトの父レオポルドほか親族の遺骨の発掘許可を得て、問題の頭蓋骨とのDNA鑑定を行うと発表した。鑑定結果はモーツァルト生誕250年目の2006年1月8日にオーストリア国営放送のドキュメンタリー番組として公表された。これによると、調査の試料となったのは頭蓋骨の2本の歯と、モーツァルト一族の墓地から発掘した伯母と姪のものとされる遺骨から採取されたDNAであった。検査の結果、頭蓋骨は伯母、姪の遺骨のいずれとも縁戚関係を認められなかったが、伯母と姪とされる遺骨同士もまた縁戚関係にないことが判明し、遺骨をめぐる謎は解決されなかった。
関連項目

モーツァルト
モーツァルトの楽曲一覧
ケッヘル番号
オーストリアのユーロ硬貨 - オーストリア発行の1ユーロ硬貨に、彼の肖像が描かれている。
キダ・タロー - 浪花のモーツァルト
ザルツブルク・ヴォルフガング・アマデウス・モーツァルト空港
モーツァルトを扱った作品

モーツァルトとサリエリ - 1830年、プーシキンの戯曲
1897年、リムスキー＝コルサコフがオペラ化
旅の日のモーツァルト - メーリケの小説
アマデウス - 1979年、ピーター・シェーファーの戯曲
1985年、ミロス・フォアマン監督により映画化
モーツァルトは子守唄を歌わない - 1985年、森雅裕の小説
マドモアゼル・モーツァルト - 1989年、福山庸治の漫画
1991年、音楽座がミュージカル化、2004年にも『21C:マドモアゼル・モーツァルト』として公演
Mozart! - 1999年、ミュージカル作品。日本では2002年に初演
参考文献と脚注

参考文献
NEUE MOZART-AUSGABE （新モーツァルト全集）
ベーレンライター社・パックスアーレン社のソフトカバー版が入手できる。
アルフレート・アインシュタイン『モーツァルト−その人間と作品』浅井真男訳、白水社、1961年（原著1945年） 1997年の新版：ISBN 4-560-03732-9
モーツァルト研究家のアルフレート・アインシュタインは、相対性理論を発見したアルベルト・アインシュタインの従弟である。
『モーツァルトの手紙』（上下巻）柴田治三郎編訳、岩波書店（文庫）、1980年 ISBN 4-00-335041-3 ISBN 4-00-335042-1
H.C.ロビンズ・ランドン『モーツァルト最後の年』海老澤敏訳、中央公論社、2001年（原著1988年） ISBN 4-12-003114-4
メイナード・ソロモン『モーツァルト』石井宏訳、新書館、1999年（原著1995年） ISBN 4-403-12006-7
石井宏『反音楽史−さらば、ベートーヴェン』新潮社、2004年 ISBN 4-10-390303-1
脚注
↑ 石井宏、前掲書、127頁
↑ 前掲『モーツァルトの手紙』上巻79頁。1777年のいわゆる「ベーズレ書簡」。「あなたの鼻に糞をします」などの記述がある。従姉妹はマリア・アンナ・テークラ・モーツァルトで、父レオポルトの弟の娘。メイナード・ソロモンは、前掲書第10章でモーツァルトがこの女性と肉体関係にあったとしている。
↑ アインシュタイン、前掲書、47頁
↑ ピーター・J・デイヴィーズは、モーツァルトは以前にかかった伝染病の影響で慢性的な腎臓病を患っており、11月に再び伝染病にかかったため、症状が急激に悪化して死に至ったとしている。ランドンの前掲書、268頁を参照。
↑ 寺院に残された台帳によれば葬儀は6日に行われた。ヨーゼフ2世の勅令で、死人は死後48時間経たないと埋葬できない規定があったため、6日の深夜から7日の朝に埋葬されたと思われる。葬儀の日は嵐だったとする報告があり、6日は穏やかな天候であったため、葬儀は7日に行われたとする説がある。しかし、実際には7日にも降水はなく、強風が吹き始めたのは7日の深夜になってからであった。ソロモンの前掲書、749頁参照。

Wolfgang Amadeus Mozart (baptized as Johannes Chrysostomus Wolfgangus Theophilus Mozart; January 27, 1756 December 5, 1791) was a prolific and highly influential composer of European classical music. His enormous output of more than six hundred compositions includes works that are widely acknowledged as pinnacles of symphonic, chamber, piano, operatic, and choral music. Mozart is among the most enduringly popular of European classical composers, and many of his works are part of the standard concert repertory.

1 Life
1.1 Family and early years
1.2 The years of travel
1.3 Mozart in Vienna
1.4 Mozart and Prague
1.5 Final illness and death
2 Works, musical style, and innovations
2.1 Style
2.2 Influence
2.3 The Kuchel catalogue
3 Myths and controversies
4 Trivia
5 Media
5.1 Orchestral
5.2 Vocal
5.3 Piano
6
7 Notes
8 Further reading
9 External links
9.1 General reference
9.2 Scores
9.3 Recordings
9.4 Specific topics

Life
Family and early years
Mozart's birthplace at Getreidegasse 9, Salzburg, Austria
Mozart was born in the front room of 9 Getreidegasse in Salzburg, the capital of the sovereign Archbishopric of Salzburg, in what is now Austria, then part of the Holy Roman Empire, to Leopold and Anna Maria Pertl Mozart. His only sibling who survived beyond infancy was an older sister: Maria Anna, nicknamed Nannerl. Mozart was baptized the day after his birth at St. Rupert's Cathedral. The baptismal record gives his name in Latinized form as Joannes Chrysostomus Wolfgangeus Theopheilus Mozart. Of these names, the first two refer to John Chrysostom, one of the Church Fathers, and they were names not employed in everyday life, while the fourth, meaning "beloved of God", was variously translated in Mozart's lifetime as Amadeus (Latin), Gottlieb (German), and Amad (French). Mozart's father Leopold announced the birth of his son in a letter to the publisher Johann Jakob Lotter with the words "...the boy is called Joannes Chrysostomus, Wolfgang, Gottlieb". Mozart himself preferred the third name (see Mozart's name).
Mozart's father Leopold (1719-1787) was one of Europe's leading musical teachers. His influential textbook Versuch einer grundlichen Violinschule, or "Essay on the fundamentals of violin playing", was published in 1756, the year of Mozart's birth. He was deputy Kapellmeister to the court orchestra of the Archbishop of Salzburg, and a prolific and successful composer of instrumental music. Leopold gave up composing when his son's outstanding musical talents became evident. They first came to light when Wolfgang was about three years old, and Leopold, proud of Wolfgang's achievements, gave him intensive musical training, including instruction in clavier, violin, and organ. Leopold was Wolfgang's only teacher in his earliest years. A note by Leopold in Nannerl's music book the Nannerl Notenbuch records that little Wolfgang had learned several of the pieces at the age of four. Mozart's first compositions, a small Andante (K. 1a) and Allegro (K. 1b), were written in 1761, when he was aged five.[1] At five or six years old, he could play the piano blindfolded and with his hands crossed over one another. [citation needed]
The years of travel
"Bologna Mozart" - Mozart age 21 in 1777
During his formative years, Mozart made several European journeys, beginning with an exhibition in 1762 at the Court of the Elector of Bavaria in Munich, then in the same year at the Imperial Court in Vienna and Prague. A long concert tour spanning three and a half years followed, taking him with his father to the courts of Munich, Mannheim, Paris, London (where Wolfgang Amadeus played with the famous Italian cellist Giovanni Battista Cirri), The Hague, again to Paris, and back home via Zurich, Donaueschingen, and Munich. During this trip Mozart met a great number of musicians and acquainted himself with the works of other great composers. A particularly important influence was Johann Christian Bach, who befriended Mozart in London in 1764-65. Bach's work is often taken to be an inspiration for Mozart's music. They again went to Vienna in late 1767 and remained there until December 1768. On this trip Mozart contracted smallpox, and his healing was considered by Leopold as a proof of God's intentions concerning this child.
After one year in Salzburg, three trips to Italy followed: from December 1769 to March 1771, from August to December 1771, and from October 1772 to March 1773. Mozart was commissioned to compose three operas: "Mitridate re di Ponto" (1770), "Ascanio in Alba" (1771), and "Lucio Silla" (1772), all three of which were performed in Milan. During the first of these trips, Mozart met Andrea Luchesi in Venice and G.B. Martini in Bologna, and was accepted as a member of the famous Accademia Filarmonica. A highlight of the Italian journey, now an almost legendary tale, occurred when he heard Gregorio Allegri's Miserere once in performance in the Sistine Chapel then wrote it out in its entirety from memory, only returning to correct minor errors; thus producing the first illegal copy of this closely-guarded property of the Vatican.[2]
On July 3, 1778, accompanied by his mother, Mozart began a tour of Europe that included Munich, Mannheim, and Paris. In Mannheim he became acquainted with members of the Mannheim orchestra, the best in Europe at the time. He fell in love with Aloysia Weber, who later broke up the relationship with him. He was to marry her sister Constanze some four years later In Vienna. During his unsuccessful visit to Paris, his mother died (1778).
Memorial plaque dedicated to Wolfgang Amadeus Mozart in square in Olomouc (Czech Republic). Mozart in 1767 as an 11-year-old boy was fleeing from Vienna due to a small pox epidemic and wrote his Sixth Symphony in F Major in Olomouc
Mozart in Vienna
In 1780, Idomeneo, widely regarded as Mozart's first great opera, premiered in Munich. The following year, he visited Vienna in the company of his employer, the harsh Prince-Archbishop Colloredo. When they returned to Salzburg, Mozart, who was then Konzertmeister, became increasingly rebellious, not wanting to follow the whims of the archbishop relating to musical affairs, and expressing these views, soon fell out of favor with him. According to Mozart's own testimony, he was dismissed... literally... "with a kick in the seat of the pants." Mozart chose to settle and develop his own freelance career in Vienna after its aristocracy began to take an interest in him.
