With #kleinePauseMozart, the Salzburg Mozarteum Foundation presents itself from the diverse Mozart cosmos. Since the two Mozart museums and Salzburg’s most beautiful concert halls are closed until further notice, the Mozarteum Foundation will now increasingly use digital media to provide a little distraction with the fascination of Mozart. From now on, the #kleinePauseMozart offers exciting reports, background information and information about Mozart on a daily basis.
For children, you will find a lot of information and material on #WegezuMozart
Letter from Wolfgang Amadé Mozart to Maria Anna von Berchtold zu Sonnenburg, June 2, 1787
Only a few days after Leopold Mozart had died, Wolfgang wrote from Vienna to his sister Maria Anna in St. Gilgen:
liebste Schwester! –
Du kannst dir leicht vorstellen wie Schmerzhaft mir die traurige Nachricht des gähen todsfalls unsers liebsten vatters war, da der verlust beÿ uns gleich ist. – da ich dermalen unmöglich Wienn verlassen kann |: welches ich mehr thäte um das vergnügen zu haben dich zu umarmen:| […]“. (Brief von Wolfgang Amadé Mozart an Maria Anna von Berchtold zu Sonnenburg, 2. Juni 1787)
This letter shows once again that Wolfgang and his father, although the two could not have been more different – Leopold as a dutiful court employee and Wolfgang Amadé as a genius with a mind of his own -, appreciated and respected each other greatly. The two men were united above all by music, as a lifelong, intensive correspondence testifies.
When Leopold died on 28 May 1787, Wolfgang Amadé lost not only his father but also a friend and advisor. Wolfgang Amadé Mozart was fortunate to have had an experienced musician as a father in Leopold Mozart, because Leopold recognized his son’s musical potential at a very early age and dedicated his life to promoting this talent. As a child, Wolfgang had a particularly close relationship with him. “After God, there’s a father after God” was his childhood motto.
Wolfgang Amadé Mozart did not travel to Salzburg for the funeral, as he was in the middle of working on the opera “Don Giovanni” KV 527, which was premiered in Prague in October 1787.
The complete letter from Wolfgang Amadé to his sister in St. Gilgen can be found in the Mozart Letters and Documents – Online Edition:
Today 233 years ago, on 28 May 1787, Leopold Mozart died
Today 233 years ago, on 28 May 1787, Leopold Mozart died in the early hours of the morning at the age of 67. His doctor diagnosed a “spleen constipation”. The funeral took place the following day and took place in the evening after the prayer hour in the “Comune-Gruft” of St. Sebastian.
Leopold Mozart is without doubt one of the most interesting and diverse musical personalities of his time. He was not only the author of the recognized work of the “Violin School”, but also a gifted composer, long-time court musician, vice-kapellmeister, skilled notation engraver and copyist.
He was also a passionate letter writer ✉. It is thanks to him that, thanks to the numerous and very detailed letters we receive, we not only learn a great deal about Mozart’s childhood, but also about the family life of the Mozarts.
Leopold Mozart was considered a loving husband and father, a sociable host (just think of the numerous activities such as the Bölzl shooting in the Tanzmeisterhaus, today Mozart’s home), an educated reader and a great friend of visits to the theatre and opera.
Leopold Mozart was in many ways ahead of his time and can be called a man of the Enlightenment.
When he died on Whit Monday, May 28, 1787, the family friend Dominikus Hagenauer noted in his diary:
„… Der heut verstorbene Vater war ein Mann von vielen Witz und Klugheit, und würde auch ausser der Musick dem Staat gute Dienste zu leisten vermögend gewesen seyn. Seiner Zeit war er der regelmessigste Violinist, von welchem seine zweymal aufgelegte Violinschule Zeugniss gibt …“
If you would like to find out more about the multi-faceted father of Wolfgang Amadé Mozart, it is best to visit our virtual tour of the special exhibition Leopold Mozart:
Musiker – Manger – Mensch: https://mozarteum.at/museums/mozart-wohnhaus/#virtual-tour-section
The theoretical work “Versuch einer gründlichen Violinschule” by Leopold Mozart is available online in the Digital Mozart Edition:
How many trips did Mozart make during his life?
How many trips did Mozart make during his life? Wolfgang Amadé Mozart undertook a total of 17 journeys. He was 3720 days, that is 10 years, 2 months and 2 days on the road. This time span corresponds to about one third of his life. The first journey he made was to Munich when he was 6 years old, the last journey took him to Prague 3 months before his death in 1791 for the premiere of his opera “La clemenza di Tito”.
In 1778 he shared his thoughts about travelling artists with his father in a letter from Paris:
„ich versichere sie, ohne reisen | wenigstens leüte von künsten und wissenschaften | ist man wohl ein armseeliges geschöpf! – und versichere sie, daß, wenn der Erzbischof mir nicht erlaubt alle 2 jahre eine Reise zu machen, ich das Engagement ohnmöglich annehmen kann; ein Mensch von mittelmässigen Talent bleibt immer mittelmässig, er mag reisen oder nicht – aber ein Mensch von superieuren Talent | welches ich mir selbst, ohne gottlos zu seÿn, nicht absprechen kan | wird – schlecht, wenn er immer in den nemlichen ort bleibt“ (Wolfgang Amadé Mozart an seinen Vater, 11. September 1778).
? Trip 1 Munich (1762)
? Trip 2 Vienna (1762/63)
? Trip 3 Western Europe (including Paris and London, 1763/66)
? Trip 4 Vienna (1767/69)
? Trip 5 Italy (1769/71)
? Trip 6 Italy (1771)
? Trip 7 Italy (1772/73)
? Trip 8 Vienna (1773)
? Trip 9 Munich (1774/75)
? Trip 10 Paris (1777/79)
? Trip 11 Munich and Vienna (1780/81)
? Trip 12 Salzburg (1783)
? Trip 13 Prague (1787)
? Trip 14 Prague (1787)
? Trip 15 Berlin (1789)
? Trip 16 Frankfurt am Main (1790)
? Trip 17 Prague (1791)
The letter from Wolfgang Amadé Mozart to his father can be found here:
the mozarts travel
Wolfgang Amadé Mozart spent about a third of his life travelling. Although travel was arduous, the postal system was well developed in the second half of the 18th century. There were stagecoach connections around the clock, and people also travelled at night. The fastest connection from Salzburg to Munich took 29 hours. People left Salzburg at 8 a.m. and arrived in Munich the next day at 1 p.m. There were six stops in total: Waging (13:00), Stein an der Traun (18:00), Frabertsham (21:00), Wasserburg (24:00), Steinhöring (05:00) and Zorneding (09:00). The distance between the posts (post stations) was about 25 km. Depending on the season, one could expect a cruising speed of 5.5 to 7.5 km per hour. Therefore one sat between the stations 3 1/2 to 4 1/2 hours in the carriage. During the stops the horses were changed and the travellers used this time for a break, where one dined or drank coffee.
In Italy, due to the heat, people often travelled at night. This should protect from the bad air, the mal aria (malaria). In order to move forward more quickly, Leopold Mozart in Italy sometimes pretended to be the steward of the imperial envoy and was then given preferential treatment.
Wolfgang and his father Leopold travelled from Naples to Rome in a Sedia, a small two-wheeled coach for two people and coachman, and thus took only 27 hours. This light carriage was much quicker than the stagecoach, but also more dangerous. Just before Rome there was an accident in which Leopold was seriously injured in the leg:
„du weist daß 2 Pferd und ein Postillion 3 Bestien sind. auf der Letzten Post nach Rom schlug der Postillion das Pferd, welches zwischen den Stangen gehet, und folglich die Sedia auf dem Rüggen trägt. das Pferd stieg in die höhe, verwickelte sich in dem mehr als spann dieffen Sand und Staub und fiel mit gewalt nach der Seite zu boden, riss folglich den vorderen theil der Sedia mit sich nieder, weil die Sedia nur 2 räder hat. Ich hielt den wolf: mit einer hand zurück, damit er nicht hinausstürzte, mich riss aber der gewalt mit dem rechten fuss mit solchem gewalt an das mittere Eisen des zurückfallenden spritzleders, daß ich das halbe schinbein des rechten fusses fingerbreit aufriss.“
(Leopold Mozart an seine Frau aus Rom, 30. Juni 1770)
The travelling was so exhausting that one had to sleep in after arrival in the quarter. About his arrival in Rome, Leopold wrote to his wife the next morning:
Weil wir nun in diesen 27 St:[unden] unserer Reise nur 2 Stund geschlaffen, und nichts als 4 gebrathne kalte Händl im Wagen mit einem Stück brod verzehrt, so kannst du dir unsern Hunger, Durst und schlaf leicht vorstellen. … da wir in unser Zimmer kamen, setzte sich der Wolfg: auf einen sessl nieder und fieng augenblicklich zu schnarchen und so vest zu schlaffen an, daß ich ihn völlig auszog und ins beth legte, ohne daß er nur das mindeste Zeichen gab, daß er wach werden könnte, sondern er schnarchte immer fort, obwohl ich ihn zu zeiten vom sessl aufheben und wieder niedersetzen und endlich gänzlich schlaffend ins beth schleppen muste. als er nach 9 uhr morgens erwachte wuste er nicht wo er war, und wie er ins Beth gekommen; und er . . . lag schier die ganze Nacht auf dem nämlichen Platz.“ (Brief vom 27. Juni 1770).
Click here to go to the letterheads from the text:
Letter from Leopold Mozart to his wife dated June 27, 1770:
Letter from Leopold Mozart to his wife dated 30 June 1770:
Here you can find more information and pictures of a Sedia:
come and visit the mozarts
We are very pleased to be able to open Mozart’s birthplace in Getreidegasse and the Mozart residence on Makartplatz for all Mozart friends again from the end of May.
The Mozart Residence will open its doors for you again on Whit Saturday, May 30, 2020! The opening hours for May and June are Saturday, Sunday and public holidays:
30 May to 1 June, 6 & 7 June, 11 June, 13 & 14 June, 20 & 21 June and 27 & 28 June from 11 am to 4 pm.
New in the program are regular special tours “Visit the Mozarts” especially for all Salzburgers and the surrounding area on Saturdays at 2 p.m. in the Mozart residence. This is a good opportunity for all local visitors to learn more about the Mozarts and their exciting family history in a small group of maximum eight people.
An overview of the special tours in the Mozart Residence:
Sa 30 May at 2 pm: “Why don’t you visit the Mozarts”
Sa 6 June at 2 pm: “Very private – a guest of the Mozart family”.
Sa 13th June at 2 pm: “After God comes Daddy!”
Sat. 20 June at 2 pm: “Mozart in love”
Sa 27 June at 2 pm: “Constanze, Nannerl and Mother Mozart – Women’s Power in the 18th Century”.
A registration is absolutely necessary: email@example.com
Mozart’s Birthplace, the famous yellow house in the Getreidegasse is also open on weekends and public holidays: June 6 & 7, June 11, June 13 & 14, June 20 & 21 and June 27 & 28
from 11 to 16 in each case.
Hygiene measures in the cash desk areas as well as in the exhibition rooms are guaranteed in both of our museums. Cleaning and disinfection is carried out several times a day. A special one-way guidance system, which guides visitors safely through the Mozart world, has also been installed.
Further information can be found here:
If you have any questions about your visit to the museum, please contact us at firstname.lastname@example.org
We are looking forward to seeing you!
Mozart and his "Vogel Staar"
Simple tone sequences as well as complex arrangements can also be found in the animal world. The blackbird, for example, which can be described as the superstar of songbirds, proves how musical birds are. Male blackbirds play the flute during the rutting and breeding season and are accurate to the rhythm and intonation. They can also transport, expand or even change snapped-on melodies to other pitches, so that new “original compositions” are created.
The musicality of birds has also not escaped Wolfgang Amadé Mozart. The rhythmic singing of birds can be found in works such as “Ein musikalischer Spaß” KV 522.
Mozart was not only musically inspired by songbirds, but was also a great bird-lover. On 27 May 1784 he noted in his book of editions that he had purchased a “Vogel Stahrl” for 34 cruisers. Below this, Mozart wrote a line of notes with the theme of the 3rd movement from the Piano Concerto No. 17 in G major, K. 453, which the bird apparently could whistle after. Wolfgang commented on this enraptured with the words: “That was beautiful!
When the pet died three years later, he buried it in his garden, erected a small grave with an inscription and wrote a poem for the beloved bird:
Hier ruht ein lieber Narr,
Ein Vogel Staar.
Noch in den besten Jahren
Mußt er erfahren
Des Todes bittern Schmerz.
Mir blut’t das Herz,
Wenn ich daran gedenke.
O Leser! schenke
Auch du ein Thränchen ihm.
Er war nicht schlimm;
Nur war er etwas munter,
Doch auch mitunter
Ein lieber loser Schalk,
Und drum kein Dalk.
Ich wett‘, er ist schon oben,
Um mich zu loben
Für diesen Freundschaftsdienst
Denn wie er unvermuthet
Sich hat verblutet,
Dacht er nicht an den Mann,
Der so schön reimen kann.
Den 4ten Juni 1787.
It is possible that Mozart was inspired by the poem “Abendempfindung” (evening sensation) (by a hitherto unknown author), the fifth verse of which begins with the two-liner: “Give me a tear, too, and pluck me a violet on my grave”. Mozart set the poem to music three weeks later as the piano song “Abendempfindng an Laura” KV 523.
