Welcome to our press & media section!
Here you can download our latest press information and pictures. You do not need a password for the download of the pictures. However, we kindly ask you to leave us your name, the medium you work for and your email adress. We are also happy to add you to our press distributor if you send an email with your address to firstname.lastname@example.org. On request we are happy to provide further press information as well.
The Salzburg Mozarteum Foundation has acquired a rare letter that Mozart wrote to his beloved wife Constanze while in Prague on Good Friday 1789
The composer Wolfgang Amadé Mozart rarely travelled far from Vienna after he settled there in 1781, and when he did, he was almost always accompanied by his wife Constanze. As a result the only surviving letters that the couple exchanged after they married for love in 1782 date from the years between 1789 and 1791. They offer us an opportunity to peer deep into Mozart’s heart.
He left Vienna in April 1789 on a journey to Berlin that took him via Prague, Dresden and Leipzig. Mozart was motivated in the main by his desire to perform for King Frederick William II in Berlin – the Prussian ruler was a well-known music lover – but he also hoped to fill his coffers by giving concerts since the musical life of Vienna had suffered considerably since 1787 as a result of the latest Russo-Turkish War.
While on the road, Mozart wrote at least twice a week to his wife, who had remained behind in Vienna. In the course of these letters he reported on his encounters with mutual acquaintances and on his concert appearances. Particularly heartfelt and touching are the asseverations of his love, his petty jealousies and his concern for his wife’s health. The letter that he wrote to Constanze from Prague on 10 April 1789 begins with a tender salutation „dearest, best little wife“ and goes on to mention his meetings with a number of friends, a contract for a new opera from Prague that he says is „almost in the bag“ but which in the event came to nothing, and rumours that the king of Prussia was expecting him in Berlin. Mozart also told his wife how much he was longing to hear from her and hoped to find a letter from her waiting for him in Dresden, the next port of call on his journey. His message home ends with the words „Kiss our Karl a thousand times and I you with my whole heart„. The couple’s son, Carl Thomas, was then four-and-a-half-years old.
This latest acquisition to the Foundation’s collection is introduced by Ulrich Leisinger and Andreas Fladvad-Geier, respectively the Mozarteum’s director of research and its artistic director:
The letter of 10 April 1789 was last sold at auction in the early 1990s. It is the first of the letters written by Mozart to Constanze during his travels to have been acquired a few weeks ago by the Mozarteum Foundation.
The letter is available online as part of the Foundation’s Digital Mozart-Edition:
Mozart’s letter to Constanze 1789
Press images for Mozart Week 2020
Download Area for pictures of the Mozart Week 2020
From Januar 23th on here you will find actual pictures of the concerts of the Mozart Week 2020.
Please scroll down to get to the concert you need.
In 2021 the world’s most important Mozart festival is presenting Mozart’s minor-key works and showcasing the composer as a music dramatist
Mozart Week 2021: Musico drammatico (21. – 31. January 2021)
The 2021 Mozart Week Festival is focusing on a single aspect of Mozart’s multifarious musical world and highlighting his achievements as a music dramatist. The musical emphasis will be placed on his minor-key works since these are especially notable for the immediacy of their dramatic impact. In every aspect of its programming, Rolando Villazón’s third Mozart Week Festival continues to be motivated by his motto of “Mozart Unadulterated” and brings together practically all of the composer’s works in a minor tonality. “As a man capable of understanding the human soul and as an incomparable interpreter of this abstract world of light and shade,” Villazón explains, “Mozart reveals himself to us as the most perfect musico drammatico.”
The 2021 Mozart Week Festival is a cornucopia of universal forms of expression that include music, dance, mime and puppetry – an art form that Mozart himself was very fond of – and in that way reflects his dramatic variety on the stage. The first festival of 2021 features some sixty-five events that include three fully staged theatre projects, three performances of operas that will either be presented as concerts or semi-staged, several orchestral concerts, chamber music recitals, dance, mime, films, talks and much more besides.
The Salzburg Mozarteum Foundation presents a new PLAYMOBIL Special Figure: Mozart
The Salzburg Mozarteum Foundation welcomes a new family member to its midst. In keeping with its obligations as the Mozart family’s heir and its aim of making Mozart’s music, life and personality accessible to everyone and to every generation, we have developed a new PLAYMOBIL Special Figure in close association with the geobra Brandstätter Stiftung Co. KG: the figure is Wolfgang Amadé Mozart. Equipped with a violin and bow, PLAYMOBIL’s Mozart appears outside the house in which he was born and offers a delightful representation of the uniqueness of one of the greatest composers of all time.
For more than 250 years Wolfgang Amadé Mozart has fascinated people from all over the world not only through his music but also through his personality. The PLAYMOBIL Special Figure offers young and old alike playful access to Mozart’s life and to his time in Salzburg. The figure has been created and designed by the Research Faculty at the Salzburg Mozarteum in order to produce as realistic a likeness as possible. Mozart is depicted in his original clothes, in a red jacket – with cuffs, of course – and with a decorative waistcoat and jabot (an ornamental ruffle at the front of a shirt or jacket that was fashionable at this time). He also wears a pair of black shoes with typical gold buckles. The white wig with a plait at the back was also in vogue in Mozart’s day as a status symbol, with the hair tied at the back with a ribbon. All of these details in the design of the figure will delight not only PLAYMOBIL fans.
The Mozarteum Foundation is a non-profit-making organization. Proceeds from the sale of the Mozart PLAYMOBIL Special Figure will be used to finance multiple activities, all of which are designed to preserve Mozart’s legacy. The Mozart PLAYMOBIL Special Figure costs 3.99 euros (recommended retail price) and is available from 4 November 2019. Retail outlets include the Mozarteum Foundation’s museum shops in the house where Mozart was born and also the property in the Makartplatz where the family later lived as well as selected shops in Salzburg. It may also be ordered online at www.mozarteum.at and at www.playmobil.com as long as stocks last.
Mozart Festival in Colombia
The Salzburg Mozarteum Foundation supports the first Mozart Festival in Medellín in Colombia
The Salzburg Mozarteum Foundation will be lending its musical support to the first Mozart Festival in Medellín in Colombia. Organized by the Academia Filarmónica Iberoamericana de Medellín with the support of the Hilti Foundation, this Festival is taking place for the first time in Medellín between 25 August and 9 September 2018. Numerous concerts and a wide range of workshops, lectures and masterclasses are all intended to shed light on the music of Wolfgang Amadé Mozart. The Foundation’s president, Johannes Honsig-Erlenburg, and its managing director, Tobias Debuch, will be travelling to Colombia’s second-largest city with the Salzburg soprano Claire Elizabeth Craig and the Thai tenor Nutthaporn Thammathi, who is singing the title role in the 2019 Mozart Week production of T.H.A.M.O.S. The two singers will be appearing at the first concert on 1 September, a concert performance of Mozart’s singspiel Der Schauspieldirektor, as well as taking part in a masterclass and performing in the Requiem with their Latin American colleagues.
The Salzburg Mozarteum Foundation presents a lost letter written by Wolfgang Amadé Mozart
The Salzburg Mozarteum Foundation is delighted to be able to report on one of its most valuable acquisitions in the last ten years. Thanks to the generosity of Maria-Elisabeth Schaeffler-Thumann, a letter
that Wolfgang Amadé Mozart wrote to his friend Anton Stoll in 1791 is now a part of the Mozarteum Foundation’s Biblioteca Mozartiana, a library that houses its collection of original Mozart autographs. The last time that the Foundation was able to acquire one of Mozart’s original letters was in 2001. As the Foundation’s president, Johannes Honsig-Erlenburg, explains, “This is a very special moment for the Foundation and a stroke of the greatest good fortune that the family that owns this particular Mozart letter approached the Mozarteum Foundation directly. We are grateful to the family for saving us from having to compete in the sort of bidding war that a charitable institution like the Mozarteum Foundation has long been unable to afford. And what a gift Maria-Elisabeth Schaeffler-Thumann has made us by financing the acquisition of this letter! As a result we are able to make Mozart’s frivolous joke accessible to a worldwide audience.” Rolando Villazón, who is the Mozarteum Foundation’s official ambassador and the intendant of the Mozart Week Festival, has the following to say about the significance of this priceless acquisition: “Every letter that Mozart wrote opens up a new door that grants us access to the soul of the greatest musical genius of all time. To discover a new letter from Mozart is like finding a new flower in a wonderfully beautiful garden.” Mozart’s letters have always fascinated music lovers as much as musicians and musicologists. They provide us with a wealth of information about his life, his works and his thinking. They reveal the composer not only as an artist who planned and conceived everything very precisely but also as an unbelievably witty human being with a very real sense of humour and a propensity for the occasional coarse joke. All of these aspects can be found in what at first sight may appear to be the unassuming letter that Mozart wrote to his colleague and good friend Anton Stoll (1747–1805) on 12 July 1791, less than six months before his death. Stoll was then based in Baden near Vienna. Mozart often sent his wife Constanze to take the waters at Baden, and Stoll helped him to find suitable lodgings for her. In June and July Constanze again took the waters at the Antonienbad in Baden. These baths were particularly expensive and as a result they were “visited only by sick people from the upper classes”, to quote a contemporary account. Mozart visited his wife on several occasions during this time and used the opportunity to perform several of his works in the town’s parish church, where Stoll was choirmaster and, as such, responsible for performances of sacred music. It was for Stoll that Mozart wrote one of his best-known sacred works, the Ave verum K 618. Composed on 17/18 June 1791, it was performed on the Feast of Corpus Christi (23 June) that same year in the Baden parish church. The contents of Mozart’s letter are briefly and easily summarized. In it he asks his friend, the choirmaster Anton Stoll, to send him the scores of two works that they had previously performed together in the church in Baden. But Mozart went to great lengths to embed this simple request in a typical web of jokes.
Andreas Fladvad-Geier heads up the Concert Season and the Dialogues Festival
Andreas Fladvad-Geier, currently senior manager for opera and ballet at the Baden-Baden festival theatre, will take up his new position in Salzburg on 1 July 2018. He will be responsible for planning and organisation of the Concert Season, for the “Dialogues” contemporary music festival and for the development of all artistic activities relating to the Mozartwoche festival. Andreas Fladvad-Geier will support the director of the Mozartwoche, Rolando Villazón, in the years to come in the staging and organisation of the festival’s extensive events.
President Johannes Honsig-Erlenburg declared himself delighted that this new and outstanding team would be taking responsibility for the artistic needs of Stiftung Mozarteum in future: “We found Andreas Fladvad-Geier, a creative, highly experienced and thoroughly professional concert manager, following a very intensive selection process. This means that in the current season the artistic future of the Stiftung Mozarteum is assured.”
Andreas Fladvad-Geier replied by saying: “I am very pleased that the special Salzburg combination of tradition and innovation continues, and I am delighted that Stiftung Mozarteum has placed its trust in me by offering me such a responsible post in its fantastic team.”
“I have known Andreas for many years, having worked with him as a singer and director in Baden-Baden and we know each other very well as a result. Andreas has lots of energy, an enormous wealth of repertoire knowledge and much experience. He will be a real asset in the Stiftung Mozarteum team. I am really, really, really pleased to be able to work with him now in Salzburg,” added Rolando Villazón.
Biography Andreas Fladvad-Geier:
Andreas Fladvad-Geier was born in Bad Soden in the German federal state of Hesse, and initially began studying theology and philosophy at the theological college in Mainz. Before long, however, his interest turned to the theatre. He then added drama and history of art to his studies, in Vienna and Cologne. After years of theatrical directing at big theatres and a spell freelancing as a director, he took on the post in 2008 of Senior Manager for Ballet and Opera at the festival theatre in Baden-Baden. That job brought him together with many of the top contemporary artists, and he was able to develop all sorts of concert projects which attracted big ballet companies to come to Baden-Baden. Salzburg audiences are already familiar with Andreas Fladvad-Geier as a result of his collaborations with the choreographer Peter Breuer and his staged production of Mozart’s C minor Mass at the Salzburg Regional Theatre.
Concert season 2018/19
The Mozarteum Foundation can look back on a long and successful tradition of promoting and performing chamber music. Here up-and-coming young artists rub shoulders with established figures. The 2018/19 season features twenty-two events at which rarely performed works will be programmed alongside others that audiences have enjoyed hearing on many occasions. Early music engages in a dialogue with contemporary works, and familiar composers are compared and contrasted with others whose names are less well known. In addition, three composers – Leopold Mozart, Gottfried von Einem and Mieczysław Weinberg – are celebrating important anniversaries during the coming season.
“Large parts of the season bear my predecessors’ imprint,” explains Andreas Fladvad-Geier, who is now in charge of concerts at the Mozarteum Foundation. “A couple of points have been added to the programme,” he goes on, “and we have placed greater emphasis on Leopold Mozart, Gottfried von Einem and Mieczysław Weinberg in their anniversary years. Otherwise I am very much looking forward to engaging in a debate with Salzburg audiences. It is in this spirit that we shall be offering introductory talks before each recital.”
According to the Foundation’s president, Johannes Honsig-Erlenburg, “It is thanks to Andreas Fladvad-Geier that the Mozarteum Foundation can be guaranteed to continue providing high-quality concert programmes outside the normal Festival periods. We are looking forward to a new and increased level of communication with our audiences, with Rolando Villazón during the Mozart Week Festival and with Andreas Fladvad-Geier during the year as a whole.”
In the course of the new concert season a number of internationally renowned ensembles and soloists may be heard in the Great Hall. Among them are the Artemis Quartet and the Koncz Ensemble of Vienna, while the tenor Julian Prégardien and the pianist Lars Vogt will be performing Schubert’s Winterreise. The Salzburg Bach Choir will be joining forces with Wolfgang Kogert on the Propter Homines organ to perform works by composers who were born or who died exactly a century ago and who include Leonard Bernstein and Lili Boulanger. The violoncellist Jean-Guihen Queyras and the pianist Alexandre Tharaud will be playing music by Bach, Brahms, Berg and Shostakovich. And, finally, the celebrated Turkish pianist and composer Fazil Say will be sharing a platform with the Minetti Quartet and performing a number of pieces of his own together with works by Beethoven and Schumann.
The after work series of concerts that was launched last year to great acclaim and that is held in the Viennese Hall will be continuing. In the autumn of 2018 the percussionist Christoph Sietzen, who was born in Salzburg but who now lives in Luxembourg, will be appearing in the relaxed and laid-back atmosphere of the Viennese Hall, as will Salzburg’s local heroines and musical globetrotters Meetin’ Moa. The after work series concludes in June 2019 with the Klavis Trio and the sensational string duet BartolomeyBittmann, which last season delighted audiences in the completely sold-out Viennese Hall with its exciting mix of rock, jazz, folk, singer-songwriters and chamber music. This season the two musicians from Vienna will be performing their latest album Dynamo.
Four other concerts are planned for the Viennese Hall: described as “the poet of the piano”, Marc-André Hamelin will be performing works by Chopin, Fauré and Schumann, while Russian pianist Varvara is making her Salzburg debut with the Tchalik Quartet, as is the young and energetic ensemble 4 Times Baroque: these musicians from Germany have already been hailed as the future stars of the early music scene with their fresh and infectious music-making.
The popular series Organ & Film offers great films in the Great Hall. Two silent films, America (13 November 2018) and Janice Meredith (also known as The Beautiful Rebel) (7 May 2019), will be shown on the cinema screen and accompanied by the brilliant Dennis James on the Propter Homines organ.
Three major anniversaries of leading composers will also be celebrated during the 2018/19 season. The year 2019 marks the tercentenary of the birth of Leopold Mozart, making it another important year for the Mozart family. And two composers would have been one hundred: Gottfried von Einem (1918–96) and Mieczysław Weinberg (1919–96). All three anniversaries will be marked with special concerts.
The most famous father in the history of music has long been overshadowed by his son. For lengthy periods the music of Leopold Mozart was held in low esteem and a number of his works were even attributed to his son. A lavish gala concert during the coming season will allow Leopold’s music to be properly assessed and celebrated. On 4 April 2019 the Salzburg Camerata under Andreas Spering will explore Leopold Mozart’s music in the Great Hall of the Mozarteum, when a number of his own compositions will be compared and contrasted with an early piece by his son.
The Austrian composer Gottfried von Einem enjoyed a vicissitudinous career in Salzburg that was remarkable for its highs and lows, not least during his time as a member of the board of directors of the Salzburg Festival. New light will be shed on his music by the Ensemble Sonos Vienna and by students from the Mozarteum University at a concert on 16 October 2018, while the recital by the Mozarteum Quartet on 20 November 2018 will feature music by Gottfried von Einem alongside works by Mozart, Haydn and Schubert.
Mieczysław Weinberg was a Russian composer of Polish origin and a close friend of his fellow composer, the older and far better known Dmitry Shostakovich. A lively exchange of ideas took place between them. It is only in recent years that Weinberg has been discovered internationally. The Stadler Quartet invites its audiences to explore the world of Weinberg’s works at a concert on 26 February 2019, followed on 30 April 2019 by the ECHO-Klassik prizewinner and internationally renowned violinist Linus Roth.
A further significant anniversary will be celebrated by the Mozarteum Foundation on 13 September 2018, when Salzburg’s leading violinist Benjamin Schmid marks his fiftieth birthday with some of his friends. His birthday concert also launches the 2018/19 season and brings together a number of other eminent musicians, including Clemens Hagen, Lars Anders Tomter, Ariane Haering and the Austrian String Trio, together with the young jazz musician Wolfgang Muthspiel. The concert will take place on the stage of the Great Hall.
Mozart Childhood Violin in China
International attention for the Mozarteum Foundation’s cultural ambassadors during the visit to China by Austrian President Alexander Van der Bellen
When Austrian President Alexander Van der Bellen travelled to China in July 2018, it was the most significant state visit in Austria’s history to date. The involvement of the Salzburg Mozarteum Foundation in this visit was a complete success. The Foundation’s cultural contribution was acknowledged by the international media, serving as a unique visiting card not only for Austria as a cultural nation but also for the town and region of Salzburg.
