Wolfgang Amadeus Mozart

“Vorrei spiegarvi, oh Dio,” K. 418

                  Today, in the performance of, let us say, a Bartok string quartet, if a movement by some other composer were added in the middle, the audience would understandably be astounded.  But, until the twentieth century the practice of adding an aria by another composer to an opera was not only...

Andantino from Concerto for Flute, Harp, and Orchestra in C Major, K. 299/297c

            There is some evidence that Mozart really didn’t care that much for the sound of the flute as a soloist, although he wrote beautifully and convincingly for it in ensemble.  And, although a prolific composer, he only wrote one piece that included the harp—the present one.  But, it doesn’t matter, Mozart being Mozart, the...

Clarinet Concerto in A Major, K. 622

            During his relatively brief life Mozart composed at an amazing rate, and so today we are blessed with a multiplicity of his works in almost all musical genres.  His operas, of course, are his most important contributions, but they are followed close in significance by his concertos.   Collectively, they defined the...

Contredanses, K. 609

            Mozart, like all composers before the nineteenth century, saw himself as more-or-less a craftsman, serving up what his patrons and audiences wanted and were willing to pay for.  Hence, in addition to Olympian masterpieces such as Don Giovanni and his last symphony, we also have a plethora of smaller, more modest compositions...

Divertimento in F Major, K. 138

            Mozart’s genius surfaced early, not only as a precocious performer, but as a composer, as well.  His father was a successful court musician in their hometown of Salzburg, but he certainly was not above bolstering the family finances by sharing little Wolfgang’s talents with the greater musical world.  As a result...

Exsultate, jubilate, K. 165

            Mozart was the master of all contemporary musical genres, but opera was his forte, and of course, none since has exceeded his remarkable achievement in the marriage of music and drama.  It is easy to forget, today, that Italian opera ruled the roost in eighteenth-century European musical life, and so it was natural for young...

Horn Concerto No. 3 in Eb Major K. 447

            During his relatively brief life Mozart composed at an amazing rate, and so today we are blessed with a multiplicity of his works in almost all musical genres.  His operas, of course, are his most important contributions, but they are followed close in significance by his concertos.   Collectively, they defined the...

Marches, K. 408

        Unlike that of many composers of the first rank, Mozart’s genius found fruition in almost every musical genre–imposing or modest.  While it is tempting for many to project romantic notions as the basis for Mozart’s professional motivations, we must remind ourselves that he wrote for his daily bread–not for the eternity of art. ...

Oboe Concerto in C major, K. 314 (271k)

            After his incomparable operas, Mozart’s twenty-seven piano concertos must take pride of place in posterity’s estimation.  In addition to those masterpieces, which he largely composed for his own use, he also wrote concertos for other instruments.  The latter group consists of five violin concertos, four for horn, two for...

Overture to Don Giovanni, K. 527

            Mozart’s incomparable musical gifts enabled him to compose at the highest level of artistic brilliance in almost every musical genre.  We are privileged to experience his legacy in symphonies, chamber music, wind serenades, choral music, keyboard music—the list goes on and on.  But, unquestionably, his greatest...

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