Biography Of Wolfgang Amadeus Mozart By Marian Wimmer Essay

Biography Of Wolfgang Amadeus Mozart By Marian Wimmer Essay

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Wolfgang Amadeus Mozart was a prodigy at a very young age, and as a result became a brilliant composer. Born January 27, 1756, he was baptized at St. Rupert’s Cathedral as Johannes Chrysostomus Wolfgangus Theophilus Mozart. He was a child prodigy, and made his first public appearance at age six at Salzburg University in 1761 as a dancer in a play by Marian Wimmer. Mozart’s first composition was written at five years old, “a miniature Andante and Allegro.” His father, Leopold, along with Mozart and his sister traveled to England in 1764, but first made a stop in Brussels where both children gave some sort of concerts. They next went to Paris and played before Louis XV and had a couple more concerts before pressing on to England, but before traveling to England, “In Paris, Mme. Vendôme published Mozart’s two pairs of sonatas for keyboard and violin.” While in England, the Mozart children played for George III, however, he fell ill before a benefit for cellist Carlos Graziani and was unable to perform.
The Mozart’s left England in early 1765, traveled around Europe and arrived back in Salzburg in late 1765. “Leopold conceived the idea of securing for Mozart an opera commission, La finta semplice, but intrigues at the court conspired to defeat his plan.”
Mozart met Constanze Weber, the niece of composer Carl Maria von Weber in 1781 and married in 1782. They had six children, however only two, Karl, and Franz Xaver only lived to adulthood.
Joseph Haydn and Mozart had been friends for a few years. The “Haydn” quartets were published in 1785. These were written by Mozart and were highly influenced by Haydn. They often kept in touch. The last time they saw each other prior to Mozart’s death was in 1790, and with te...

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...nt thought this was indeed composed by Mozart.
“The debate over the authorship of Mozart’s Requiem was touched off by the infamous attack Gottfried Weber launched in 1825 on the traditional performing version. The code word for Mozartean authorship, then as now, has been Echtheit – authenticity.” “The Introit and Kyrie are essentially in Mozart’s hand; the rest is all in Süssmayr’s hand, and consists of his completed versions of Mozart’s Sequence and Offertory, and his own versions of the Sanctus, Benedictus, Agnus dei, and communion, for which no material in Mozart’s hand survives.” When Mozart died, the fragments of this composition remained on his deathbed. After Mozart’s death, Constanze had given Süssmayr some paper not knowing what was on them or what Süssmayr did with them. Did they contain bits and pieces of the Requiem? It may never be known.

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