The original violin that Mozart used as a child was played with sovereign authority by the seven-year-old Anna Cäcilia Pföß at the state banquet in Beijing that was held in honour of the Chinese president, Xi Jinping. Accompanied at the piano by the Foundation’s president, Johannes Honsig-Erlenburg, Anna Cäcilia Pföß played works by Wolfgang Amadé Mozart, including two minuets from his early Sonata K 7. They also performed a typical Austrian folk tune and, for their hosts, a Chinese folksong. In this way the Mozarteum Foundation, as one of our country’s cultural ambassadors, was able to lend a very special musical note to this important Austrian foreign mission, at the same time allowing Austrian President Alexander Van der Bellen to offer his hosts an altogether exceptional gift. “We are particularly grateful to our little musician Anna Cäcilia, who is a talented, natural artist with steady nerves. As such she has the right qualities to capture the hearts of her listeners,” Johannes Honsig-Erlenburg, the president of the Mozarteum Foundation, summed up the occasion, before adding: “We are delighted that our Beijing performance with the violin that Mozart used as a child received such an enormously positive response in the international press. It was reported by the media not only in Europe but also in South Africa and India and as far afield as Australia.”
As one of Austria’s cultural ambassadors, the Mozart Foundation was able forge and consolidate a number of important contacts in China. In concrete terms, we were able to take the first steps towards mounting a large-scale exhibition on the life and work of Wolfgang Amadé Mozart. The fiftieth anniversary of the establishment of political relations between Austria and China will be celebrated in 2021.
The 2018 Mozart Week Festival: A Stocktaking
4 February, 2018
For the first time in its history the Mozart Week Festival was launched with an introductory event programmed by intendant Maren Hofmeister. The multi-award-winning writer Eva Menasse gave a scintillating talk on the theme of this year’s Festival, “Forgiveness and Retribution”.
After an interval of several years a major opera production returned to the stage in the form of Die Entführung aus dem Serail. Musically speaking, this new production set the highest standards, with René Jacobs conducting the Berlin Akademie für Alte Musik and an outstanding team of young singers, including David Steffens, Nikola Hillebrand, Robin Johannsen, Sebastian Kohlhepp and Julian Prégardien. In addition to a number of distinguished artists such as Sir András Schiff and Daniel Barenboim, all of whom can look back on a long history of appearing at the Mozart Week Festival, we were also able to welcome soprano Marlis Petersen, pianist David Fray, the B’Rock Orchester under Anna Lucia Richter, the Schumann Quartet and the conductor Kristiina Poska, all of whom were making their highly successful Festival debuts. A new area of our programme, “Portrait”, was devoted to contemporary music and to the German composer, conductor and virtuoso clarinettist Jörg Widmann. One highlight was the Austrian premiere of his Clarinet Quintet. The concerts in the Großes Festspielhaus with the English Baroque Soloists under Sir John Eliot Gardiner and the three concerts with the Vienna Philharmonic were all sold out. The world-class Vienna Philharmonic has been a constant presence at the Mozart Week Festival since its inception in 1956, and this year two conductors made their acclaimed debuts with the orchestra: Robin Ticciati and Alain Altinoglu. The series of three concerts was brought to a magnificent conclusion by Valery Gergiev conducting a programme of works by Mozart and Tchaikovsky.
“I should like to thank all the artists for an unforgettable Mozart Week Festival that has revealed Mozart’s manifold facets,” declared Maren Hofmeister, before adding that “I am delighted that our audiences have reacted so enthusiastically to our 2018 programme, which was notable for so many contrasts. We have recorded a 95 percent capacity.” These are the Festival’s best attendance figures for six years. Some 26,000 tickets were sold for thirty events. Half of the concerts were completely sold out. The ten-day Festival attracted visitors from fifty countries and from all five continents. Most came from Austria, Germany and Switzerland, followed by France and Great Britain. All of our visitors showed a lively interest in the many ancillary events, including introductory talks, film shows and interviews with artists.
Rolando Villazón named Artistic Director of Salzburg Mozart Week
Villazón plans first Mozart Week for 2019
Rolando Villazón is the new Artistic Director of the Salzburg Mozart Week. The internationally celebrated opera singer, stage director and author takes over the direction of the renowned festival on July 1, 2017 and combines his international activities as the Mozarteum’s Mozart Ambassador with the planning and realization of the Mozart Week in an ideal fashion. The first Mozart Week entirely programmed by Villazón takes place in 2019. His contract initially runs until 2023, to include five Mozart Weeks.
Says Rolando Villazón:
Wolfgang Amadé Mozart is one of the dearest friends of humanity as a whole. No other composer is so equally admired and beloved. I feel joyful, honored and grateful to assume the enormous responsibility of serving the great Master as the new Artistic Director of the most renowned Mozart festival in the world, the Mozart Week. That this happens in Salzburg, Mozart’s birthplace and the city that has had such a wonderful impact on my life and career makes this adventure even more special. Viva Mozart!