On August 4, 1782, against his father's wishes, he married Constanze Weber (1763-1842; her name is also spelled "Costanze"); her father Fridolin was a half-brother of Carl Maria von Weber's father Franz Anton Weber. Although they had seven children, only two survived infancy. Neither of these two, Karl Thomas (1784-1858) and Franz Xaver Wolfgang (1791-1844; later a minor composer himself), married or had children.
The year 1782 was an auspicious one for Mozart's career: his opera Die Entfuhrung aus dem Serail ("The Abduction from the Seraglio") was a great success and he began a series of concerts at which he premiered his own piano concertos as director of the ensemble and soloist.
During 1782-83, Mozart became closely acquainted with the work of J.S. Bach and G.F. Handel as a result of the influence of Baron Gottfried van Swieten, who owned many manuscripts of works by the Baroque masters. Mozart's study of these works led first to a number of works imitating Baroque style and later had a powerful influence on his own personal musical language, for example the fugal passages in Die Zauberflute ("The Magic Flute") and in the Symphony No. 41.
In 1783, Wolfgang and Constanze visited Leopold in Salzburg, but the visit was not a success, as his father did not open his heart to Constanze. However, the visit sparked the composition of one of Mozart's great liturgical pieces, the Mass in C Minor, which, though not completed, was premiered in Salzburg, and is now one of his best-known works. Wolfgang featured Constanze as the lead female solo voice at the premiere of the work, hoping to endear her to his father's affection.
In his early Vienna years, Mozart met Joseph Haydn and the two composers became friends. When Haydn visited Vienna, they sometimes played in an impromptu string quartet. Mozart's six quartets dedicated to Haydn date from 1782-85, and are often judged to be his response to Haydn's Opus 33 set from 1781. Haydn was soon in awe of Mozart, and when he first heard the last three of Mozart's series he told Leopold, "Before God and as an honest man I tell you that your son is the greatest composer known to me either in person or by name. He has taste, and what is more, the most profound knowledge of composition."
During the years 1782-1785, Mozart put on a series of concerts in which he appeared as soloist in his piano concertos, widely considered among his greatest works. These concerts were financially successful. After 1785 Mozart performed far less and wrote only a few concertos. Maynard Solomon conjectures that he may have suffered from hand injuries; another possibility is that the fickle public ceased to attend the concerts in the same numbers.
Mozart was influenced by the ideas of the eighteenth century European Enlightenment as an adult, and became a Freemason (1784). His lodge was a specifically Catholic, rather than a deistic one, and he worked fervently and successfully to convert his father before the latter's death in 1787. His last opera, Die Zauberflote, includes Masonic themes and allegory. He was in the same Masonic Lodge as Haydn.
Mozart's life was occasionally fraught with financial difficulty. Though the extent of this difficulty has often been romanticized and exaggerated, he nonetheless did resort to borrowing money from close friends, some debts remaining unpaid even to his death. During the years 1784-1787 he lived in a lavish, seven-room apartment, which may be visited today at Domgasse 5, behind St Stephen's Cathedral; it was here, in 1786, that Mozart composed the opera Le nozze di Figaro.
Mozart and Prague
Mozart had a special relationship with Prague and its people. The audience here celebrated their Figaro with the much deserved reverence he was missing in his hometown Vienna. His quote "Meine Prager verstehen mich" (My Praguers understand me) became very famous in the Bohemian lands. Many tourists follow his tracks in Prague and visit the Mozart Museum of the Villa Bertramka where they can enjoy a chamber concert. In the later years of his life, Prague provided Mozart with many financial resources from commissions [citation needed]. In Prague, Don Giovanni premiered on October 29, 1787 at the Theatre of the Estates. Mozart wrote La clemenza di Tito for the festivities accompanying Leopold II's coronation in November 1790; Mozart obtained this commission after Antonio Salieri had allegedly rejected it.[3]
Final illness and death
Mozart's final illness and death are difficult topics for scholars, obscured by romantic legends and replete with conflicting theories. Scholars disagree about the course of decline in Mozart's health particularly at what point (or if at all) Mozart became aware of his impending death and whether this awareness influenced his final works. The romanti c view holds that Mozart declined gradually and that his outlook and compositions paralleled this decline. In opposition to this, some present-day scholars points out correspondence from Mozart's final year indicating that he was in good cheer, as well as evidence that Mozart's death was sudden and a shock to his family and friends. Mozart's attributed last words: "The taste of death is upon my lips...I feel something not of this earth". The actual cause of Mozart's death is also a matter of conjecture. His death record listed "hitziges Frieselfieber" ("severe miliary fever," referring to a rash that looks like millet-seeds), a description that does not suffice to identify the cause as it would be diagnosed in modern medicine. Dozens of theories have been proposed, including trichinosis, mercury poisoning, and rheumatic fever. The practice, common at that time, of bleeding medical patients is also cited as a contributing cause.
Mozart died around 1 a.m. on December 5, 1791 in Vienna. Some days earlier, with the onset of his illness, he had largely ceased work on his final composition, the Requiem. Popular legend has it that Mozart was thinking of his own impending death while writing this piece, and even that a messenger from the afterworld commissioned it. However, documentary evidence has established that the anonymous commission came from one Count Franz Walsegg of Schloss Stuppach, and that most if not all of the music had been written while Mozart was still in good health. A younger composer, and Mozart's pupil at the time, Franz Xaver Sissmayr, was engaged by Constanze to complete the Requiem. However, he was not the first composer asked to finish the Requiem, as the widow had first approached another Mozart student, Joseph Eybler, who began work directly on the empty staves of Mozart's manuscript but then abandoned it.
Because he was buried in an unmarked grave, but not a mass grave, it has been popularly assumed that Mozart was penniless and forgotten when he died. In fact, though he was no longer as fashionable in Vienna as before, he continued to have a well-paid job at court and receive substantial commissions from more distant parts of Europe, Prague in particular [citation needed]. He earned about 10,000 florins per year[4], equivalent to at least 42,000 US dollars in 2006, which places him within the top 5 percent of late 18th century wage earners[4], but he could not manage his own wealth. His mother wrote, "When Wolfgang makes new acquaintances, he immediately wants to give his life and property to them." His impulsive largesse and spending often put him in the position of having to ask others for loans. Many of his begging letters survive but they are evidence not so much of poverty as of his habit of spending more than he earned. He was not buried in a "mass grave" but in a regular communal grave according to the 1784 laws.
Though the original grave in the St. Marx cemetery was lost, memorial gravestones (or cenotaphs) have been placed there and in the Zentralfriedhof. In 2005, new DNA testing was performed by Austria's University of Innsbruck and the US Armed Forces DNA Identification Laboratory in Rockville, Maryland, to determine if a skull in an Austrian Museum was actually his, using DNA samples from the marked graves of his grandmother and Mozart's niece. However, test results were inconclusive, suggesting that none of the DNA samples were related to each other.
In 1809, Constanze married Danish diplomat Georg Nikolaus von Nissen (1761-1826). Being a fanatical admirer of Mozart, he (and Constanze ) edited vulgar passages out of many of the composer's letters and wrote a Mozart biography. Nissen did not live to see his biography printed, and Constanze finished it.
Works, musical style, and innovations
: List of compositions by Wolfgang Amadeus Mozarts Mozart
Style
Mozart's music, like Haydn's, stands as an archetypal example of the Classical style. His works spanned the period during which that style transformed from one exemplified by the style galant to one that began to incorporate some of the contrapuntal complexities of the late Baroque, complexities against which the galant style had been a reaction. Mozart's own stylistic development closely paralleled the development of the classical style as a whole. In addition, he was a versatile composer and wrote in almost every major genre, including symphony, opera, the solo concerto, chamber music including string quartet and string quintet, and the piano sonata. While none of these genres were new, the piano concerto was almost single-handedly developed and popularized by Mozart. He also wrote a great deal of religious music, including masses; and he composed many dances, divertimenti, serenades, and other forms of light entertainment.
The central traits of the classical style can all be identified in Mozart's music. Clarity, balance, and transparency are hallmarks, though a simplistic notion of the delicacy of his music obscures for us the exceptional and even demonic power of some of his finest masterpieces, such as the Piano Concerto in C minor, K. 491, the Symphony in G minor, K. 550, and the opera Don Giovanni. The famed writer on music Charles Rosen has written (in The Classical Style): "It is only through recognizing the violence and sensuality at the center of Mozart's work that we can make a start towards a comprehension of his structures and an insight into his magnificence. In a paradoxical way, Schumann's superficial characterization of the G minor Symphony can help us to see Mozart's daemon more steadily. In all of Mozart's supreme expressions of suffering and terror, there is something shockingly voluptuous." Especially during his last decade, Mozart explored chromatic harmony to a degree rare at the time. The slow introduction to the "Dissonant" Quartet, K. 465, a work that Haydn greatly admired, rapidly explodes a shallow understanding of Mozart's style as light and pleasant.