Click here for the piano song “Abendempfindng an Laura” KV 523:
Psst: If you want to listen to the rhythmic singing of blackbirds, it is best to get up before sunrise, because the blackbirds’ breeding season and the associated singing can be heard well until July.
11 May 1768
Exactly 252 years ago today Leopold Mozart from Vienna wrote to his friend Johann Lorenz Hagenauer in Salzburg. The family had already been in Vienna for almost eight months. Leopold wanted to present Wolfgang’s enormous progress made during his trip to Western Europe at the Viennese imperial court. At the Emperor’s suggestion, the setting of an opera buffa was to serve this purpose. However, the performance of “La finta semplice” KV 51 was repeatedly postponed until it was finally – to Leopold’s annoyance – never performed at all. So he forged new plans, which he submitted to his friend in this four-page letter: a journey with Wolfgang to Italy, which they did not begin until the end of 1769:
„Es ist im Gegentheil dieses dasjenige, war mir meine Erlaubniß zur Reise nach Italien erleuchtert; eine Reise die, wenn man alle Umstande in Erwegung ziehet, nun nicht mehr kann verschoben werden, und dazu ich vom Kayser selbst allen Vorschub nach Florenz, in alle Kaÿs:[erliche] Staaten und nach Neapel habe. oder sollte ich vielleicht in Salzb: sitzen in lehrer hofnung nach einem bessern Glück seufzen, den Wolfgang. groß werden und mich und meine Kinder beÿ der Nase herumführen lassen, bis ich zu Jahren komme, die mich eine Reise zu machen verhindern, und bis der wolfg: in die Jahre und denjenigen wachsthum kommt, die seinen Verdiensten die Verwunderung entziehen? Soll mein Kind durch die opera in Wienn den ersten Schritt umsonst gethann haben, und nicht auf dem einmahl so breit gebahnten weg mit starken schritten forteilen?“.
Probably in connection with his planned trip to Italy, Leopold Mozart is also considering having his successful music education textbook “Versuch einer gründlichen Violinschule” translated into Italian. However, this plan was ultimately not realized.
Since the family stayed in Vienna much longer than planned, he asked Johann Lorenz Hagenauer to send them beautiful summer clothes to Vienna, including precious pieces they had bought during the great trip to Western Europe:
„Ich muß demnach bitten mein seidenes Lyoner kleid, Mein rothes zeugenes Kleid | so ich zur rückreise nötig habe | und das Camelottene weisgraue kleid des Wolfg: die 2 Persene kleider meiner fr: und meiner Tochter, und wenn sie den gewissen frauenzimmer hut, mit dem flohr über das gesicht finden, der in der grossen runden hutschachtel seÿn wird, mit dem nächsten Postwagen herunterzuschicken. ich will alles hier in eine Reihe hersetzen. 1. Mein seidenes Lyonerkleid Rock Camisol und 2 paar hosen 2. Mein rothes zeugenes kleid. Rock und Camisol. … 3. des wolfgang: Camelotenes kleid – Rock – hosen und Camisol. finden sie noch ein Sommer Camisol, so legen sie es nur dazu. 4. die 2 Persene kleider meiner fr: und tochter. Meine Fr: last bitten zu sorgen, daß es nach der Regula de tri zusammgelegt wird. Sie glaubt die Jungf: Rosalie Joly würde wohl die Mühe übersich nehmen. 5. und Endlich, da sie so viele hütte für die Sonne haben, so wäre es gut wenn einer oder 2 mitlauffen könnten. … Ich bitte von des wolfg: rothen und kerschfarben kleid, und von meinem englischen rothbraunen Kleid einen fleck der übrigen bagage beÿzulegen.“
You can read the whole letter of 11 May 1768 here: https://dme.mozarteum.at/DME/briefe/letter.php?mid=691
By the way: The opera “La finta semplice” KV 51 was finally performed, in 1769 at the Salzburg court theatre. You can find the libretto printed for it here:
Mother’s Day was not yet celebrated during Mozart’s lifetime, and the tradition of a fixed day of honour only entered the Western world at the beginning of the 20th century.
Wolfgang Amadé Mozart had an intimate relationship with his mother. It came to an abrupt end when she died unexpectedly in Paris on 3 July 1778 during their journey together.