Johannes Honsig-Erlenburg, President of the International Mozarteum Foundation, underlines the special relationship between the Mozarteum Foundation and the new Artistic Director of the Mozart Week:
Mozart and Villazón – this is probably the most unique and at once the most heartfelt and exciting relationship the Mozarteum Foundation could hope for. What an incredibly opportunity to re-discover Mozart in all his diversity and depth. We are grateful to Rolando Villazón for embarking on this joint adventure with his extraordinary reputation, his versatile musicianship and his courage, and are looking forward to a new era in and with the Mozarteum Foundation.
Rolando Villazón has been engaging intensively with Mozart’s works and life for over half a decade. In addition to performing in staged productions in Salzburg, Milan, Vienna, Berlin and London he has recorded the complete concert arias for tenor and performed them on a European concert tour. He is the initiator and artistic driving force behind Deutsche Grammophon’s acclaimed „Mozart Cycle“, which includes Mozart’s last seven operas conducted be Yannick Nézet-Séguin and has received multiple Grammy-nominations and many other accolades.
Rolando Villazón burst on the international opera scene with his win in 1999’s Operalia competition and has since built a uniquely versatile artistic career. He is one of the most renowned and beloved tenors of our time and is known to a large audience beyond the traditional confines of classical music. In addition to his singing career, he is a successful stage director, has already published two novels and regularly appears as a host and guest on international TV and radio programmes.
He has been a frequent guest in Salzburg since the legendary production of „La Traviata“ in 2005 and has sung in four opera productions and countless recitals and concerts. This summer, he will perform Lucarnio in a new production of Handel’s „Ariodante“. Other performances in the coming season take him, amongst others, to Prague, Berlin, Munich, Paris, Vienna and Montreal.
The Mozart Week is the world’s leading Mozart Festival. Founded in 1956, it takes place annually around Mozart’s birthday, on January 27, in Salzburg. During the festival, the Mozarteum Foundation assembles the world’s best orchestras, ensembles, and soloists in the field of Mozart-interpretation in Wolfgang Amadé‘s native city, striving to offer consistently new, exciting and contemporary experiences of the great composer. The Mozart Week enjoys an unparalleled international reputation and draws a global audience to Salzburg every year.
Wolfgang Amadé Mozart has fascinated people all over the world for over 250 years with his music and his personality. The Mozarteum Foundation is the most important and renowned institution for the conservation and propagation of this invaluable cultural heritage and carries all of Mozart’s many facets into the world. The foundation’s mission is to make Mozart’s music, his life and personality, accessible to all people and generations. The Mozarteum Foundation implements this mission as a non-profit organization through diverse activities in the three fields of concerts, research and museums. The foundation provides a link between tradition and contemporary culture and thus enables changing perspectives and new ideas in the engagement with the composer.
Two precious new acquisitions for the Salzburg Mozarteum Foundation’s collection
The Salzburg Mozarteum Foundation is pleased to announce that it has acquired two very valuable items for its collections and for research on Mozart’s sister Maria Anna, known as ‘Nannerl’ Mozart. A graceful portrait, allegedly showing the young Maria Anna Mozart and until now owned privately, was recently added to the collection of the Mozarteum Foundation. At the latest since the 19th century the enigmatic portrait of a woman dating from the 18th century has been regarded as a portrait of Nannerl; from now on it is on display in the Mozart Residence.
At an auction of autograph manuscripts in Berlin in March, a letter written by Maria Anna Mozart was purchased. This original letter dating from 1799 contains Nannerl’s reminiscences about her brother Wolfgang Amadé, and is one of the most personal and informative documents about his childhood. Until now it was also owned privately. The acquisition of the four-page letter is an extraordinary enrichment for the unique collection of autographs of the Mozart Family in the Salzburg Mozarteum Foundation. There is no other collection like this in the world – it contains 200 original letters by Mozart, about 300 by his father Leopold and 100 autograph music manuscripts. The Bibliotheca Mozartiana (Mozart Library) of the Mozarteum Foundation owns over 80 letters by Nannerl, as well as pages from her diary and other written documents.
Mozart’s sister Maria Anna (1751–1829) is of central importance as regards authentic information about Mozart’s life and work. It was she who carefully looked after the family correspondence for many years. This includes Leopold’s letters from the time when Nannerl and Wolfgang were travelling as child prodigies, letters Mozart wrote on his later travels, and the correspondence between Mozart and his father during his time in Vienna. These letters, together with Maria Anna’s handwritten reminiscences, were and are an invaluable source of documentation. What is especially remarkable in this context is the correspondence she engaged in from 1799 to 1807 with the Leipzig music publishers Breitkopf & Härtel about her brother. The Bibliotheca Mozartiana already owns many of the approximately 40 letters and so it is of great significance to complete the collection with the new purchase. Maria Anna, as a married woman Baroness von Berchtold zu Sonnenburg, wrote this letter on 24 November 1799 in St. Gilgen. On a total of four pages Nannerl compiled several anecdotes about Mozart’s childhood which since have become famous. They refer to the time of the extensive journeys and also contain a touching memory of a particularly loving bond between Wolfgang Amadé and his father.
Marc Minkowski awarded the Golden Mozart Medal
During the concert with his ensemble Les Musiciens du Louvre on 31 January Marc Minkowski received the Golden Mozart Medal from Johannes Honsig-Erlenburg, president of the Mozarteum Foundation. This is the highest honour to be bestowed by the Mozarteum Foundation in the name of Mozart. As Johannes Honsig-Erlenburg stated, “Marc Minkowski is one of the outstanding Mozart interpreters of our time, his reading of Mozart’s music touches and moves audiences.” Helga Rabl-Stadler, president of the Salzburg Festival, held the laudatory speech.
Since 2007 Marc Minkowski has performed several times at the Mozart Week. In 2013 he was appointed artistic director of the Mozart Week. Minkowski has celebrated great successes here which will long be remembered: for instance the magnificent Idomeneo in 2010, Lucio Silla (2013), with Rolando Villazón in the title role, Gluck’s moving opera Orfeo ed Euridice in 2014, as well as his first and highly acclaimed venture with Bartabas in 2015 and now during this year’s Mozart Week a renewed collaboration with Bartabas for the interpretation of Mozart’s Requiem. And of course the concerts with his ensemble Les Musiciens du Louvre in the Great Hall of the Mozarteum and in the Haus für Mozart, with the Vienna Philharmonic in the Grosses Festspielhaus and his performances with the Mozart Children’s Orchestra.
Monumental new 200-CD Box Set of all of Mozart’s works
To mark the 225th anniversary of Mozart’s death, Decca and Deutsche Grammophon are releasing the most authoritative, complete and scholarly box set ever devoted to the work of a single composer. The 200CD Complete Edition was created in partnership with the Salzburg Mozarteum Foundation and Mozart expert Professor Cliff Eisen of King’s College London, and will be released worldwide on 28 October 2016.
Entitled ‘Mozart 225: The New Complete Edition’, the set is the fruit of years of painstaking scholarship, 18 months of planning and curation, and presents every single work by Mozart – right up to a new song discovered only last year – in a ground-breaking multimedia package.
The set features 600 world-class soloists and 60 orchestras across 200 CDs (ordered chronologically within genre), including 30 CDs of alternative interpretations of the best-known works providing a choice between traditional and period instruments.
There are also two major and lavishly illustrated hardback books including a radical new full-length biography by Cliff Eisen plus a work-by-work commentary from Mozart experts worldwide.
Amongst its 240 hours of music, Mozart 225 features over 5 hours of newly recorded material, including:
- the world premiere recording of a recently discovered lost song (K477a) written in friendly competition with Antonio Salieri
- the first recording of Sonata K331 with the Rondo “alla turca” from the recently discovered autograph manuscript, played by Francesco Piemontesi
- a brand new disc from Accademia Bizantina and Ottavio Dantone
- over 2 hours of new recordings on Mozart’s own instruments
In addition to all of Mozart’s completed works, for the first time on disc all the recorded fragments are brought together, many works completed by others as well as his arrangements of Handel and Bach.
Each copy of this 15,000 Limited Edition is individually numbered and contains access to an innovative Mozart 225 Libretto App (offering sung texts in original language and parallel translation of choice – English, French or German) plus links to the authoritative urtext scores of the online edition of the Neue Mozart-Ausgabe.
The recordings have been newly selected from the archives of Decca and Deutsche Grammophon as well as 18 other labels, with an artist list which encapsulates Mozartian excellence past and present: Abbado, Ashkenazy, Auger, Barenboim, Bartoli, Bilson, Böhm, Brendel, Brüggen, Curzon, Damrau, DiDonato, Fleming, Gardiner, Gilels, Gulda, Haskil, Hogwood, Janowitz, Kozena, Levin, Mackerras, Marriner, Mutter, Nézet-Séguin, Pinnock, Pires, Popp, Rattle, Schiff, Simoneau, Solti, Te Kanawa, Terfel, Uchida, Villazón, Wunderlich and hundreds more.
The innovative layout of Mozart 225 presents the works chronologically within genre, thus offering listeners the chance to explore the composer in a new context – e.g. by juxtaposing a horn concerto with a piano concerto from the same period. Underscoring this approach, a new biography by leading Mozart scholar Professor Cliff Eisen reappraises the traditional Mozart narrative and by returning to the sources describes a life both professionally and personally successful, not the still-common Romantic narrative, laden with pathos, characteristic of Mozart biography over more than two centuries.
Further scholarship is provided by a second hardback book of work-by-work commentary from 30 renowned experts plus a separate new “K book”, exclusive to Mozart 225, presenting the numbering of the Salzburg Mozarteum Foundation’s forthcoming new Edition of the Köchel catalogue of Mozart’s works. Each set also contains 5 high-quality collector’s prints of Mozart autograph scores, the last-known portrait and a famous letter to his father from the treasures of the Salzburg Mozarteum Foundation.
“The time is surely right to take a fresh look at one of the world’s most sublime artistic achievements” says Paul Moseley, Universal Music Group’s Director of Mozart 225. “We have started from first principles, reassessing new thinking in performance practice and scholarship to produce something that we hope will be an item of desire and reference for general music lovers but also a first port of call for places of study. Our aim with this Mozart 225 campaign is to promote pleasure, wonder, debate and discovery for both existing and new audiences all over the world.”
“For 175 years, the Salzburg Mozarteum Foundation has been devoted to fostering tradition as well as embracing new approaches when encountering the works of Mozart”, says Dr Johannes Honsig-Erlenburg, President of the Salzburg Mozarteum Foundation. “It is a great pleasure to see that the Neue Mozart-Ausgabe, the Foundation’s ambitious editorial project begun in 1954, has greatly influenced performance of Mozart in our time. This Mozart 225 recorded Edition is a special opportunity to make this achievement audible to the entire musical world.”
Mozart 225 – The New Complete Edition launches at the Mozart Wohnhaus in Salzburg on 25th August and goes on sale on October 28th. The flagship Edition will be accompanied by a suite of further Mozart 225 products including a unique 33 DVD set of all 22 Mozart operas; a starter 3CD collection of Mozart ‘Singles’; digital download bundles, streaming albums and newly themed playlists, all aimed at achieving the widest possible awareness, adoption and engagement with classical music’s greatest genius.
Hilti is „Partner in Education“ for 3 more years
For three more years the HILTI Foundation will remain the ‘Partner in Education’ of the Salzburg Mozarteum Foundation. This partnership was agreed upon in 2014 and is far more wide-ranging than the usual form of sponsorship. Attention is focused on a common philosophy on cooperation and creating a network of activities in the spheres of education and music programmes intended especially for young people. Joint projects in the past three years comprised evolving new concert formats, intensive work with the Mozart Children’s Orchestra, a great variety of music education, in particular in the context of the KlangKarton programme which is specially devised for children and young persons, as well as making the concert hall accessible for socially motivated campaigns. This work will be followed up and the intention is to further intensify cooperation projects.
In 2016 a new partnership was created in Colombia in cooperation with the HILTI Foundation. Social change through music – with this aim in mind the HILTI Foundation now supports five very ambitious and sustainable projects in South America. One of the HILTI Foundation’s central projects is the Academia Filarmónica de Medellín in Colombia to which the Salzburg Mozarteum Foundation contributes valuable experience gained from its highly successful Cuba project. About 100 young musicians are studying at the universities in Medellín and they are supported by grants from the Academia Filarmónica de Medellín (AFMED). This initiative was founded in 2009 with the aim of enabling talented young persons from socially underprivileged backgrounds to gain access to studying music on a high level at university. AFMED complements these music courses by regular orchestra projects with renowned soloists and conductors who convey top quality international standards to the young musicians. Based on the partnership between the Mozarteum Foundation and the HILTI Foundation an intensive cooperation with the academy in Medellín is about to be set up. It aims to encourage the exchange of teachers and students, the inclusion of participants from South America in the International Summer Academy of the Mozarteum University in Salzburg, sharing expertise in arts management, and above all an intensive analysis of Mozart’s œuvre in Colombia. In 2016 two musicians from the AFMED Orchestra, a cellist and an oboist, already took part in the Summer Academy in Salzburg. They were the first to benefit from the new partnership between Colombia and Austria.
For twenty years the HILTI Foundation has made a major social and sustainable contribution to strengthening society in select spheres of the arts, education, affordable homes, social development, emergency relief and social entrepreneurship.
Salzburg Mozarteum Foundation
In addition to its non-profitmaking task of preserving and fostering Mozart’s legacy, the Salzburg Mozarteum Foundation has in recent years also been committed to a further opening up and is also increasingly devoting itself to supporting work with young persons. Passing on knowledge and awareness about the music and life of the genius Mozart throughout the world is central to the activities of the concert department, research and the museums. Work in these three major spheres is further extended by wide-ranging international projects.