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Mozart country of birth. Mozart - life and works

Mozart's father, Leopold, was a composer, court violinist, quite famous at that time. Father played a big role in the development of Mozart as a composer.

Mozart's mother is Maria Anna, nee Pertl. She gave birth to seven children, of whom only daughter Maria Anna and son Wolfgang survived. Both had extraordinary musical abilities.

As a three-year-old child, Wolfgang is already picking up thirds and sextets on the harpsichord. A little later, at the age of about five, the future great composer begins to compose minuets.

1762 - Leopold Mozart takes his children on the first "tour". They play in Munich, Linz, Passau, and also in Vienna, where the family twice receives a reception from Empress Maria Theresa. The Mozarts' concert tours have been going on for about ten years.

1763 - 1766 - the second and longest concert trip. The family visits Munich, Ludwigsburg, Augsburg, Schwetzingen, Frankfurt, Brussels, Paris... Little Mozart already masterfully played not only the keyboard instruments, but also the violin. In Frankfurt, he plays the violin concerto for the first time.

Winter 1763 - 1764 - the first compositions of Wolfgang Amadeus Mozart were published in Paris, these were four violin sonatas.

1764 - 1765 - London. Immediately after their arrival, the Mozarts were received by King George III. At one of the concerts, Wolfgang was noticed by the composer Johann Christian Bach (son of the great Johann Sebastian Bach), whom Mozart considered his teacher many years later. In London, Wolfgang composed his first symphonies.

1766 - return to Salzburg.

1767 - 1768 - a trip to Vienna, where Mozart wrote his first opera "The Imaginary Simple Girl", a mass for choir and orchestra, a trumpet concerto, a symphony K. 45a.

1769 - 1771 - Italy. Mozarts are received by the Pope, King Ferdinand IV of Naples, Cardinal.

Summer 1770 - Wolfgang Amadeus Mozart receives the Order of the Golden Spur from the hands of Pope Clement XIV. At this time, Mozart was studying with Padre Martini and was working on the opera Mithridates, King of Pontus. At the insistence of the teacher, Martini takes an exam at the Bologna Philharmonic Academy and becomes a member. The opera "Mithridates, King of Pontus" was completed by Christmas and was successfully shown in Milan.

1771 - the opera "Ascanius in Alba" was written and shown in Milan.

In the same period, Empress Maria Theresa, for some reason, was dissatisfied with the Mozart family. Because of this, Leopold's hopes of getting his son to serve in Milan did not come true.

1772 - In Salzburg, Mozart writes a dramatic serenade "The Dream of Spice" for the inaugural celebrations of the new archbishop, Count Hieronymus Colloredo. The count takes a talented composer to his service.

1773 - return from the last, third trip to Italy, where Mozart wrote another opera "Lucius Sulla". The family fails to settle in Vienna, they live in Salzburg.

The second half of the 1770s - in Salzburg, Mozart wrote a number of symphonies, divertissements, the first string quartet, the opera The Imaginary Gardener.

1777 - Mozart leaves the service of the archbishop and goes with his mother to Paris. On the way, in Mannheim, the composer falls in love with the singer Aloysia Weber.

1778 - Having sent his mother back to Salburg, Wolfgang, secretly from his father, makes a small tour with his beloved to the court of the Princess of Nassau-Weilburg.

The same year - the planned trip to Paris nevertheless took place, but was extremely unhappy. Mozart's mother dies in Paris, the royal court shows no interest in the composer. Wolfgang leaves France, and in Mannheim he learns that Aloisia is absolutely indifferent to him.

1779 - Mozart returns to his former place of work, but now serves as an organist, composing mostly church music.

1781 - another opera written by Mozart was staged in Munich, it was Idomeneo, King of Crete. In the same year, having quarreled with the archbishop, Mozart left the service.

1782 - Wolfgang Amadeus Mozart marries Constance Weber, the sister of his first lover and also a singer. Constance bore Mozart six children, of whom two survived: sons Karl Thomas and Franz Xavier.

The first half of the 1780s - Mozart writes the opera "The Abduction from the Seraglio", the Mass in C minor (not finished; one of the soprano solo parts was performed by the composer's wife), the Linz Symphony. The same period is marked in the life of Mozart as the beginning of friendship with J. Haydn.

1784 - Mozart joins the Masonic lodge.

This time is considered the heyday of the career of the famous composer. At the same time, he has competitors. As a result, two groups of composers are fighting for fame, led by Mozart (he worked with the court librettist L. da Ponte) and the court composer A. Salieri, who worked with the librettist abbe Casti, a rival of da Ponte.

October 1787 - the premiere of the opera Don Giovanni took place in Prague. This production was destined to be Mozart's last triumph.

After returning to Vienna, the composer was haunted by failures; he ended his life practically a beggar. Don Juan fails in Vienna. Mozart holds the position of composer and bandmaster at the court of Emperor Joseph II, who understood music so much that he could publicly speak out that Mozart's compositions were "not to the taste of the Viennese."

1789 - Mozart travels to Berlin. It was a concert trip with the aim, firstly, to earn money (the composer already had large debts), and secondly, to try his luck at the court of King Frederick William II. None of the goals were achieved. The only result of the trip was several orders for string quartets and clavier sonatas.

1791 Mozart writes an opera in German magical flute”, the coronation opera “The Mercy of Titus”. The premiere of the latter passes without much success, as, indeed, the premiere of The Magic Flute. In the same year, a concerto for clarinet and orchestra in A major was written.

The year 1791 is the illness of Constance, then Mozart himself, who was knocked down by the unsuccessful premiere of The Magic Flute.

The same year, Count Walsegg-Stuppach orders Mozart a requiem in memory of his dead wife. In general, this count was distinguished by the fact that he ordered works from talented composers, which he later performed under his own name. So it should have been with Requiem. Mozart worked until his strength left him, but the Requiem was never completed. At the end of November 1791, the composer finally fell ill, but even in this semi-delirious state he continued to mentally play the Requiem, and forced his friends who came to visit him to perform ready-made parts ... The work was completed by Mozart's student Süssmeier.

December 5, 1791 - Wolfgang Amadeus Mozart dies in Vienna. Constance had neither the strength nor the money to deal with the funeral, as a result, the great composer was buried in a grave for the poor in the Vienna cemetery of St. Mark. Many years later, they tried to find the grave, but to no avail.

There were many rumors about Mozart's death, the most common of which was the story of a slow-acting poison, and Mozart's main competitor, the composer Salieri, was suspected of poisoning. However, the fact of the crime was not proven.

Biography and episodes of life Wolfgang Amadeus Mozart. When born and died Wolfgang Amadeus Mozart, memorable places and dates of important events in his life. composer quotes, images and videos.

Life of Wolfgang Amadeus Mozart:

born January 27, 1756, died December 5, 1791

Epitaph

"Mozart lives here,
He believed in something
What has no name
And there are no words to explain it.
He was able to express this through music.
When he died,
Only his bodily form was taken away.
They said they didn't recognize him.
And the body was buried in a common grave.
But we choose to believe
That he was never buried
Because he never died.
Take heed."
Stymin Karpen, epitaph to Mozart, translated by D. Samoilov

Biography

One day Mozart's father came home accompanied by his friend, the court trumpeter AI Shakhtner. Entering the house, the men saw how little Wolfgang, sitting at the table, diligently displays inscriptions on a sheet of music. When asked by his father about what he was doing, young Mozart replied that he was writing a musical composition for the harpsichord. Such a serious answer amused both the father and Mr. Shachtner, but their laughter continued only until the moment when they looked at the sheet of music covered with uneven children's handwriting. Father read the notes, and tears flowed from his eyes: “How everything here is correct and meaningful!” he exclaimed. But the genius at that time was only four years old.

The first years of Wolfgang Amadeus Mozart's life were spent in Salzburg, the then capital of a small Austrian principality. Mozart's musical talent manifested itself very early: already at the age of three, he could build chords, improvise and play melodies by ear. Under the direction of Father Leopold Mozart - outstanding musician of that time - Wolfgang Amadeus learned to play the harpsichord, violin and organ. By the way, his older sister Maria Anna was no less gifted.

Concert activity in the biography of Wolfgang Amadeus Mozart began at the age of six. True, at that time the young master toured in the company of his father and sister, nevertheless leaving behind him cheering crowds of spectators and a trail of glory growing every day. Thus, while still a child, Mozart visited almost all the cultural centers of Europe, which, in fact, provided him with the foundation for a further solo career. During his life, Wolfgang Amadeus wrote more than 600 pieces of music.

Mozart's personal life was not only stormy, but not without scandals. The composer had only one chosen one - Constance Weber - a girl from a famous Munich family, in whose house he rented a room. The love of young people was strong and mutual, but Mozart's father prevented the wedding for a long time, caring more about his son's career and material well-being. However, the wedding nevertheless took place, and Constance became a faithful companion of Mozart, remaining his muse and benefactor until the very last days.

Wolfgang Amadeus Mozart died at the age of 36. It seemed that the composer felt the proximity of his own death. IN last days of his life, he tirelessly worked on the "Requiem" and tearfully admitted to his wife that he was writing a memorial work for himself. Constance tried to entertain her lover with more cheerful topics, but, alas, you can’t get away from fate: in the end, the genius fell ill from a serious illness. For two weeks he did not get out of bed, but he was still conscious. And on December 5, 1791, the great composer died. Modern researchers claim that the cause of Mozart's death was a staphylococcal infection.

The news of Mozart's death instantly spread throughout the world, shocking the public. However, the funeral of Wolfgang Amadeus Mozart - the greatest musical genius humanity - passed through the so-called third category: in a simple coffin to a common grave. And in this, by the way, there was nothing unusual, because only the richest people of that time could afford monuments and personal graves, to whom, alas, Mozart did not belong. But time compares the scores: Mozart's grave is currently the most visited place in St. Mark's cemetery in Vienna.

life line

January 27, 1756 Date of birth of Wolfgang Amadeus Mozart.
1761 The appearance of the first musical compositions of the young genius: Andante in C major and Allegro in C major.
1762 The beginning of the concert activity of Wolfgang and his sister.
1770 Young Mozart moves to Italy, where he meets outstanding masters working in the musical field.
1779 Wolfgang Amadeus returns to Salzburg and receives a position as court organist.
1781 The composer moves to Vienna, where he reaches the peak of fame.
August 4, 1782 Wedding date of Wolfgang Amadeus Mozart and Constance Weber.
1787 Mozart receives the position of imperial and royal chamber musician.
November 20, 1791 Beginning of Mozart's illness.
December 5, 1791 Date of Mozart's death.
December 6, 1791 Mozart's funeral at St. Mark's Cemetery in Vienna.

Memorable places

1. Mozart's home in Salzburg (now the Mozart House Museum) at Getreidegasse 9, 5020 Salzburg.
2. Cathedral of St. Rupert in Salzburg, where Mozart was baptized.
3. The city of Munich, where the first concert of the young composer took place.
4. St. Stephen's Cathedral, where the betrothal of Wolfgang Amadeus and Constance took place.
5. The Prater Park in Vienna is the composer's favorite place for walking.
6. Cemetery of St. Mark, where Mozart is buried. Mozart's grave is marked with a commemorative cenotaph.

Episodes of life

In the process of learning to play the violin, young Mozart used the instrument of a family friend, Mr. Schachtner. Later, playing his own violin, the boy noticed that the previous violin was tuned one-eighth of a tone higher than the previous one. Schachtner did not take the remarks seriously, but Leopold Mozart, knowing about his son's exceptional hearing, asked his friend to bring his violin for comparison. It turned out that Shachtner's violin was indeed tuned with an error of one eighth of a tone.

When Mozart's relationship with his future bride was only gaining momentum, the guardian of Constance Weber, Johann Thorowart, rudely interfered in them. He forced the young man to sign a written agreement that if Mozart did not marry Constance within three years, he would be forced to pay financial compensation in her favor for life. In order to prove the seriousness of his intentions, Wolfgang agreed. However, later Constance broke this obligation, arguing that she completely trusts the words of Mozart and does not need any written confirmation. With this event, Mozart's love for Constance grew stronger many times over.

Documentary about Mozart

Covenant

“Music, even in the most terrible dramatic situations, must always captivate the ear, always remain music.”

condolences

“It is my deep conviction that Mozart is the highest, culminating point, to which beauty has reached in the field of music.”
Pyotr Ilyich Tchaikovsky, composer

“Mozart is the youth of music, an eternally young spring, bringing to mankind the joy of spring renewal and spiritual harmony.”
Dmitri Dmitrievich Shostakovich, composer

Born January 27, 1756 in Salzburg (Austria) and at baptism received the names Johann Chrysostom Wolfgang Theophilus. Mother - Maria Anna, nee Pertl; father - Leopold Mozart (1719-1787), composer and theorist, since 1743 - violinist in the court orchestra of the Salzburg Archbishop. Of the seven Mozart children, two survived: Wolfgang and his older sister Maria Anna. Both brother and sister had brilliant musical abilities: Leopold began to give his daughter harpsichord lessons when she was eight years old, and the Notebook with light pieces composed by her father in 1759 for Nannerl was then useful when teaching little Wolfgang. At the age of three, Mozart picked up thirds and sixths on the harpsichord, at the age of five he began to compose simple minuets. In January 1762, Leopold took his miracle children to Munich, where they played in the presence of the Bavarian elector, and in September - to Linz and Passau, from there along the Danube - to Vienna, where they were received at court (in the Schönbrunn Palace) and were twice awarded reception at the Empress Maria Theresa. This journey marked the beginning of a series of concert tours that continued for ten years.

From Vienna, Leopold and his children moved along the Danube to Pressburg (now Bratislava, Slovakia), where they stayed from December 11 to 24, and then returned to Vienna by Christmas Eve. In June 1763, Leopold, Nannerl and Wolfgang began the longest of their concert trips: they returned home to Salzburg only by the end of November 1766. Leopold kept a travel diary: Munich, Ludwigsburg, Augsburg and Schwetzingen (the summer residence of the Elector of the Palatinate). On August 18, Wolfgang gave a concert in Frankfurt: by this time he had mastered the violin and played it freely, although not with such phenomenal brilliance as on keyboards; in Frankfurt, he performed his violin concerto (among those present in the hall was the 14-year-old Goethe). This was followed by Brussels and Paris, where the family spent the entire winter of 1763/1764.

The Mozarts were received at the court of Louis XV during the Christmas holidays in Versailles and throughout the winter enjoyed great attention in aristocratic circles. At the same time, Wolfgang's four violin sonatas were first published in Paris.

In April 1764 the family went to London and lived there for over a year. A few days after their arrival, the Mozarts were solemnly received by King George III. As in Paris, the children gave public concerts during which Wolfgang demonstrated his amazing abilities. Composer Johann Christian Bach, a favorite of London society, immediately appreciated the enormous talent of the child. Often, putting Wolfgang on his knees, he played sonatas with him on the harpsichord: they played in turn, each for several bars, and did this with such accuracy that it seemed as if one musician was playing.

In London, Mozart composed his first symphonies. They followed the patterns of the gallant, lively and energetic music of Johann Christian, who became the boy's teacher, and demonstrated an innate sense of form and instrumental color.

In July 1765 the family left London for Holland; in September in The Hague, Wolfgang and Nannerl suffered severe pneumonia, from which the boy recovered only by February.

Then they continued their tour: from Belgium to Paris, then to Lyon, Geneva, Bern, Zurich, Donaueschingen, Augsburg and finally to Munich, where the elector again listened to the miracle child play and was amazed at the success he had made. As soon as they returned to Salzburg (November 30, 1766), Leopold began to make plans for the next trip. It began in September 1767. The whole family arrived in Vienna, where at that time a smallpox epidemic was raging. The disease overtook both children in Olmutz (now Olomouc, Czech Republic), where they had to stay until December. In January 1768 they reached Vienna and were again received at court; Wolfgang at that time wrote his first opera - The Imaginary Simple Woman (La finta semplice), but her production did not take place due to the intrigues of some Viennese musicians. At the same time, his first great mass for choir and orchestra appeared, which was performed at the opening of the church at the orphanage in front of a large and friendly audience. By order, a trumpet concerto was written, unfortunately not preserved. On the way home to Salzburg, Wolfgang performed his new symphony (K. 45a) at the Benedictine monastery in Lambach.

(Note on the numbering of Mozart's compositions: In 1862 Ludwig von Köchel published a catalog of Mozart's works in chronological order. From that time on, the titles of the composer's works usually include the Köchel number - just as the compositions of other authors usually contain the designation of the opus. For example, the full name of the piano Concerto No. 20 will be: Concerto No. 20 in D Minor for Piano and Orchestra (K. 466. The Koechel Index has been revised six times. In 1964, the Breitkopf & Hertel publishing house (Wiesbaden, Germany) published a deeply revised and supplemented Koechel Index. It includes there are many compositions for which the authorship of Mozart was proved and which were not mentioned in earlier editions.The dates of the compositions are also corrected in accordance with the data of scientific research.Chronology was also changed in the 1964 edition, and therefore new numbers appeared in the catalog, but the compositions Mozart continue to exist under the old numbers of the Koechel catalogue.)

The purpose of the next trip planned by Leopold was Italy - the country of opera and, of course, the country of music in general. After 11 months of study and preparation for the trip in Salzburg, Leopold and Wolfgang began the first of three trips across the Alps. They were absent for more than a year (from December 1769 to March 1771). The first Italian journey turned into a chain of continuous triumphs - for the pope and the duke, for the king (Ferdinand IV of Naples) and for the cardinal and, most importantly, for the musicians. Mozart met with N.Picchini and G.B.Sammartini in Milan, with N.Iommelli, J.F. and Mayo and G. Paisiello in Naples. In Milan, Wolfgang received a commission for a new opera seria to be performed during the carnival. In Rome, he heard the famous Miserere G. Allegri, which he then wrote down from memory. Pope Clement XIV received Mozart on July 8, 1770 and awarded him the Order of the Golden Spur.

While studying counterpoint in Bologna with the famous teacher Padre Martini, Mozart began work on a new opera, Mithridates, King of Pontus (Mitridate, re di Ponto). At Martini's urging, he underwent an examination at the famous Bologna Philharmonic Academy and was accepted as a member of the academy. The opera was successfully shown at Christmas in Milan.

Wolfgang spent the spring and early summer of 1771 in Salzburg, but in August father and son went to Milan to prepare the premiere of the new opera Ascanio in Alba, which was successfully held on October 17. Leopold hoped to convince the Archduke Ferdinand, for whose wedding a festivity was organized in Milan, to take Wolfgang into his service; but by a strange coincidence, Empress Maria Theresa sent a letter from Vienna, where she expressed her displeasure with the Mozarts in strong terms (in particular, she called them "a useless family"). Leopold and Wolfgang were forced to return to Salzburg, unable to find a suitable job for Wolfgang in Italy.

On the very day of their return, December 16, 1771, Prince-Archbishop Sigismund, who was kind to the Mozarts, died. His successor was Count Jerome Colloredo, and for his inaugural celebrations in April 1772 Mozart composed a "dramatic serenade" of Scipio's Dream (Il sogno di Scipione). Colloredo accepted the young composer into the service with an annual salary of 150 guilders and gave permission to travel to Milan (Mozart undertook to write a new opera for this city); however, the new archbishop, unlike his predecessor, did not tolerate the Mozarts' long absences and was not inclined to admire their art.

The third Italian trip lasted from October 1772 to March 1773. Mozart's new opera, Lucio Silla, was performed the day after Christmas 1772, and the composer did not receive further opera orders. Leopold tried in vain to enlist the patronage of the Grand Duke of Florence, Leopold. Having made several more attempts to arrange his son in Italy, Leopold realized his defeat, and the Mozarts left this country, never to return there again.

For the third time, Leopold and Wolfgang tried to settle in the Austrian capital; they remained in Vienna from mid-July to the end of September 1773. Wolfgang got the opportunity to get acquainted with new symphonic works Viennese school, especially with dramatic symphonies in minor keys by J. Wanhal and J. Haydn; the fruits of this acquaintance are evident in his symphony in G minor (K. 183).

Forced to stay in Salzburg, Mozart devoted himself entirely to composition: at this time, symphonies, divertissements, works of church genres, as well as the first string quartet appeared - this music soon provided the author with a reputation as one of the most talented composers in Austria. The symphonies composed in late 1773 and early 1774 (for example, K. 183, 200, 201) are notable for their high dramatic integrity.

A short break from the Salzburg provincialism he hated was given to Mozart by an order that came from Munich for a new opera for the carnival of 1775: the premiere of the Imaginary Gardener (La finta giardiniera) was successfully held in January. But the musician almost did not leave Salzburg. A happy family life to some extent compensated for the boredom of Salzburg everyday life, but Wolfgang, who compared his current situation with the lively atmosphere of foreign capitals, gradually lost patience.

In the summer of 1777, Mozart was dismissed from the service of the archbishop and decided to seek his fortune abroad. In September, Wolfgang and his mother traveled through Germany to Paris. In Munich, the elector refused his services; on the way, they stopped at Mannheim, where Mozart was greeted friendly by local orchestra members and singers. Although he did not get a place at the court of Karl Theodor, he lingered in Mannheim: the reason was his love for the singer Aloysia Weber. In addition, Mozart hoped to make a concert tour with Aloisia, who had a magnificent coloratura soprano, he even went with her secretly to the court of the Princess of Nassau-Weilburg (in January 1778). Leopold initially believed that Wolfgang would go to Paris with a company of Mannheim musicians, letting his mother go back to Salzburg, but when he heard that Wolfgang was in love with no memory, he strictly ordered him to immediately go to Paris with his mother.

The stay in Paris, which lasted from March to September 1778, turned out to be extremely unsuccessful: on July 3, Wolfgang's mother died, and the Parisian court circles lost interest in young composer. Although Mozart successfully performed two new symphonies in Paris and Christian Bach arrived in Paris, Leopold ordered his son to return to Salzburg. Wolfgang delayed the return as long as he could, and especially lingered in Mannheim. Here he realized that Aloysia was completely indifferent to him. It was a terrible blow, and only the terrible threats and entreaties of his father forced him to leave Germany.

Mozart's new symphonies (e.g. G major, K. 318; B flat major, K. 319; C major, K. 334) and instrumental serenades (e.g., D major, K. 320) are marked by crystal clear form and orchestration, richness and the subtlety of emotional nuances and that special cordiality that put Mozart above all Austrian composers, with the possible exception of J. Haydn.

In January 1779, Mozart again assumed the duties of organist at the archbishop's court with an annual salary of 500 guilders. Church music, which he was obliged to compose for Sunday services, is much higher in depth and variety than what he had previously written in this genre. The Coronation Mass and Missa solemnis in C major (K. 337) stand out in particular. But Mozart continued to feel hatred for Salzburg and the archbishop, and therefore gladly accepted the offer to write an opera for Munich. Idomeneo, King of Crete (Idomeneo, re di Creta) was installed at the court of Elector Charles Theodor (his winter residence was in Munich) in January 1781. Idomeneo was an excellent result of the experience acquired by the composer in the previous period, mainly in Paris and Mannheim. The choral writing is especially original and dramatic.

At that time, the Salzburg archbishop was in Vienna and ordered Mozart to immediately go to the capital. Here, the personal conflict between Mozart and Colloredo gradually assumed alarming proportions, and after the resounding public success of Wolfgang in a concert given in favor of the widows and orphans of Viennese musicians on April 3, 1781, his days in the service of the archbishop were numbered. In May, he submitted his resignation, and on June 8 he was put out the door.

Against the will of his father, Mozart married Constanza Weber, the sister of his first lover, and the mother of the bride managed to get very favorable conditions from Wolfgang for a marriage contract (to the anger and despair of Leopold, who showered his son with letters, begging him to change his mind). Wolfgang and Constanta were married in the Vienna Cathedral of St. Stephen on August 4, 1782. Although Constanta was as helpless in money matters as her husband, their marriage, apparently, turned out to be a happy one.

In July 1782, Mozart's opera The Abduction from the Seraglio (Die Entfhrung aus dem Serail) was staged at the Vienna Burgtheater; it was a significant success, and Mozart became the idol of Vienna, not only in court and aristocratic circles, but also among concertgoers from the third estate. Within a few years, Mozart reached the pinnacle of fame; life in Vienna prompted him to a variety of activities, composing and performing. He was in great demand, tickets for his concerts (the so-called academies), distributed by subscription, sold out completely. For this occasion, Mozart composed a series of brilliant piano concertos. In 1784 Mozart gave 22 concerts in six weeks.

In the summer of 1783 Wolfgang and his fiancee paid a visit to Leopold and Nannerl in Salzburg. On this occasion, Mozart wrote his last and best Mass in C minor (K. 427), which has not come down to us in full (if the composer finished the composition at all). The Mass was performed on 26 October at the Salzburg Peterskirche, with Constanza singing one of the soprano solo parts. (Constanze, apparently, was a good professional singer, although her voice was in many ways inferior to that of her sister Aloysia.) Returning to Vienna in October, the couple stopped in Linz, where the Linz Symphony (K. 425) appeared. In February of the following year, Leopold paid a visit to his son and daughter-in-law in their large Viennese apartment near the cathedral (this beautiful house survived to our time), and although Leopold was never able to get rid of his dislike for Constanze, he admitted that his son’s affairs as a composer and performer were going very well.

By this time, the beginning of many years of sincere friendship between Mozart and J. Haydn dates back. At a quartet evening at Mozart's in the presence of Leopold, Haydn, turning to his father, said: "Your son is the greatest composer of all whom I personally know or have heard of." Haydn and Mozart had a significant influence on each other; as for Mozart, the first fruits of this influence are evident in the cycle of six quartets which Mozart dedicated to a friend in a famous letter in September 1785.

In 1784 Mozart became a freemason, which left a deep imprint on his life philosophy; Masonic ideas can be traced in a number of Mozart's later compositions, especially in The Magic Flute. In those years, many well-known scientists, poets, writers, musicians in Vienna were members of Masonic lodges (Haydn was among them), Freemasonry was also cultivated in court circles.

As a result of various operatic and theatrical intrigues, L. da Ponte, court librettist, heir to the famous Metastasio, decided to work with Mozart in opposition to the clique of court composer A. Salieri and da Ponte's rival, librettist Abbe Casti. Mozart and da Ponte began with Beaumarchais's anti-aristocratic play The Marriage of Figaro, by which time the German translation of the play had not yet been banned. With the help of various tricks, they managed to obtain the necessary censorship permission, and on May 1, 1786 Figaro's Wedding (Le nozze di Figaro) was first shown at the Burgtheater. Although later this Mozart opera was a huge success, at the first production it was soon superseded by the new opera by V. Martin i Soler (1754–1806) A Rare Thing (Una cosa rara). Meanwhile, in Prague, the Marriage of Figaro gained exceptional popularity (melodies from the opera sounded on the streets, danced to arias from it in ballrooms and in coffee houses). Mozart was invited to conduct several performances. In January 1787, he and Constanta spent about a month in Prague, and this was the happiest time in the life of the great composer. Director opera troupe Bondini commissioned him a new opera. It can be assumed that Mozart himself chose the plot - the old legend about Don Giovanni; the libretto was to be prepared by none other than da Ponte. The opera Don Giovanni was first performed in Prague on October 29, 1787.

In May 1787, the composer's father died. This year generally became a milestone in the life of Mozart, with regard to its external flow and the composer's state of mind. His reflections were increasingly colored by deep pessimism; forever gone are the brilliance of success and the joy of youth. The peak of the composer's journey was the triumph of Don Giovanni in Prague. After returning to Vienna at the end of 1787, Mozart began to pursue failures, and at the end of his life - poverty. The production of Don Giovanni in Vienna in May 1788 ended in failure; at the reception after the performance, Haydn alone defended the opera. Mozart received the position of court composer and bandmaster of Emperor Joseph II, but with a relatively small salary for this position (800 guilders per year). The emperor understood little about the music of either Haydn or Mozart; about the works of Mozart, he said that they were "not to the taste of the Viennese." Mozart had to borrow money from Michael Puchberg, his fellow Masonic.

In view of the hopelessness of the situation in Vienna (documents confirming how soon the frivolous Viennese forgot their former idol make a strong impression), Mozart decided to make a concert trip to Berlin (April - June 1789), where he hoped to find a place for himself at the court of the Prussian king Friedrich Wilhelm II . The result was only new debts, and an order for six string quartets for His Majesty, who was a decent amateur cellist, and six clavier sonatas for Princess Wilhelmina.

In 1789, the health of Constanta, then Wolfgang himself, deteriorated, and the financial situation of the family became simply threatening. In February 1790, Joseph II died, and Mozart was not sure that he could keep his post as court composer under the new emperor. The celebrations for the coronation of Emperor Leopold were held in Frankfurt in the autumn of 1790, and Mozart went there at his own expense, hoping to attract the attention of the public. This performance (the “Coronation” clavier concerto, K. 537 was performed) took place on October 15, but did not bring any money. Returning to Vienna, Mozart met with Haydn; the London impresario Zalomon came to invite Haydn to London, and Mozart received a similar invitation to the English capital for the next winter season. He wept bitterly as he saw Haydn and Salomon off. “We will never see each other again,” he repeated. The previous winter, he invited only two friends, Haydn and Puchberg, to rehearsals of the opera Cos fan tutte.

In 1791, E. Schikaneder, a writer, actor and impresario, an old acquaintance of Mozart, ordered him a new opera in German for his Freihaustheater in the Viennese suburb of Wieden (the current theater An der Wien), and in the spring Mozart began to work on The Magic Flute (Die Zauberflte). Then he received from Prague an order for the coronation opera - La clemenza di Tito, for which Mozart's student F.K. Süssmayer helped write some colloquial recitatives (secco). Together with a student and Constanza, Mozart went to Prague in August to prepare a performance, which was held without much success on September 6 (later this opera was very popular). Mozart then hastily left for Vienna to complete the Magic Flute. The opera was performed on September 30, and at the same time he completed his last instrumental work, a concerto for clarinet and orchestra in A major (K. 622).

Mozart was already ill when, under mysterious circumstances, a stranger came to him and ordered a requiem. It was the manager of Count Walsegg-Stuppach. The count commissioned a composition in memory of his dead wife, intending to perform it under his own name. Mozart, confident that he was composing a requiem for himself, feverishly worked on the score until his strength left him. On November 15, 1791 he completed the Little Masonic Cantata. Constanza was at that time being treated in Baden and hastily returned home when she realized how serious her husband's illness was. On November 20, Mozart fell ill and a few days later felt so weak that he took communion. On the night of December 4-5, he fell into a delirious state and, in a semi-conscious state, imagined himself playing the timpani in Dies irae from his own unfinished requiem. It was almost one in the morning when he turned his back to the wall and stopped breathing. Constanța, broken by grief and without any means, had to agree to the cheapest funeral service in the chapel of the Cathedral of St. Stephen. She was too weak to accompany the body of her husband on a long journey to the cemetery of St. Mark, where he was buried without any witnesses other than gravediggers, in a pauper's grave, the location of which was soon hopelessly forgotten. Süssmeier completed the requiem and orchestrated large unfinished text fragments left by the author.

If during the life of Mozart his creative power was realized only by a relatively small number of listeners, then already in the first decade after the death of the composer, the recognition of his genius spread throughout Europe. This was facilitated by the success that The Magic Flute had with a wide audience. The German publisher André acquired the rights to most of Mozart's unpublished works, including his wonderful piano concertos and all of his later symphonies (none of which were printed during the composer's lifetime).

Mozart's personality.

250 years after the birth of Mozart, it is difficult to form a clear picture of his personality (although not as difficult as in the case of J.S. Bach, about whom we know even less). Apparently, the most opposite qualities were paradoxically combined in Mozart's nature: generosity and a penchant for caustic sarcasm, childishness and worldly sophistication, gaiety and a penchant for deep melancholy - up to pathological, wit (he ruthlessly mimicked those around him), high morality (although he did not favored the church too much), rationalism, a realistic outlook on life. Without a shadow of pride, he enthusiastically spoke about those whom he admired, for example, about Haydn, but he was merciless towards those whom he considered amateurs. His father once wrote to him: "You are all extremes, you do not know the golden mean," adding that Wolfgang is either too patient, too lazy, too indulgent, or - at times - too obstinate and restless, too rushing the course of events instead of giving they go their own way. And after centuries, his personality seems to us mobile and elusive, like mercury.

Mozart family. Mozart and Constanza had six children, of whom two survived: Carl Thomas (1784–1858) and Franz Xaver Wolfgang (1791–1844). Both studied music, Haydn sent the elder to study at the Milan Conservatory with the famous theorist B. Azioli; however, Karl Thomas was still not a born musician and eventually became an official. The youngest son had musical abilities (Haydn even introduced him to the public at a charity concert held in Vienna in favor of Constanza), and he created a number of quite professional instrumental works.

Mozart Wolfgang Amadeus is an Austrian composer. Mozart's musical development was greatly influenced by his father Leopold Mozart, who taught his son to play the piano. musical instruments and compositions. At the age of 4, Mozart played the harpsichord, from the age of 5-6 he began to compose (the 1st symphony was performed in 1764 in London). A virtuoso harpsichordist, Mozart also performed as a violinist, singer, organist and conductor, brilliantly improvised, striking with a phenomenal ear for music and memory.

From the age of 6, Mozart's biography shows success: he toured triumphantly in Germany, Austria, France, England, Switzerland, and Italy. At the age of 11, he performed as a theater composer (school opera "Apollo and Hyacinth"). A year later he created it. the singspiel "Bastienne and Bastienne" and the Italian opera buffa "The Pretend Shepherdess". In 1770, the Pope awarded him the Order of the Golden Spur.

In the same year, the 14-year-old musician after special test was elected a member of the Philharmonic Academy in Bologna (here Wolfgang Mozart took composition lessons from J. B. Martini for some time). At the same time young composer conducted in Milan the premiere of his opera Mithridates, King of Pontus. The following year, Mozart's serenade "Ascanius in Alba" was performed there, and the opera "Lucius Sulla" a year later. The artistic tour and further stay in Mannheim, Paris, Vienna contributed to Mozart's wide acquaintance with the European musical culture, his spiritual growth, improvement of professional skills. By the age of 19, Wolfgang Amadeus Mozart was the author of 10 musical stage works of various genres (among them the opera The Imaginary Gardener, staged in Munich, The Dream of Scipio and The Shepherd King in Salzburg), 2 cantatas, numerous symphonies, concerts, quartets, sonatas, ensemble-orchestral suites, church compositions, arias and other works. But the more the child prodigy turned into a master, the less aristocratic society was interested in him.

Since 1769, Wolfgang Amadeus Mozart was listed as the concertmaster of the court chapel in Salzburg. Archbishop Jerome Count Colloredo, ruler of an ecclesiastical principality, despotically limited the possibilities of his creative activity. Attempts to find another service were in vain. In the princely residences and aristocratic salons of Italy, the German states, France, the composer met with indifference. After wandering in 1777-79, Wolfgang Amadeus Mozart was forced to return to hometown and take the position of court organist. In 1780, the opera "Idomeneo, King of Crete, or Elijah and Idamant" was written for Munich. Efforts about the service remained unsuccessful. Mozart earned his livelihood by episodic editions of his works (most major works published posthumously), piano lessons and composition theory, as well as "academies" (concerts), which are associated with the appearance of his piano concertos. After the singspiel "The Abduction from the Seraglio" (1782), which appeared milestone in the development of this genre, for almost 4 years the composer did not have a chance to write for the theater.

In 1786 imperial palace Schönbrunn performed his small musical comedy "Director of the Theatre". With the assistance of the poet-librettist L. Da Ponte, in the same year it was possible to stage the opera The Marriage of Figaro (1786) in Vienna, but it was there for a relatively short time (it was resumed in 1789); all the more joyful was the resounding success of the Marriage of Figaro in Prague (1787) for Mozart. The Czech public was also enthusiastic about Mozart's opera The Punished Libertine, or Don Giovanni (1787), specially written for Prague; in Vienna (post. 1788) this opera was accepted with restraint. Both operas fully revealed the new ideological and artistic aspirations of the composer. During these years, his symphonic and chamber-ensemble works also flourished. The position of "imperial and royal chamber musician", granted by Emperor Joseph II at the end of 1787 (after the death of KV Gluck), fettered Mozart's activity. Mozart's duties were limited to composing dances for masquerades. Only once was he commissioned to write comic opera on a plot from secular life - "They are all like that, or the School of Lovers" (1790). Wolfgang Mozart intended to leave Austria. The trip he made to Berlin in 1789 did not justify his hopes. With the accession of the new emperor Leopold II in Austria (1790), Mozart's position did not change. In 1791, in Prague, on the occasion of the coronation of Leopold as the Czech king, Mozart's opera "The Mercy of Titus" was presented, which was coldly received. In the same month (September) The Magic Flute was released. Staged on the stage of a suburban theater. This Mozart opera found real recognition among the democratic public of Vienna. Among the leading musicians who were able to fully appreciate the power of Mozart's talent were his older contemporary I. Haydn and the younger -. In conservative circles, his innovative works were condemned. Mozart's "academies" ceased in 1787. He failed to organize performances of the last 3 symphonies (1788); three years later, one of them sounded in charity concerts in Vienna under the direction of A. Salieri.

In the spring of 1791, Wolfgang Mozart was enrolled as a free assistant bandmaster of the Cathedral of St. Stefan with the right to take this place in the event of the death of the latter (the bandmaster outlived him). For half a month before his death, Mozart fell ill (diagnosis - rheumatic fever) He died before reaching 36 years. Was buried in common grave at the cemetery of St. Mark (the location of the grave is unknown).

Wolfgang Amadeus Mozart: biography and creativity.
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Introduction

The life of the brilliant Austrian composer Wolfgang Amadeus Mozart is amazing and unusual. His bright, generous talent, constant creative burning gave absolutely amazing, one-of-a-kind results. Mozart lived only 36 years. Despite the continuous concert activity, which began at the age of six, he created a lot of works during this time. Mozart wrote about 50 symphonies, 19 operas, sonatas, quartets, quintets, Requiem and other works of various genres.

Based on the achievements of Haydn in the field of sonata-symphonic music, Mozart also introduced a lot of new and original things. His operas are also of great artistic value. "The Marriage of Figaro", "Don Juan", "The Magic Flute" have enjoyed unchanging success for more than one century. Similarly, in other genres, Mozart had his say, the word of musical genius.

The amazing talent of Mozart, his early death attracted the attention of not only the composer's contemporaries. The great Pushkin wrote the little tragedy Mozart and Salieri, and the composer Rimsky-Korsakov created an opera based on this tragedy.

Today, Mozart's music is heard in concerts, opera houses, and on the radio. Mozart's works are obligatory in the programs of music schools, conservatories, all-Union and international competitions. Books and articles are written about Mozart, trying to reveal the depth and beauty of his music, to tell about his extraordinary talent, about his bright, interesting and at the same time full of labor and sorrows of life.

Chapter 1. Biography of the composer

mozart composer music instrumental

Biography before 1781

MOZART Wolfgang Amadeus is an Austrian composer. Born January 27, 1756 in Salzburg. Mozart's musical development was greatly influenced by his father Leopold Mozart, who taught his son to play musical instruments and composition. At the age of 4, Mozart played the harpsichord, from the age of 5-6 he began to compose (the 1st symphony was performed in 1764 in London). Mozart also performed as a violinist, singer, organist and conductor, brilliantly improvised, striking with a phenomenal ear for music and memory. From the age of 6 he toured with triumph in Germany, Austria, France, England, Switzerland, Italy. At the age of 11, he performed as a theater composer (1st part of a stage oratorio<Долг первой заповеди>, school opera<Аполлон и Гиацинт>). A year later created the German Singspiel<Бастьен и Бастьенна>and Italian opera buffa<Притворная пастушка>. In 1770, the Pope awarded him the Order of the Golden Spur. In the same year, the 14-year-old musician, after a special test, was elected a member of the Philharmonic Academy in Bologna (here Mozart took composition lessons from J. B. Martini for some time). At the same time, the young composer conducted in Milan the premiere of his opera<Митридат, царь Понтийский>. Mozart's serenade was performed there the following year.<Асканий в Альбе>, a year later the opera<Луций Сулла>. The artistic tour and further stay in Mannheim, Paris, Vienna contributed to Mozart's broad acquaintance with European musical culture, his spiritual growth, and the improvement of professional skills. By the age of 19, Mozart was the author of 10 musical stage works of various genres (including operas<Мнимая садовница>, staging in Munich,<Сон Сципиона>And<Царь-пастух>- both in Salzburg), 2 cantatas, numerous symphonies, concertos, quartets, sonatas, ensemble-orchestral suites, church compositions, arias and other works. But the more the child prodigy turned into a master, the less aristocratic society was interested in him. Since 1769, Mozart was listed as concertmaster of the court chapel in Salzburg. Archbishop Jerome Count Colloredo, ruler of an ecclesiastical principality, despotically limited the possibilities of his creative activity. Attempts to find another service were in vain. In the princely residences and aristocratic salons of Italy, the German states, France, the composer met with indifference. After wandering in 1777-79, Mozart was forced to return to his native city and take up the post of court organist. An opera he wrote for Munich in 1780<Идоменей, царь Критский, или Илия и Идамант>testified to the artistic maturity of the brilliant master. All the more painful was his stay in Salzburg. In 1781 Mozart finally broke with the archbishop.

Biography after 1781

Among the great musicians of the past, Mozart was the first who preferred the unsecured life of a free artist to the semi-serf service of a sovereign nobleman. Mozart did not want to sacrifice his ideals to the prevailing tastes, courageously defended creative freedom and personal independence. Mozart settled in Vienna. He had a family (out of six children, only two sons survived his father; the youngest became a musician, Mozart F.K.W.). Efforts about the service remained unsuccessful. Mozart earned his livelihood through episodic editions of his works (most of the major works were published posthumously), piano lessons and composition theory, as well as “academies” (concerts), which are associated with the appearance of his piano concertos. After the singspiel<Похищение из сераля>(1782), which was an important milestone in the development of this genre, the composer did not have a chance to write for the theater for almost 4 years.

In 1786, his little musical comedy was performed at the Schönbrunn Imperial Palace.<Директор театра>. With the assistance of the court poet-librettist Lorenzo Da Ponte, in the same year, the opera was staged in Vienna.<Свадьба Фигаро>(1786), but she went there for a relatively short time (resumed in 1789); all the more joyful was the resounding success for Mozart<Свадьбы Фигаро>in Prague (1787). The Czech public was also enthusiastic about Mozart's opera specially written for Prague.<Наказанный распутник, или Дон Жуан>(1787); in Vienna (staged in 1788), this opera was received with restraint. Both operas fully revealed the new ideological and artistic aspirations of the composer. During these years, his symphonic and chamber-ensemble works also flourished. Job title<императорского и королевского камерного музыканта>, granted to Mozart by Emperor Joseph II at the end of 1787 (after the death of K. V. Gluck), fettered his activities, Mozart's duties were limited to composing dances for masquerades. Only once was he commissioned to write a comic opera based on a story from secular life -<Все они таковы, или Школа влюблённых>(1790). Mozart intended to leave Austria. The trip he made to Berlin in 1789 did not justify his hopes. With the accession of the new emperor Leopold II in Austria (1790), Mozart's position did not change. In 1791, in Prague, on the occasion of the coronation of Leopold as the Czech king, Mozart's opera was presented.<Милосердие Тита>greeted coldly. In the same month (September) saw the light<Волшебная флейта>. Staged on the stage of a suburban theater, this Mozart opera found real recognition among the democratic public of Vienna. Among the leading musicians who were able to fully appreciate the power of Mozart's talent were his older contemporary I. Haydn and the younger - L. Beethoven. In conservative circles, his innovative works were condemned. From 1787 they stopped<академии>Mozart. He failed to organize performances of the last 3 symphonies (1788); three years later, one of them (apparently, g-moll) was performed at charity concerts in Vienna conducted by A. Salieri. In the spring of 1791, Mozart was enrolled as a free assistant conductor of the Cathedral of St. Stefan with the right to take the vacant seat after the death of the Kapellmeister. Deprivation, neglect of his work, difficulties in obtaining orders and a tolerable position - all this poisoned the composer's life, gave rise to gloomy forebodings. For half a month before his death, Mozart fell ill (diagnosis - rheumatic-inflammatory fever). The requiem, ordered anonymously by Count F. Walsegg-Stuppach (who decided to pass off the purchased work as his own), remained unfinished (the missing numbers were written by Mozart's student, F.K. until now). Mozart died before the age of 36. According to the then routine of ordinary funerals, he was buried in a common grave in the cemetery of St. Mark (the location of the grave is unknown).

1.1 Creativity Analysiscomposer

Mozart's work, comprehensive in terms of genre coverage and breadth of musical and stylistic connections, is one of the most important stages in the world development of opera, symphony, concerto and chamber music. It summarizes the centuries-old experience of composers from various countries, primarily Austrian, German, as well as Italian, French, and Czech. Concluding the 18th century, it influenced the later work of J. Haydn and led directly to the 19th century. - to the heroics of L. Beethoven (symphony C-dur, later called<Юпитер>) and the romance of F. Schubert (symphony in g-moll). As a musical playwright, Mozart transformed everyday comic and sentimental opera and created new operatic genres of a mature realistic style. His creative method is characterized by truthfulness and versatility in the depiction of characters, the disclosure of images in their development and interaction, the unity of the typical and the concrete, the contrast of the tragic and the humorous, the combination of cordiality with irony, reality with fantasy. On the basis of the Italian opera buffa (and partly the opera seria), the comedy opera arose<Свадьба Фигаро>and opera drama<Дон Жуан>, based on the Austro-German Singspiel - a national fairy tale opera<Волшебная флейта>, which included other stage and musical genres - from the sacred performance to the extravaganza, from the forms of Italian opera to the chorale and fugue. Least of all corresponded to the creative nature of Mozart heroic-mythological and conditionally-historical genre of the opera seria, as shown not so much by his early works (<Митридат>, <Луций Сулла>), how much later -<Милосердие Тита>(a fictional episode from the life of a Roman emperor). But even in this area, Mozart introduced something new and already in the opera<Идоменей>(based on ancient Greek history and mythology) in his own way developed the conquests of the musical and dramatic art of K. V. Gluck. Unlike Gluck, who sharply broke the old canons of opera, Mozart followed the path of internal renewal and crossing of musical stage forms. In the synthesis of music and drama, Mozart left the supremacy to music, being at the same time demanding of the dramatic content and the qualities of a literary text. The interpenetration of symphony and dramaturgy, with the invariable predominance of the vocal principle, determines many aspects musical theater Mozart. The most important key moments of the action are reproduced in musically integral and dramatic ensembles, including richly developed finales. In the ensembles, the balance of the musical and dramatic sides, the harmony of the overall sound, with the specificity of individual vocal lines, providing the individual certainty of each character, were especially fully affected. Lyrical, comic, dramatic, arias in operas are sound portraits of heroes.

Harmonically clear and vivid in expressiveness, the art of Mozart, a representative of the Viennese classical school, is akin to enlightenment classicism with its cult of reason, the ideal of noble simplicity and optimism, and at the same time sentimentalism with its cult of the heart and the assertion of the rights of the individual, in particular its radical wing - the current<Бури и натиска>. The combination of passionate lyricism, cordiality, power of expression with high organization and strong-willed composure is the originality of Mozart's art. Overcoming the traditions of aristocratic culture, but preserving the vital elements of the gallant style, rethinking and subordinating them to a deeper aesthetic concept, Mozart asserted a new progressive path for the development of music. Individualization of images, fullness of expression, rapidity of development, saturation with drama - all this enriched the melodic, harmonic, polyphonic means, increased the internal dynamics and contrast of compositional forms, determined new principles for the use of instruments and voices in the orchestra and vocal ensemble. The multifaceted music of Mozart often conveys mournfully lyrical (<вертеровские>) or gloomy tragic moods, but light colors prevail in it. The beauty of Mozart's music, elegant and perfect in form, reflects the fullness of the feeling of life, embodies the dream into happiness.

1.2 Themes of Mozart's works

The themes of Mozart's operas reflected the progressive social and ethical ideas of the era. The anti-feudal tendency directly appears in the opera<Свадьба Фигаро>by comedy<Безумный день, или Женитьба Фигаро>Beaumarchais. The revolutionary sharpness of comedy in the opera is softened (partly for censorship reasons), the love theme is embodied more poetically than in comedy. At the same time, the social idea - the victory of energetic, intelligent, worthy people from the people (Figaro and his bride Susanna) in a stubborn struggle against the claims of an aristocrat - is completely preserved in the opera and forms the basis of dramatic development and musical characteristics. The old Spanish legend received a new interpretation in the opera<Дон Жуан> - <весёлой драме>(dramma giocoso), combining comedic and tragic elements, psychological depth and entertaining intrigue, fantastic conventionality and everyday authenticity. The title character personifies vital energy, temperament, irresistible charm, freedom of feeling. Poetizing this image, Mozart, however, does not justify Don Giovanni. He contrasts the willfulness of a strong personality with the firm principles of reason and morality, personified in the symbolic figure of the Commander and in the sublime, chastely strict image of Donna Anna. In a cheerful and graceful opera<Все они таковы>(literally:<Так поступают все женщины>) buffoonery is transformed by subtle irony, the type is clearly engraved in arias and especially in ensembles (there are much more of them here than arias). The pure and noble feeling of youthful hearts, fidelity in love and friendship are sung in the singspiel<Похищение из сераля>with its very conditional oriental flavor and in the philosophical dramatic opera-fairy tale<Волшебная флейта>drawing a utopian perfect world wisdom and virtue.<Волшебной флейте>features of moralization and symbolism in the spirit of Freemasonry are characteristic (since 1784 Mozart was a member of the Masonic order -<свободным каменщиком>at the end of 1785 he entered the box<К добродетели>). The opera glorifies the victory of light over darkness, friendship over enmity, steadfastness over cowardice, human love over evil forces peace. The enchanting music embodies the greatness of the spirit and simplicity of heart, touching and comic, allegorical profundity and naivety. IN<Волшебной флейте>Mozart realized his dream - to create a great opera in his native language. AND<Свадьба Фигаро>, And<Дон Жуан>according to their artistic principles, dramaturgy and musical warehouse - the creations of the Viennese school, but they, like most of Mozart's operas, were written in Italian and in forms close to Italian opera, which dominated in those years in many countries.<Волшебная флейта>originated on a different basis. With all the abstractness and exoticism of its plot, with all the unusualness of its musical dramaturgy, this opera is closest to national character, folk songs and domestic polyphony, the traditions of the Austrian democratic theater. It paved the way for the assertion of the independence of the national opera in the countries German language. Along with I. Haydn, Mozart is the creator of new orchestral and chamber classics. He relied on the scheme of a 4-part symphonic and ensemble cycle, on the type of sonata allegro developed by Haydn and on his structure of a symphony orchestra and a bow quartet. (In turn, Haydn took Mozart's innovations and implemented them in his best symphonies, quartets and sonatas, which appeared after Mozart's death) As he mastered compositional features contemporary to him diverse schools and trends (the ease of perception of him was amazing), his own style of writing changed noticeably, the unique originality of his brilliant work was more fully revealed. The influence of the Mannheim school affected<Парижской>symphony in D major, created in 1778, after a stay in Mannheim. This means that the acquaintance with the works of J. S. Bach and G. F. Handel at the beginning of the Vienna period left a trace in the musical development of Mozart. At the age of 15-16, M. created 15 or 16 symphonies, and in the last 10 years of his life - 6 (a total of about 50). Each of the mature symphonies is different in character. T. n.<Хафнер-симфония>(D-dur, 1782, written for the Salzburg Hafner family) still bears the features of a divertissement style. It arose from a multi-part serenade, from which the opening march and one of the two minuets were removed. In 1783 appeared<Линцская>symphony in C-dur, in 1786 -<Пражская>D-dur (<симфония без менуэта>). 3 symphonies 1788 crown symphonic creativity Mozart and all European symphony of the 18th century. The large solemnly pathetic introduction of the Es-dur symphony contrasts with the dance-everyday themes of all 4 movements, which are heterogeneous in emotional coloring. The g-moll symphony is permeated with excited lyrics, mournful pathos, and at the same time is distinguished by energy, will, and mental stamina. In the majestic symphony G-dur (<Юпитер>), the largest in scale, the contrast of images is especially emphasized. Mozart elevated the ideological and figurative content of the symphony, gave it great dramatic tension, strengthened its stylistic unity and deepened the contrasts between the parts of the sonata cycle, between the parts of the sonata allegro, and also within the themes. He used the sonata allegro form not only in the 1st, but also in the 2nd and 4th parts of the symphony. The monumental finale of the symphony<Юпитер>is a brilliant example of the introduction of a fugue into a sonata allegro. The evolution of the minuet (3rd part of the symphony) is indicative - it becomes lyrical and courageous with Mozart. An essential principle of Mozart's instrumental works is cantability, used by the composer not only in the leading voice, but throughout the finely developed texture (<певучая инструментовка>). The themes are characterized by melodic saturation, flexibility of the line, wide breathing; often they are associated with the melodies of Mozart's operas; in many of them, the turnovers of everyday, folk music of Austria are transformed. In Mozart's orchestra, a remarkable balance of groups was achieved (4 parts of string instruments with an undifferentiated bass part and mostly a pair of wind instruments with timpani). Brass timbres are used individually. Flutes are often presented in the orchestra not in two, but in one part (including in the last 3 symphonies), oboes are absent in the Es-dur symphony (K 543), clarinets, to which Mozart gravitated more and more (Haydn introduced them to the symphony orchestra after Mozart), are absent, however, in the symphony in C-dur (K 551) and introduced into the symphony in g-moll (K 550) additionally (there are no trumpets and timpani in it).