From many of Wolfgang’s letters it is clear how much he loved and adored his mother. Thus he sent her the following greeting from Bologna on her first trip to Italy with his father Leopold on July 21, 1770 on her name day:
“… wünsche das die mama noch möge viel 100 Jahr leben, und imer gesund bleiben, welches ich imer beÿ gott verlange, und bette alle tag und werde alle tag fleissig für ihnen beÿde betten. Ich kan ohnmöglich mit etwas aufwarten, als mit etlichen loreto glökeln und kerzen und häubeln, und flöhe, wenn ich zurückkome, inzwischen lebe die mama wohl …”
During the longer stay in Mannheim in 1777/78 on the way to Paris, Wolfgang made an excursion to Kirchheimbolanden with Aloisia Weber and her father. On the way back, on January 31, 1778, he wrote an exuberant poem from Worms to his mother who had stayed behind in Mannheim:
Ich esse gerne Butter.
Wir sind Gottlob und Dank
Gesund und gar nicht krank.
Wir fahren durch die Welt,
Haben aber nit viel Geld;
Doch sind wir aufgeräumt
Und keins von uns verschleimt.
He closes it like this:
Mit meiner Poesie; nur will ich Ihnen sagen
Daß ich Montag die Ehre hab, ohne viel zu fragen,
Sie zu embrassiren und dero Händ zu küssen,
Doch werd’ ich schon vorhero haben in die Hosen geschißen.
à dieu Mamma
Dero getreues Kind
ich hab’ den Grind
? We wish all moms a happy #Mother’s Day ?
Here you can read the whole letter from Leopold and Wolfgang Amadé Mozart to Anna Maria Mozart: https://dme.mozarteum.at/DME/briefe/letter.php?mid=760
Mozart’s greeting to his mother is on the third page of the letter.
You can find the poem in full length here: https://dme.mozarteum.at/DME/briefe/letter.php?mid=976
Who is behind the wonderful illustrations around the Mozart Week?
Who is actually behind the wonderful illustrations around the Mozart Week, such as the singing frog, the red seahorses pulling a carriage full of instruments or the violin-playing grasshopper?
Today we would like to introduce you to the young Salzburg artist and illustrator Philipp Pontzen, who created the fabulous illustrations for the Mozart Week 2020 and 2021, as well as Loteriá Mozartiana for our publications department.
It all began with a meeting between Philipp, Angelika Worseg and Rolando Villazón, director of the #Mozartwoche, where rough ideas were discussed. At the next meeting Philipp Pontzen had the finished “singing frog” in his pocket and presented the colour illustration to our artistic director.
In this context Philipp told us that he still remembered very well how he took the picture out of the folder and handed it over to Rolando Villazón. He looked at the picture and was delighted with the illustrations of the young artist.
We are of the same opinion as our artistic director. The illustrations by Philipp Pontzen are not only beautiful to look at, but also take up and reflect the respective theme of the Mozart Week. In total there are 76 colour illustrations, 63 small line drawings and two flipbooks <3
More information about Philipp Pontzen and his illustrations can be found here:
Both Mozart and his sister Maria Anna never attended school
Both Mozart and his sister Maria Anna never attended school. The lessons, not only the musical ones, were given by father Leopold Mozart, who himself had an excellent universal education and had a modern, enlightened approach to educational questions. In addition to the basic knowledge of reading, writing and arithmetic, Wolfgang also received lessons in Italian, French and Latin. The most important knowledge in history, geography and literature was certainly also part of the lessons. We may assume the same for Maria Anna’s education, because Leopold was convinced “that one cannot provide enough for the education of the youth, on which the whole temporal and eternal welfare lies without question” (Letter to the daughter of July 28, 1786). Through a good education, no matter in which subject, children should later be able to provide for their own livelihood. The two children gained extensive knowledge not least during the great three-and-a-half-year trip to Western Europe, which included visits to sights, chambers of art, natural history cabinets, zoos and much more – invaluable experiences that most children of their time were not able to enjoy.
From the age of marriageability onwards, Maria Anna was taught household skills, which were of course taught by her mother.
Leopold Mozart, who had many private pupils throughout his life, was responsible for music lessons. Maria Anna received her first piano lessons at the age of seven, three years earlier than Johann Sebastian Bach, who had begun his sons’ musical education. As Wolfgang’s extraordinary musical talent was already evident at the age of three, his father began training with him much earlier. The sister’s memories show that her brother did not have to be forced to compose or practice; on the contrary, he had to be stopped from doing so, otherwise he would have been sitting at the piano day and night. This obsession was also expressed in other areas. When he learned arithmetic, for example, he covered the entire furniture with chalk figures in his zeal. According to Maria Anna, as a child Wolfgang had the “desire to learn everything he could see”.
The letter from Leopold Mozart to his daughter from July 28th and 29th, 1786 can be found here:
„Wieder ein kleines Briefchen!” – is how Wolfgang Amadé Mozart’s letter to his father Leopold begins on May 7, 1783.
In the letter, he told his father that he was searching intensively for an Italian textbook for an opera buffa: „ich habe leicht 100 – Ja wohl mehr bücheln durchgesehen – allein – ich habe fast kein einziges gefunden mit welchem ich zufrieden seÿn könnte […]“.
The term opera buffa is Italian and means something like joking or funny opera. In contrast to this, the opera seria can be understood as a serious opera. For this genre, mythological or heroic contents were often processed, which were associated with a ruler figure, as for example in “La clemenza di Tito” (text by Pietro Metastasio, 1734).
In his letter, Wolfgang Amadé Mozart also mentions for the first time the Italian poet Lorenzo Da Ponte, with whom he was to collaborate several times. Thus Wolfgang wrote to his father: „und wenn sich schon ein dichter mit diesem abgeben will, so wird er vieleicht leichter ein ganz Neues machen. – und Neu – ist es halt doch immer besser. – wir haben hier einen gewissen abate da Ponte als Poeten. – dieser hat nunmehro mit der Correctur im theater rasend zu thun. – muß per obligo ein ganz Neues büchel für dem Salieri machen. – das wird vor 2 Monathen nicht fertig werden. – dann hat er mir ein Neues zu machen versprochen; – wer weis nun ob er dann auch sein Wort halten kann – oder will! – sie wissen wohl die Herrn Italiener sind ins gesicht sehr artig! – genug, wir kennen sie! – ist er mit Salieri verstanden, so bekomme ich mein lebtage keins – und ich möchte gar zu gerne mich auch in einer Welschen [italienschen] opera zeigen.“
Da Ponte’s outstanding quality as a librettist was his adaptability to the needs of the respective composer. The three famous operas “Le Nozze di Figaro”, “Il dissoluto punito ossia il Don Giovanni” and “Così fan tutte” are the result of this congenial collaboration between Wolfgang Amadé Mozart and Lorenzo Da Ponte.
“Don Giovanni” will be performed during the Mozart Week 2021. Sir András Schiff will bring “Don Giovanni” as an opera concertante with a brilliant cast to the Rock Riding School.
You can find more information here: https://bit.ly/2YHWb8Q
You can find the letter from Wolfgang Amadé Mozart to his father dated 7 May 1783 here:
From Salzburg to Maria Plain
In the context of the special exhibition “Leopold Mozart: Musician – Manager – Man” on the occasion of his 300th birthday, we got to know many different facets of Mozart’s father.
Through his numerous letters we know, for example, that Leopold Mozart not only indulged passionately in shooting boules in his spare time, but was also an enthusiastic walker. At an advanced age, he went for an hour and a half’s walk every day around lunchtime, a healthy habit which he also recommended to his daughter Maria Anna in St. Gilgen, because „wirkl:[ich] traurig, wenn man keine Spaziergänge hat.“
He was happy to walk from Salzburg to Maria Plain; he managed the 5 km walk in 45 minutes: “Nachmittag bin ich nach Maria Plain spaziert, hab dann den P:[ater] Vital besucht, bin um halbe 5 uhr fortgegangen, und war um viertl nach 5 uhr schon zu Hause.“ (letter to the daughter, November 16, 1785).
When daughter Maria Anna still lived in Salzburg, she also went for walks almost daily, with her brother, her father or her friends, often accompanied by the dog Pimperl. She kept the walks in her diary. One of the many entries reads: “um 7 uhr spatzieren mit dem Papa und Pimperl“” (August 27, 1780). Popular destinations were the nearby Mirabell Garden, but one also went to the Capuchin or Mönchsberg.
Sometimes Leopold even extended the walks up to four hours: “„ich [bin] beÿm schönsten warmen Wind und Wetter von halbe 2 uhr bis halbe 6 uhr spazieren gegangen. und zwar von unserm Thörl, um die ganze Schanz bis zum Lintzerthor, – von da in die Gnigel in die Kirche: dann zurück bis zum Strasserhof, wo ich in den Fürstenweg hinein gieng, und bis zum DietrichsteinHof, von dort zuruk in Weiserhof spazierte; dann zum Uhrmacher häusel, und von da über beyde Feldweege bis zum Lintzer Thor, dann bis zum Mirabellthor und herüber zu unserm LödereiThörl.” (Letter to the daughter, November 24 to 26, 1785)
Leopold Mozart thus took an extended walk to Gnigl and then through Schallmoos, both of which were independent places at the time. The masters of the above-mentioned buildings no longer stand today. So all the town gates mentioned in the letter were demolished in the course of the town expansion in the 19th century.
The Linzer Tor was one of the main gates through which the postal and country road to Austria led. The former Gnigler Moor in front of it had been drained under Archbishop Paris Lodron. As a result, several magnificent “courtyards” with representative country houses and gardens were built there by influential Salzburg families, including Count Dietrichstein and Mayor Weiser. The house with the rococo façade of the Robinig Court, where the Mozarts often visited, can still be admired today (Robinigstraße 1). The clockmaker’s house was located outside the Mirabell Gate near the public shooting range, which also no longer exists.
In a detailed letter from Chelsea to his friend Johann Lorenz Hagenauer dated September 13, 1764, Leopold Mozart describes a long, not entirely voluntary walk through the great London to the house of a lord. Since there were no carriages available on a Sunday evening, he rented a palanquin for the children and decided to walk himself: “Es war der schönste und heisseste Tag [8. Juli]. ich ließ einen Tragsessel kommen; setzte beÿde Kinder hinein, und ich gieng zufuß hinten darein, weil das Wetter so ausserordentlich schön ware: allein ich dachte nicht, wie geschwind hier die sesselträger gehen; ich erfuhr es aber. ich kann zimmlich gehen, sie wissen es, und das Fleisch hindert mich im gehen keinesweegs. Kurz bis wir zu Mylord Teneth kammen, glaubte ich öfters es wäre unmöglich mehr zu folgen: Denn London ist nicht Salzburg. ich kam demnach in den grösten Schweis den man haben kann.” As healthy as Leopold felt walking was, this trip ended with a life-threatening cold, from which he had to recover for weeks in Chelsea.
Insights into the special exhibition “Leopold Mozart: Musiker – Manager – Mensch” can be found here:
Letter from Leopold Mozart to Maria Anna Mozart, 16 and 18 November 1785:
Letter from Leopold Mozart to Maria Anna Mozart, November 24 to 26, 1785:
Brief von Leopold Mozart an Johann Lorenz Hagenauer, 13. September 1764:
A few days ago (on April 24th) we presented the Köchel catalogue to you – in the course of this our commercial management presented us the minuet G major for piano KV 1. The piano pieces KV 1a-1d are considered the first surviving works of our favourite composer Wolfgang Amadé Mozart. K. 1a-1d show how varied Mozart’s musical appearance and how skilful he was at the very beginning of his career as a composer.
Like the other early works by Wolfgang Amadé Mozart, K. 2 was probably recorded by his father. The “original” was still in the music book of Mozart’s sister Maria Anna, called Nannerl, in the 1820s. However, it has been lost since then.
Fortunately, Georg Nikolaus Nissen, Constanze Mozart’s second husband, printed the piece in his biography W. A. Mozart’s (Leipzig 1828); Nissen gives January 1762 as the date of origin. So Wolfgang was only six years old! Formally, the Minuet K. 2 is still closely related to the Minuet K. 1d from December 1761; it comprises 24 measures and is constructed in regular quarter-note phrases.
In this video, our commercial director Tobias Debuch introduces us to the minuet in F major for piano K. 2.
So if you want to know more about KV 2 – watch the video and let yourself be enchanted by wonderful piano sounds.
You can find the score of KV 2 in the New Mozart Edition here:
Social life in the 18th century
The city of Salzburg, seat of a prince-archbishop’s court, had about 16,000 inhabitants in the last third of the 18th century. Within the population structure, the large group of clergy played an important role. However, the few resident noble families in the city were hardly of any significance. Between the nobility and the bourgeoisie there was a more casual social interaction than in other large residence cities such as Vienna. Thus the Mozart family also maintained good contacts with numerous noble families such as the Lodrons or the Lützows, for whom Wolfgang composed music on various occasions. The cultural, social and political life of the bourgeoisie was dominated by a few large merchants and traders. Names such as Haffner, Spängler, Späth, Freysauff, Hagenauer, Robinig and Gschwendtner, families who belonged to the Mozart circle of friends and acquaintances, are representative of this.
In addition to the daily evening music and occasional opera performances at court as well as the bourgeois house concerts, the University Theatre with its Benedictine school dramas, for which both Leopold and Wolfgang Amadé Mozart received commissions, contributed significantly to the cultural life of the city. Equally important was the Court Theatre, built in 1775 in the former Ballhaus, where ball games and theatre performances had taken place until then, and which the Mozart family loved to visit. The Redoutensaal in the town hall, built in the same year under Hieronymus Colloredo, was used primarily for balls that took place throughout the entire carnival period, usually twice a week. The court, the nobility and the upper class of the bourgeoisie met there. The Mozarts were also often to be found at these masquerades. Tournaments were held in the princely riding schools. They attended the Stone Theatre (Steinernes Theater or also called the Rock Theatre) in Hellbrunn, were members of various shooting companies and competed in the Bölzlschießen. Board games and card games were very popular in private settings. The common people enjoyed themselves in the numerous inns and breweries in the town, or they met at the annual fairs with their horse riding shows, jugglers and tightrope walkers.