From his earliest years Mozart had a gift for imitating the music he heard; since he travelled widely, he acquired a rare collection of experiences from which to create his unique compositional language. When he went to London as a child, he met J.C. Bach and heard his music; when he went to Paris, Mannheim, and Vienna, he heard the work of composers active there, as well as the spectacular Mannheim orchestra; when he went to Italy, he encountered the Italian overture and the opera buffa, both of which were to be hugely influential on his development. Both in London and Italy, the galant style was all the rage: simple, light music, with a mania for cadencing, an emphasis on tonic, dominant, and subdominant to the exclusion of other chords, symmetrical phrases, and clearly articulated structures. This style, out of which the classical style evolved, was a reaction against the complexity of late Baroque music. Some of Mozart's early symphonies are Italian overtures, with three movements running into each other; many are "homotonal" (each movement in the same key, with the slow movement in the tonic minor). Others mimic the works of J.C. Bach, and others show the simple rounded binary forms commonly being written by composers in Vienna.
As Mozart matured, he began to incorporate some features of Baroque styles into his music. For example, the Symphony No. 29 in A Major K. 201 uses a contrapuntal main theme in its first movement, and experimentation with irregular phrase lengths. Some of his quartets from 1773 have fugal finales, probably influenced by Haydn, who had just published his opus 20 set. The influence of the Sturm und Drang ("Storm and Stress") period in German literature, with its brief foreshadowing of the Romantic era to come, is evident in some of the music of both composers at that time.
Throughout his life Mozart switched his focus from writing instrumental music to writing operas, and back again. He wrote operas in each style current in Europe: opera buffa, such as The Marriage of Figaro, Don Giovanni, or Cos fan tutte; opera seria, such as Idomeneo; and Singspiel, of which Die Zauberflote is probably the most famous example by any composer. In his later operas, he developed the use of subtle and slight changes of instrumentation, orchestration, and tone colour to express or highlight psychological or emotional states and dramatic shifts. Here his advances in opera and instrumental composing interacted upon one another. The increasing sophistication of his use of the orchestra in his symphonies and concerti served as a resource in his operatic orchestration, and his developing subtlety in using the orchestra to psychological effect in his operas was reflected in his later non-operatic compositions.
Influence
Many important composers since Mozart's time have expressed profound appreciation of Mozart. Rossini averred, "He is the only musician who had as much knowledge as genius, and as much genius as knowledge." Ludwig van Beethoven's admiration for Mozart is also quite clear. Beethoven used Mozart as a model a number of times: for example, Beethoven's Piano Concerto No. 4 in G major demonstrates a debt to Mozart's Piano Concerto in C major, K. 503. A plausible story not corroborated regards one of Beethoven's students who looked through a pile of music in Beethoven's apartment. When the student pulled out Mozart's A major Quartet, K. 464, Beethoven exclaimed "Ah, that piece. That's Mozart saying 'here's what I could do, if only you had ears to hear!' "; Beethoven's own Piano Concerto No. 3 in C minor is an obvious tribute to Mozart's Piano Concerto No. 24 in C minor, and yet another plausible if unconfirmed story concerns Beethoven at a concert with his sometime-student Ferdinand Ries. As they listened to Mozart's Piano Concerto No. 24, the orchestra reached the quite unusual coda of the last movement, and Beethoven whispered to Ries: "We'll never think of anything like that!" Beethoven's Quintet for Piano and Winds is another obvious tribute to Mozart, similar to Mozart's own quintet for the same ensemble. Beethoven also paid homage to Mozart by writing sets of variations on several of his themes: for example, the two sets of variations for cello and piano on themes from Mozart's Magic Flute, and cadenzas to several of Mozart's piano concertos, most notably the Piano Concerto No. 20 K. 466. A famous legend asserts that, after the only meeting between the two composers, Mozart noted that Beethoven would "give the world something to talk about." However, it is not certain that the two ever met. Tchaikovsky wrote his Mozartiana in praise of Mozart; and Mahler died with the name "Mozart" on his lips [citation needed]. The theme of the opening movement of the Piano Sonata in A major K. 331 (itself a set of variations on that theme) was used by Max Reger for his Variations and Fugue on a Theme of Mozart, written in 1914 and among Reger's best-known works.[citation needed]
Mozart has remained an influence in popular contemporary music in varying genres ranging from Jazz to modern Rock and Heavy metal. Some examples of this influence are: Queen's Bohemian Rhapsody, mentions the character of 'Figaro'; the Famous jazz pianist Chick Corea has performed piano concertos of Mozart and they also inspired him to write a concerto of his own; Death metal guitarist and composer Trey Azagthoth of the band Morbid Angel cites Mozart as a definative influence to his music, as much of his work has a strong undertone of classical music not common in metal music at the time (time signature and tempo changes, for one).[citation needed]
The Kuchel catalogue
Main article: Kuchel-Verzeichnis
In the decades after Mozart's death there were several attempts to catalogue his compositions, but it was not until 1862 that Ludwig von Kuchel succeeded in this enterprise. Many of his famous works are referred to by their Kuchel catalogue number; for example, the Piano Concerto in A major (Piano Concerto No. 23) is often referred to simply as "K. 488" or "KV. 488". The catalogue has undergone six revisions, labeling the works from K. 1 to K. 626.
Myths and controversies
Mozart is unusual among composers for being the subject of an abundance of legend, much due to the problem that none of his early biographers knew him personally. They often resorted to fiction in order to produce a work. Many myths began soon after Mozart died, but few have any basis in fact. An example is the story that Mozart composed his Requiem with the belief it was for himself. Sorting out fabrications from real events is a vexing and continuous task for Mozart scholars mainly because of the prevalence of legend in scholarship. Dramatists and screenwriters, free from responsibilities of scholarship, have found excellent material among these legends.
An especially popular case is the supposed rivalry between Mozart and Antonio Salieri, and, in some versions, the tale that it was poison received from the latter that caused Mozart's death; this is the subject of Aleksandr Pushkin's play Mozart and Salieri, Nicolai Rimsky-Korsakov's opera Mozart and Salieri, and Peter Shaffer's play Amadeus. The last of these has been made into a feature-length film of the same name. Shaffer's play attracted criticism for portraying Mozart as vulgar and loutish, a characterization felt by many to be unfairly exaggerated, but in fact frequently confirmed by the composer's letters and other memorabilia. For example, Mozart wrote canons on the words "Lick me in the ass" and "Lick me in the ass nice and clean" as party pieces for his friends. The Kuchel numbers of these canons are 231 and 233 (their original German texts are "Leck mich im Arsch" and "Leck mich im Arsch recht fein schoen sauber").
According to an essay by A. Peter Brown, "the Mozart mania of the 1980s was initiated by Peter Shaffer's play Amadeus. It and the subsequent film directed by Milo‰ Forman did more for Mozart's case than anything else in the two hundred years since the composer's death." The same could be said of the popular myths currently surrounding Mozart, many of which have their origin in the film[citation needed].
However, Shaffer and Forman have never claimed that Amadeus was based in fact, as pointed out by Shaffer himself: "From the start we agreed on one thing: we were not making an objective Life of Wolfgang Mozart. This cannot be stressed too strongly. Obviously Amadeus on stage was never intended to be a documentary biography of the composer, and the film is even less of one."
Shaffer and Forman are equally quick to defend elements of the film which they believe are accurate but are disputed by Mozart historians. Shaffer has detailed in many interviews, including one featured as an extra on the DVD release of the film, how the dramatic narrative was inspired by the biblical story of Cain and Abel one brother loved by God, and the other scorned. Transcribed as creative rivalry between Mozart and Salieri, the notion of divine blessing and murderous jealousy provides the basic premise for Amadeus, although there is no historical evidence of any rivalry between the two composers. Conversely, it is well documented that Salieri frequently lent Mozart musical scores from the court library, and Mozart selected Salieri to teach his son, Franz Xaver. One of the more detailed essays on the "dramatic licenses" present in Amadeus is written by Gregory Allen Robbins, titled "Mozart & Salieri, Cain & Abel: A Cinematic Transformation of Genesis 4".
Another debate involves Mozart's alleged status as a kind of superhuman prodigy, from childhood right up until his death. While some have criticised his earlier works as simplistic or forgettable, others revere even Mozart's juvenilia. In any case, several early compositions remain very popular. The motet Exultate, jubilate (K. 165), for example, composed when Mozart was sixteen years old, is among the most frequently recorded of his vocal compositions.
The image of Mozart as the divinely inspired effortless creator, popularized by the film Amadeus, is certainly an exaggeration. The idea that he never revised his compositions, unforgettably dramatized in the film, is easily exploded by even a cursory examination of the autograph manuscripts, which contain many revisions. Mozart was a studiously hard worker, and by his own admission his extensive knowledge and abilities developed out of many years' close study of the European musical tradition.
Benjamin Simkin, a medical doctor, argues in his book Medical and Musical Byways of Mozartiana[5] (PMID 1286388) that Mozart had Tourette syndrome. Simkin is an endocrinologist not a psychiatrist or a neurologist, the medical fields which specialize in the neurological disorder. His claim was picked up by newspapers worldwide, causing an international sensation. Internet websites of dubious reliability have fueled the speculation. Letters he wrote to his cousin Maria Anna Thekla ("B sle") between 1777 and 1781 contain scatological language; and he wrote canons titled Leck mich am Arsch ("Lick my ass") or variations thereof (including the pseudo-Latin Difficile lectu mihi mars). This alone is not indicative of Tourette syndrome, and there are alternative explanations for his use of language. The noted neurologist and author Oliver Sacks published an editorial disputing Simkin's claim (PMID 1286364), and the Tourette Syndrome Association pointed out the speculative nature of this information.[6] No Tourette syndrome expert, organization, psychiatrist or neurologist has yet to concur that there is credible evidence that Mozart had this syndrome, and several have stated now that they do not believe there is enough evidence to substantiate the claim.[7]
It is somewhat humorous to note that, while the term "Leck mich am Arsch", when literally translated, conjures up images of vulgar sexual practices or a Tourette syndrome tendency, the more accurate English meaning of this phrase is simply "Kiss my ass". The fact that Mozart wrote these words and used them in the titles of canons speaks to his status as a "rock star" of his day. Used in this sense, it is an expression of flippant or playful arrogance. The additional phrase "... recht fein schon sauber", while colorful, is still only an emphasis: that is to say, "Kiss my ass real good!" [sic].
Trivia
* It is well known that Mozart died at the young age of 35. In the spoken introduction to one of his songs ("Alma"), satirist Tom Lehrer remarked on how some people in the news "make you realize how little you've accomplished. It is a sobering thought that when Mozart was my age he had been dead for two years!"
* In May of 2006, student-run Harvard University radio station WHRB broadcasted The Mozart Orgy, an 11-day continuous radio broadcast of every single work Mozart ever wrote, ordered chronologically, including works spuriously attributed to the composer and recordings of special historical performances.
* Recordings of Wolfgang Amadeus Mozart's music have sold more copies than any other composer in history.
* Albert Einstein is quoted as saying, "Mozart is the greatest composer of all. Beethoven created his music, but the music of Mozart is of such purity and beauty that one feels he merely found it - that it has always existed as part of the inner beauty of the universe waiting to be revealed."[8]
* In his travels, Mozart acquired some competence in many languages: as many as fifteen, by some reports.
* Mozart was much taken by the sound of Benjamin Franklin's glass armonica, and composed two works for it: an Adagio in C (K. 617a [K. 356]) and an Adagio and Rondo for armonica, flute, oboe, viola, and cello (K. 617), both composed in 1791 after he heard the instrument played by the virtuoso Marianne Kirchgaessner. He started a third piece, of which only the first few bars were completed.
* Mozart has received outstanding praise from several fellow composers including Friedric Chopin, Franz Schubert, Peter Ilich Tchaikovsky, Robert Schumann, and many more.[8]
* 2006 marks the 250th anniversary of Mozart's birth. Worldwide celebrations included performances of all of Mozart's operas in Salzburg and Prague.
Media
Orchestral
K550 (file info)
Mozart's 40th Symphony, 1st movement
K550 (file info)
Mozart's 40th Symphony, 2nd movement
K550 (file info)
Mozart's 40th Symphony, 3rd movement
K550 (file info)
Mozart's 40th Symphony, 4th movement
K527 (file info)
Overture to Don Giovanni
K525 (file info)
Eine kleine Nachtmusik, 4th movement
K364 (file info)
Sinfonia Concertante in E flat, 3rd movement (Presto)
K314 (file info)
Concerto in D for Flute
K622 (file info)
Clarinet Concerto in A major, 1st movement
K622 (file info)
Clarinet Concerto in A major, 2nd movement
K622 (file info)
Clarinet Concerto in A major, 3rd movement
Vocal
Der Holle Rache (file info)
Der Holle Rache, from Die Zauberflote
K321, 1st movement (file info)
Vesperae de dominica - dixit dominus
K321, 2nd movement (file info)
Vesperae de dominica - confitebor
K321, 3rd movement (file info)
Vesperae de dominica - beatus vir
K321, 4th movement (file info)
Vesperae de dominica - laudate pueri
K321, 5th movement (file info)
Vesperae de dominica - laudate dominum
K321, 6th movement (file info)
Vesperae de dominica - magnificat
Piano
Rondo Alla Turka from K331 (file info)
Piano Sonata No. 11 in A major, 3rd movement
K545 (file info)
Piano Sonata in C major, 1st movement
K545 (file info)
Piano Sonata in C major, 2nd movement
K545 (file info)
Piano Sonata in C major, 3rd movement
K378/K317d (file info)
Piano/Violin Sonata in B Flat (arranged for flute)
K466 (file info)
Piano Concerto No.20 in D minor, 1st movement
Problems playing the files See media help.
* List of compositions by Wolfgang Amadeus Mozart
* Category:Compositions by Wolfgang Amadeus Mozart
* Mozart's name
* Mozartkugel, a confectionery named in his honor.
* Mozart effect, a disputed theory that certain kinds of music enhance performance on certain mental tasks; the researchers who coined the term used a piece by Mozart in their first study.
* Rock Me Amadeus, a 1985 song by Falco, based on Forman's film
Notes
1. ^ Cliff Eisen, Stanley Sadie, '(Johann Chrysostom) Wolfgang Amadeus Mozart', Grove Music Online ed. L. Macy (Accessed [9 May 2006])
2. ^ Documents describing Mozart's transcription of the Allegri Miserere at Wikisource
3. ^ Cliff Eisen, Stanley Sadie 'Wolfgang Amadeus Mozart', §6: The final years', Grove Music Online (Accessed 09 May 2006).
4. ^ a b Luke Harding. Mozart more of a prince than a pauper. The Guardian. April 5, 2006.
5. ^ Did Mozart Have Tourette Syndrome at Daniel Publishing
6. ^ Did Mozart really have TS at TSA
7. ^ FAMOUS PEOPLE WITH TOURETTE'S SYNDROME AND/OR OBSESSIVE-COMPULSIVE DISORDER, SchoolBehavior.com, May 20, 2006
8. ^ a b Mozart Festival, Tucson Symphony Orchestra, 2005
Further reading
* Braunbehrens, Volkmar: Mozart in Vienna: 1781-1791, Timothy Bell Trans, HarperPerennial, 1986 ISBN 0-06-0997405-2
* Deutsch, Otto Erich: Mozart: A Documentary Biography, Eric Blom et al. Trans, Stanford University Press, 1965
* Aloys Greither: Wolfgang Amad Mozart, Rowohlt Taschenbuch Verlag GmbH, 1962
* Robert W. Gutman: Mozart: A Cultural Biography, Random, 2001 ISBN 015100482X
* H. C. Robbins Landon: 1791: Mozart's Last Year, Thames & Hudson, 1988 ISBN 0500281076
* Massimo Mila: Lettura delle Nozze di Figaro, Einaudi, 1979 ISBN 8806189379
* Mark Rayner: The Amadeus Net, ENC, 2005 ISBN 0975254014
* Stanley Sadie, ed.: Mozart and his Operas, St. Martin's, 2000 ISBN 031224410X
* Maynard Solomon: Mozart: a life, Harper, 1996 ISBN 0060926929
* Hershel Jick: A Listener's Guide to Mozart's Music, Vantage, 1997 ISBN 0553123089
* Marcia Davenport: Mozart, The Chautauqua Press, 1932
* Wilhelm Otto Deutsch, Mozart und die Religion (2005)
* Nicholas Till: Mozart and the Enlightenment,Faber,Norton, 1992 ISBN 0571161693
* Gregory Allen Robbins, Mozart & Salieri, Cain & Abel: A Cinematic Transformation of Genesis 4
* The Mozart Project
* Cliff Eisen and Simon P. Keefe, Editors: The Cambridge Mozart Encyclopedia, Cambridge University Press, 2006 ISBN 0521856590
External links
Wikiquote has a collection of quotations related to:
Wolfgang Amadeus Mozart
Wikisource has original works written by or about:
Wolfgang Amadeus Mozart
Wikimedia Commons has media related to:
Wolfgang Amadeus Mozart
General reference
* The Mozart Project the life, times and music of Wolfgang Amadeus Mozart
* Mozartones.com - compact biography of Wolfgang Amadeus Mozart
* A Profile of Amadeus Mozart from Aaron Green, guide to Classical Music at About.com.
* WAMozartFan.com The Wolfgang Amadeus Mozart Educational Fanpage - resource for students, teachers and music lovers.
* The Music of Wolfgang Amadeus Mozart
* Wolfgang Amadeus Mozart, from Classical Music Pages
* Mozart Forum Exploring the world of Classical-Era Music (1770-1827), encompassing the music, personalities and accomplishments of Mozart and his contemporaries.
* Mozart Archive
* Anne Mozart(French) blog about W.A. Mozart and his family
Scores
* IMSLP - International Music Score Library Project's Mozart page.
* Free scores by Wolfgang Amadeus Mozart in the Choral Public Domain Library (ChoralWiki)
* Works by Mozart at Project Gutenberg
* Free scores by Wolfgang Amadeus Mozart in the Werner Icking Music Archive
* Mozart's Scores by Mutopia Project
* Mozart Melody Index at Tunespotting.com
* Mozart melodies at Musipedia
* Free Mozart piano sheet music in PDF format.
Recordings
* Mozart at Piano Society - Biography and various free recordings in MP3 format.
* Mozart cylinder recordings, from the Cylinder Preservation and Digitization Project at the University of California, Santa Barbara Library.
* Mozart's Piano sonatas (midi)
Specific topics
* A free walking tour of Mozart in Prague via podcast
* The "Mozart Catalogue" digitised by the British Library - Go to "Turning the Pages"
* Cadenzas from the A Clarinet Concerto - Clariperu Many trancriptions from artists like Sabine Meyer, John McCaw, Charles Neidich, etc.
* Mozart's Thematic Catalogue - turn the pages of Mozart's musical diary online (requires Shockwave plugin)
* gallica.bnf.fr, picture of Mozart, his mother, his father, his wife, and his family (bnf = French National Library).
* Mozart and pauses
* The "Jenamy Concerto" The proper name of Mozart's piano concerto K. 271 revealed
* Can you tell Mozart from Salieri A quiz.
* Mozart und die Religion (2005), Wilhelm Otto Deutsch
* Born between Salzburg and Braunau am Inn
* Information about Mozart, Salzburg and the city's musical heritage
* Mozart's 250th Birthday, from NPR
* The alleged last portrait painting of Mozart
* Mozart and Freemasonry

The above explanation comes from 出典: フリー百科事典"ウィキペディア"