Chamber music

Mozart's chamber instrumental ensembles are close in style to his symphonies, but, as a rule, are more intimate, subtly expressive and spiritually focused. In them, even more intensively than in symphonies, elements of polyphony are used; Chromatically sharpened melodic lines (g-moll string quintet), bold dissonant harmonies (c-dur string quartet) are typical. In early ensembles, the clavier dominates the violin (in sonatas), the violin and cello (in trios). Strings and clavier are equal in later compositions. Of the 35 sonatas for piano and violin (this does not include the 6 so-called romantic sonatas, whose ownership has been refuted), 16 were created during the period of early concert trips (Paris, London and The Hague). The most perfect sonatas belong to the Vienna period (B-dur, 1784; A-dur, 1788). In the string quartets, the old type, close to the trio sonatas (Italy, 1770-73), was replaced by the Haydnian type, presented in full in 6 quartets dedicated to<отцу, наставнику и другу>I. Haydn (according to Mozart,<плод долгого и упорного труда>), and 3<Прусских>quartets (1789-90). If in chamber music Haydn, string quartets occupy a central place, then Mozart, along with quartets (quantitatively, they predominate), string quintets came to the fore in terms of artistic significance (the most complete examples are C-dur and g-moll, 1787). Among the wind and mixed ensembles the quintet for piano and wind instruments (1784) and the quintet for clarinet and strings (1789) stand out.

clavier music

Mozart's clavier music reflected two important historical process: transition from harpsichord and clavichord to piano (already quite early years Mozart) and the stabilization of the classical sonata cycle (three-movement) in the sonata and concerto. Mozart's piano style is directly related to his performing arts. Mozart's elegant, distinct, melodious, heartfelt playing constituted an era in the history of pianism. Mozart is the founder of the classical form of the concerto. Having retained wide accessibility, Mozart's concertos acquired a symphonic scope and a variety of individual expression, they organically combined improvisation and a strictly logical principle, competition and mutual completion of the solo part and orchestral ensemble. As an 11-year-old boy, Mozart arranged parts from sonatas of other composers in the form of 4 concertos, at the age of 17-21 he wrote the first 4 original concertos for piano and orchestra; most (17) piano concertos appeared later, in Vienna. Their music is marked by festive splendor (concerts D-dur and A-dur), sometimes dramatic and pathetic (concerts c-moll and d-moll). The Vienna Piano Concertos were preceded by 5 violin concertos written by the 19-year-old Mozart, possibly for his own performances, and a double piano concerto composed for himself and his sister (1779). At the request of fellow musicians or commissioned by eminent amateurs, he created a series solo concerts for wind instruments, several double concertos and a triple piano concerto, as well as an effective one, in<мангеймском стиле>, <Концертную симфонию>with 4 solo wind instruments. For his performances, and partly for his students, Mozart wrote piano sonatas, rondos, fantasies, variations. Although sonatas are inferior in content and novelty of style to concertos, quintets, symphonies, nevertheless the most mature of them, such as c-moll (1784), A-dur (1778) and D-dur (1789), together with similar works for piano and violins form the top sonata creativity 18th century

church music

Almost all of Mozart's church music - masses, litanies, vespers, offertorias, motets, etc., as well as church sonatas - was written in Salzburg. Over the last 12 years of his life, Mozart created only one completed church work - a motet. (June 1791, resort Baden, near Vienna). In Vienna, he worked on the Mass and the Requiem. Both major compositions remained unfinished. Work on the requiem refers to the last year of Mozart's life. This funeral mass for a choir, a quartet of soloists and large orchestra- one of the most profound in thought and expression of innovative works of Mozart. Tragic pathos and touching grief are conveyed in it with equal penetration.

The art of improvisation

Fantasies and partly variations to a certain extent captured the incomparable art of Mozart's improvisation. Fantasy c-moll (it is preceded by a sonata of the same key) and rondo c-moll gravitate towards sonata-type dramaturgy. Sonatas and other pieces by Mozart for piano 4 hands and for 2 pianos belong to the early examples of the piano duet, (Creative ingenuity and inexhaustible cheerfulness marked everyday entertainment music for an orchestra or ensemble - suite-type cycles (divertimento, serenades, cassations, nocturnes ), dances (minuets, country dances,<немецкие>, landlers), marches. It has particularly tangible links with folklore. Touching some faces with chamber instrumental genres, symphonies and concertos, entertaining suites served as a kind of experimental laboratory for the composer. Most of the serenades and divertissements appeared in Salzburg. They were designed for playing music both outdoors and indoors and could be performed either by an orchestra or by an ensemble (they used various compositions - mixed, brass, strings). One of the most popular works Mozart in this genre -<Маленькая ночная серенада>(1787), written for string orchestra. The pieces that make up the cycle are diverse in form and type of music - from sonata and concerto to various kinds of dances, from rondo to variations. Street cassations, serenades, divertissements were usually preceded and often concluded with a march, which the musicians played as they walked. The penchant for humor was brilliantly manifested in<Музыкальной потехе> () for string quartet and 2 horns (a parody of symphonies by artisan composers). Among the orchestral pieces, a special place is occupied by<Масонская траурная музыка>(1785). Most of the solo songs, as well as vocal ensembles and comic canons, Mozart created for his inner circle. Numerous arias and vocal ensembles with an orchestra (partially as insert numbers for operas by other authors, almost all in Italian) were written by the composer at the request of the artists. The genre of German song for voice and piano was just emerging in Austria, and Mozart was among the first to create it. classic patterns. Among the surviving 30 songs of Mozart -<Фиалка>on the next J. W. Goethe (1785),<Старушка>, <Вечернее настроение>, <Тоска по весне>and others. Popular<Колыбельная> (<Спи, мой младенец, усни>) does not belong to Mozart (its author is B. Flies). For Freemasons, Mozart created several cantatas and songs. Like<Волшебная флейта>, these works are imbued with humanistic ideas.<Маленькая масонская кантата>(November 1791) - Mozart's last completed work.

Conclusion

The creative process proceeded at Mozart at ease and rapidly. The composer often dispensed with preliminary sketches. Sometimes in large scores, he first fixed the main ideas, and introduced the details later, without refusing to rework. His inspired creativity was based on the craft in the best sense of the word, his skill was constantly enriched by the search for new techniques and composition. With the myth of Mozart - a careless, naive artist, a genius who creates without effort and thought, a priest of "pure" art - a special, aesthetic type of creativity is associated, which was given the name "Mozartianism" without reason. Mozart's work has been portrayed in musicological literature and interpreted in performing arts as cloudlessly clear, serene, “Apollonian”, or cutesy-graceful (“rococo”), or, conversely, romantic and “demonic”. Modern musicology claims Mozart as one of the greatest creators, expressing in his ingenious creativity progressive public and aesthetic ideas of its era and expanding the horizons of the entire world of musical art.

Bibliography

1.Illustrated biographies of great musicians. Mozart Publishing house “Ural Ltd.” 2013

2. Directory “Creative portraits of composers”

3. Encyclopedia for children.

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