Ariane Haering & Benjamin Schmid - THE VIENNA RECITAL
In their concert called “THE VIENNA RECITAL”, the musician couple Ariane Haering & Benjamin Schmid present a varied and virtuoso programme with works by Mozart, Franz Schubert and Fritz Kreisler. The compositions were either composed in Vienna or arranged by the Viennese violinist Fritz Kreisler or written by himself.
We have received this previously unpublished material from our Great Hall from the musical couple and would like to make it available to you exclusively online until 17 May.
The resounding morning of the Salzburg violinist Benjamin Schmid and his wife, the internationally renowned pianist Ariane Haering, begins with Mozart’s three-movement Sonata KV 306, his only one with a written-out cadenza for both instruments, which suggests an orchestral background – it was supposedly conceived as a double concerto. A wonderful sonata with an immensely touching D minor variation movement in the middle, and above all with a third movement titled “with Tempo di Menuetto”, which the famous musicologist Alfred Einstein described as “balm for a sore soul” and believes that “such a movement is truly “unique in its kind”, not only among Mozart’s contemporaries but also among all his descendants.
This is followed by a summit of the genre: Schubert’s Fantasy in C major D 934, a solitary monolith in the duo literature: profound and highly virtuosic at the same time. Franz Schubert was inspired for his most virtuoso violin works by an exorbitant violinist, the “Bohemian Paganini” Josef Slawik. At the first performance in 1828 the hall was empty. For the work was too unusual for the ears of the time, today we have recognized it as a masterpiece. Both works are central pieces of the duo’s repertoire, which have already been described as the dream couple of classical music.
The second part of the concert features works by Fritz Kreisler and arrangements by the Viennese violinist composer. They culminate in the “Viennese Rhapsodic Fantasietta”, which is unfortunately still played too seldom: Fritz Kreisler’s last composition, which he wrote in 1941 and 1942 and in which he looked back from New York on the Vienna of his childhood and youth, while it seemed to have just disintegrated into rubble and ashes under the bombs of the Second World War; it is a compendium written by the composer Kreisler at the end of a violinist’s life: truly ingenious in his artistic Viennese fantasy – especially in its harmonic – modulatory aspects. The work of Fritz Kreisler has always been a great concern of Benjamin Schmid in particular – beyond his usual encore status.
Click here for the concerts:
Part 1: https://youtu.be/J3XuRnEIqJs
Benjamin Schmid, violin Ariane Haering, piano Mozart Sonate K377, 1. Allegro, 2. Andante con variazioni, 3.Tempo di Menuetto Schubert Fantasie C, D 934
Part 2: https://youtu.be/EG4foK2yOmw
Benjamin Schmid, violin Ariane Haering, piano Live Salzburg Recital, part 2 Fritz Kreisler: Arrangements and Originals – J.S. Bach: Prelude – N. Paganini: La Campanella – C. Scott: Lotusland – F. Kreisler: Viennese Rhapsodic Fantasietta”
"Oeuvres complettes" from 1798 - Edition with piano pieces by Wolfgang Amadé Mozart
Today we will visit our beautiful Bibliotheca Mozartiana. Our library is located on the first floor of the historic Mozarteum in Schwarzstraße and contains about 35,000 literary titles (books, essays) and more than 6,000 musical works. The Bibliotheca Mozartiana is the world’s largest specialist library on Wolfgang Amadé Mozart – numerous books provide insights into the life and work of the great composer.
Armin Brinzing, director of our Bibliotheca Mozartiana, presents you with something very special today. For this he takes us on a journey into the past and presents us the “Oeuvres complettes” from 1798 are an edition with piano pieces by Wolfgang Amadé Mozart. The historical music volume is not only pretty to look at, but there is also an exciting story about it.
More about this in the video ?
You can find more about our Bibliotheca Mozartiana here:
The “Oeuvres complettes” from 1798 are also accessible online:
You can find the online catalogue of the Bibliotheca Mozartiana here:
Further information about Breitkopf & Härtel can be found here:
PS: You are listening to the Concerto for flute, harp and orchestra C major (KV 299) by Wolfgang Amadé Mozart