The Trumpet Concerto, K. 47c, is a concerto for trumpet by Wolfgang Amadeus Mozart that is apparently now lost. It is Mozart's only concerto written for a brass instrument other than his four horn concertos.
The only evidence for the existence of the concerto is a letter written on 12 November 1768 by Mozart's father, Leopold, in Vienna to Lorenz Hagenauer back in Salzburg, the Mozarts' home. In the letter Leopold wrote that "the new church of Father Parhammer's orphanage will be consecrated on the Feast of the Immaculate Conception. For this feast, Wolfgang has composed a solemn mass, an offertorium and a trumpet concerto for a boy...".The church involved was the Kirche Mariä Geburt on the Rennweg, and the intended soloist may have been an orphan, Ignatz Schmatz. The consecration is known to have happened, as the Wienerisches Diarium reported on the service on 10 December 1768. However, as the trumpet concerto does not appear on Leopold's list of his son's works, it is uncertain whether it ever actually existed. The other compositions performed at the service are thought to be the Missa solemnis in C minor, K. 139 ("Waisenhaus"), and a lost offertory (previously thought to be the extant Benedictus sit deus, K. 117).
If the concerto was indeed written, no copy is known to survive. Since 2019 there are many indications that the autograph or a copy of it is suspected in the library of the Strahov Monastery near Prague.[ citation needed ] The surviving manuscripts from the Kirche Mariä Geburt, now in the Wiener Priesterseminar, show no trace of the work.
Wolfgang Amadeus Mozart, baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical period.
Johann Georg Leopold Mozart was a German composer, conductor, music teacher, and violinist. Mozart is best known today as the father and teacher of Wolfgang Amadeus Mozart, and for his violin textbook Versuch einer gründlichen Violinschule.
Johann Michael Haydn was an Austrian composer of the Classical period, the younger brother of Joseph Haydn.
Anton Paul Stadler was an Austrian clarinet and basset horn player for whom Wolfgang Amadeus Mozart wrote, amongst others, both his Clarinet Quintet and Clarinet Concerto. Stadler's name is inextricably linked to Mozart's compositions for these two instruments.
Josef Mysliveček was a Czech composer who contributed to the formation of late eighteenth-century classicism in music. Mysliveček provided his younger friend Wolfgang Amadeus Mozart with significant compositional models in the genres of symphony, Italian serious opera, and violin concerto; both Wolfgang and his father Leopold Mozart considered him an intimate friend from the time of their first meetings in Bologna in 1770 until he betrayed their trust over the promise of an operatic commission for Wolfgang to be arranged with the management of the Teatro San Carlo in Naples. His closeness to the Mozart family resulted in frequent references to him in the Mozart correspondence.
The Piano Concerto No. 20 in D minor, K. 466, was composed by Wolfgang Amadeus Mozart in 1785. The first performance took place at the Mehlgrube Casino in Vienna on 11 February 1785, with the composer as the soloist.
The composer Wolfgang Amadeus Mozart went by many different names in his lifetime. This resulted partly from the church traditions of the day, and partly from the fact that Mozart was multilingual and freely adapted his name to other languages.
Maria Anna Walburga Ignatia Mozart, called "Marianne" and nicknamed Nannerl, was a musician, the older sister of Wolfgang Amadeus Mozart (1756–1791) and daughter of Leopold (1719–1787) and Anna Maria Mozart (1720–1778).
Joseph Leutgeb was an outstanding horn player of the classical era, a friend and musical inspiration for Wolfgang Amadeus Mozart.
The Nannerl Notenbuch, or Notenbuch für Nannerl is a book in which Leopold Mozart, from 1759 to about 1764, wrote pieces for his daughter, Maria Anna Mozart, to learn and play. His son Wolfgang also used the book, in which his earliest compositions were recorded. The book contains simple short keyboard pieces, suitable for beginners; there are many anonymous minuets, some works by Leopold, and a few works by other composers including Carl Philipp Emanuel Bach and the Austrian composer Georg Christoph Wagenseil. There are also some technical exercises, a table of intervals, and some modulating figured basses. The notebook originally contained 48 bound pages of music paper, but only 36 pages remain, with some of the missing 12 pages identified in other collections. Because of the simplicity of the pieces it contains, the book is often used to provide instruction to beginning piano players.
Maria Theresia von Paradis, was an Austrian musician and composer who lost her sight at an early age, and for whom Mozart may have written his Piano Concerto No. 18 in B-flat major.
Wolfgang Amadeus Mozart began his series of preserved piano concertos with four that he wrote at the age of 11, in Salzburg: K. 37 and 39–41. The autographs, all held by the Jagiellonian Library, Kraków, are dated by his father as having been completed in April and July of 1767. Although these works were long considered to be original, they are now known to be orchestrations of sonatas by various German virtuosi. The works on which the concertos are based were largely published in Paris, and presumably Mozart and his family became acquainted with them or their composers during their visit to Paris in 1763–64.
The celebrated composer Wolfgang Amadeus Mozart was raised a Roman Catholic, and the church played an important role in his life.
Scholars have long studied how Wolfgang Amadeus Mozart created his works. Nineteenth-century views on this topic were often based on a romantic, mythologizing conception of the process of composition. More recent scholarship addresses this issue by systematically examining authenticated letters and documents, and has arrived at rather different conclusions.
The Mozart family grand tour was a journey through western Europe, undertaken by Leopold Mozart, his wife Anna Maria, and their musically gifted children Maria Anna (Nannerl) and Wolfgang Amadeus from 1763 to 1766. At the start of the tour the children were aged eleven and seven respectively. Their extraordinary skills had been demonstrated during a visit to Vienna in 1762, when they had played before the Empress Maria Theresa at the Imperial Court. Sensing the social and pecuniary opportunities that might accrue from a prolonged trip embracing the capitals and main cultural centres of Europe, Leopold obtained an extended leave of absence from his post as deputy Kapellmeister to the Prince-Archbishopric of Salzburg. Throughout the subsequent tour, the children's Wunderkind status was confirmed as their precocious performances consistently amazed and gratified their audiences.
In 1767, the 11-year-old composer Wolfgang Amadeus Mozart was struck by smallpox. Like all smallpox victims, he was at serious risk of dying, but he survived the disease. This article discusses smallpox as it existed in Mozart's time, the decision taken in 1764 by Mozart's father Leopold not to inoculate his children against the disease, the course of Mozart's illness, and the aftermath.
The Symphony in D major, K. 135+61h, was probably composed by Wolfgang Amadeus Mozart in 1772. The first two movements are from the overture to the opera Lucio Silla, K. 135, and the last movement, the minuet K. 61h No. 3, was composed separately.
The Missa solemnis in C minor, K. 139/47a, is a mass composed by Wolfgang Amadeus Mozart in the summer of 1768 in Vienna. It is scored for SATB soloists, SATB choir, violin I and II, 2 violas, 2 oboes, 2 trumpets, 2 clarini, 3 trombones colla parte, timpani and basso continuo.
The so-called Violin Concerto No. 7 in D major, K. 271a/271i, may have been completed by Wolfgang Amadeus Mozart on 16 July 1777 in Salzburg. It has been called the Kolb Concerto.
The lost Symphony in C major, K. Anh. 222/19b, was probably written by Wolfgang Amadeus Mozart in early 1765 in London. It is one of the twelve symphonies that Ludwig von Köchel only knew by its incipit in the Breitkopf & Härtel manuscript catalogue, which listed it as one of six symphonies (Nos. 65–70) sourced from Luigi Gatti (1740–1817), Court Kapellmeister in Salzburg from around 1782: