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	{{redirect\|Mozart}}
	{{Infobox_Biography
	\|subject_name='''Wolfgang Amadeus Mozart'''
	\|image_name=Wolfgang-amadeus-mozart_1.jpg
	\|image_caption=Painting by Barbara Krafft 1819
	\|dead=dead
	\|date_of_birth=], ]
	\|place_of_birth=], ] (then part of the ])
	\|date_of_death=], ]
	\|place_of_death=], ] (aged 35)
	\|}}

	'''Wolfgang Amadeus Mozart''' (]d as '''Johannes Chrysostomus Wolfgangus Theophilus Mozart'''; ], ] – ], ]) was a prolific and highly influential ] of ]. His enormous output of more than six hundred compositions includes works that are widely acknowledged as pinnacles of ], ], ], ], ], and ] ]. Mozart is among the most enduringly popular of European composers, and many of his works are part of the standard concert repertoire.

	==Life==
	===Family and early years===
	]
	]
	Mozart was born to ] and ], in the front room of nine Getreidegasse in ], the capital of the sovereign ], in what is now Austria, then part of the ]. His only sibling who survived beyond infancy was an older sister: ], nicknamed Nannerl. Mozart was ] the day after his birth at ]. The baptismal record gives his name in Latinized form as ''Joannes Chrysostomus Wolfgangus Theophilus Mozart''. Of these names, the first two refer to ], one of the ], and they were names not employed in everyday life, while the fourth, meaning "beloved of God", was variously translated in Mozart's lifetime as ''Amadeus'' (Latin), ''Gottlieb'' (German), and ''Amadé'' (French). Mozart's father Leopold announced the birth of his son in a letter to the publisher Johann Jakob Lotter with the words "...the boy is called Joannes Chrysostomus, Wolfgang, Gottlieb". Mozart himself preferred the third name, and he also took a fancy to "Amadeus" over the years. (see ]).

	Mozart's father Leopold Mozart (1719–1787) was one of Europe's leading musical teachers. His influential textbook ''Versuch einer gründlichen Violinschule'', was published in 1756, the year of Mozart's birth (English, as "A Treatise on the Fundamental Principles of Violin Playing", transl. E.Knocker; Oxford-New York, 1948). He was deputy '']'' to the court orchestra of the Archbishop of Salzburg, and a prolific and successful composer of instrumental music. Leopold gave up composing when his son's outstanding musical talents became evident. They first came to light when Wolfgang was about three years old, and Leopold, proud of Wolfgang's achievements, gave him intensive musical training, including instruction in ], ], and ]. Leopold was Wolfgang's only teacher in his earliest years. A note by Leopold in Nannerl's music book – the '']'' – records that little Wolfgang had learned several of the pieces at the age of four. Mozart's first compositions, a small ] and ], were written in 1761, when he was five years old.<ref>Cliff Eisen, Stanley Sadie, '(Johann Chrysostom) Wolfgang Amadeus Mozart', ed. L. Macy (Accessed )</ref>

	===The years of travel===
	]]]
	During his formative years, Mozart made several European journeys, beginning with an exhibition in 1762 at the Court of the Elector of ] in ], then in the same year at the Imperial Court in ] and ]. A long concert tour spanning three and a half years followed, taking him and his father to the courts of ], ], ], ] (where Wolfgang Amadeus played with the famous Italian ] ]), ], again to Paris, and back home via ], ], and Munich. During this trip Mozart met a great number of musicians and acquainted himself with the works of other great composers. A particularly important influence was ], who befriended Mozart in London in 1764–65. Bach's work is often taken to be an inspiration for Mozart's music.
	They again went to Vienna in late 1767 and remained there until December 1768. On this trip Mozart contracted smallpox, and his healing was considered by Leopold as a proof of God's intentions concerning the child.

	After one year in Salzburg, three trips to ] followed: from December 1769 to March 1771, from August to December 1771, and from October 1772 to March 1773. Mozart was commissioned to compose three operas: "]" (1770), "]" (1771), and "Lucio Silla" (1772), all three of which were performed in Milan. During the first of these trips, Mozart met ] in ] and ] in ], and was accepted as a member of the famous '']''. A highlight of the Italian journey, now an almost legendary tale, occurred when he heard ]'s '']'' once in performance in the ] then wrote it out in its entirety from memory, only returning to correct minor errors; thus producing the first illegal copy of this closely-guarded property of the Vatican.<ref> at ]</ref>

	On ], ], accompanied by his mother, Mozart began a tour of Europe that included ], ], and ]. In Mannheim he became acquainted with members of the Mannheim orchestra, the best in Europe at the time. He fell in love with ], who later broke up the relationship with him. He was to marry her sister ] some four years later in Vienna. During his unsuccessful visit to Paris, his mother died 1778.

	] (]). Mozart in 1767 as an 11-year-old boy was fleeing from Vienna due to a smallpox epidemic and wrote his Sixth Symphony in F Major in Olomouc]]

	===Mozart in Vienna===

	In 1780, ], regarded as Mozart's first great opera, premiered in Munich. The following year, he visited ] in the company of his employer, the harsh ]. When they returned to Salzburg, Mozart, who was then Konzertmeister, became increasingly rebellious, not wanting to follow the whims of the archbishop relating to musical affairs; and expressing these views, he soon fell out of the archbishop's favor. According to Mozart's own testimony, he was dismissed – literally – "with a kick in the arse".<ref>Wolfgang, in a letter to his father Leopold from June 9, 1781. In the original: "bey der thüre durch einen tritt im arsch hinaus werfen".</ref> Mozart chose to settle and develop his own freelance career in Vienna after its aristocracy began to take an interest in him.

	On August 4, 1782, against his father's wishes, he married ] (1763–1842; her name is also spelled "Costanze"); her father Fridolin was a half-brother of ]'s father Franz Anton Weber. Although they had six children, only two survived infancy: ] (1784–1858) and ] (1791–1844; later a minor composer himself). Neither of these sons married or had children who reached adulthood. Carl did father a daughter, Constanza, who died in 1833.

	The year 1782 was an auspicious one for Mozart's career: his opera '']'' ("The Abduction from the Seraglio") was a great success, and he began a series of concerts at which he premiered his own ]s as director of the ensemble and ].

	During 1782–83, Mozart became closely acquainted with the work of ] and ] as a result of the influence of ], who owned many manuscripts of works by the ] masters. Mozart's study of these works led first to a number of works imitating Baroque style and later had a powerful influence on his own personal musical language, for example the ] passages in '']'' ("The Magic Flute"), and in the finale of ].

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	In 1783, Wolfgang and Constanze visited Leopold in Salzburg, but the visit was not a success, as his father did not open his heart to Constanze. However, the visit sparked the composition of one of Mozart's great liturgical pieces, the ], which, though not completed, was premiered in Salzburg, and is now one of his best-known works. Wolfgang featured Constanze as the lead female solo voice at the premiere of the work, hoping to endear her to his father's affection.

	In his early Vienna years, Mozart met ] and the two composers became friends. When Haydn visited Vienna, they sometimes played together in an impromptu ]. Mozart's six quartets dedicated to Haydn (K. 387, K. 421, K. 428, K. 458, K. 464, and K. 465) date from 1782–85, and are often judged to be his response to Haydn's ] set from 1781. In a letter to Haydn, Mozart wrote:
	<blockquote>A father who had decided to send his sons out into the great world thought it his duty to entrust them to the protection and guidance of a man who was very celebrated at the time, and who happened moreover to be his best friend. In the same way I send my six sons to you... Please then, receive them kindly and be to them a father, guide, and friend!... I entreat you, however, to be indulgent to those faults which may have escaped a father's partial eye, and in spite of them, to continue your generous friendship towards one who so highly appreciates it." (Bernard Jacobson (1995) in CD no. 13 of the ''Best of the Complete Mozart Edition'' )</blockquote>

	Haydn was soon in awe of Mozart, and when he first heard the last three of Mozart's series he told Leopold, "Before God and as an honest man I tell you that your son is the greatest composer known to me either in person or by name: He has taste, and, furthermore, the most profound knowledge of composition."<ref>Letter from Leopold Mozart to his daughter Maria Anna from February 16, 1785. In the original: "Ich sage ihnen vor gott, als ein ehrlicher Mann, ihr Sohn ist der größte Componist, den ich von Person und den Nahmen nach kenne: er hat geschmack, und über das die größte Compositionswissenschaft."</ref>

	]
	During the years 1782–1785, Mozart put on a series of concerts in which he appeared as soloist in his ]s, widely considered among his greatest works. These concerts were financially successful. After 1785 Mozart performed far less and wrote only a few concertos. ] conjectures that he may have suffered from hand injuries {{citeneeded}}; another possibility is that the fickle public ceased to attend the concerts in the same numbers.

	Mozart was influenced by the ideas of the eighteenth-century ] as an adult, and became a ] in 1784. His lodge was specifically Catholic, rather than deistic, and he worked fervently and successfully to convert his father before the latter's death in 1787. '']'', his second last opera, includes Masonic themes and allegory. He was in the same ] as Haydn.

	Mozart's life was occasionally fraught with financial difficulty. Though the extent of this difficulty has often been romanticized and exaggerated, he nonetheless did resort to borrowing money from close friends, some debts remaining unpaid even to his death. During the years 1784-1787 he lived in a lavish, seven-room apartment, which may be visited today at Domgasse 5, behind St Stephen's Cathedral in Vienna; it was here, in 1786, that Mozart composed the opera '']''.

	===Mozart and Prague===
	Mozart had a special relationship with the city of ] and its people. The audience there celebrated the ] with the much-deserved reverence he was missing in his hometown Vienna. His quotation "Meine Prager verstehen mich" (''My Praguers understand me'') became very famous in the ]. Many tourists follow his tracks in Prague and visit the Mozart Museum of the Villa ] where they can enjoy a chamber concert. In the later years of his life, Prague provided Mozart with many financial resources from commissions {{citation needed}}. In Prague, '']'' premiered on ], ] at the ]. Mozart wrote '']'' for the festivities accompanying ]'s coronation in November 1790; Mozart obtained this commission after ] had allegedly rejected it.<ref>Cliff Eisen, Stanley Sadie 'Wolfgang Amadeus Mozart', §6: The final years', (Accessed 09 May 2006).</ref>

	===Final illness and death===
	Mozart's final illness and death are difficult topics for scholars, obscured by romantic legends and replete with conflicting theories. Scholars disagree about the course of decline in Mozart's health – particularly at what point (or if at all) Mozart became aware of his impending death and whether this awareness influenced his final works. The romantic view holds that Mozart declined gradually and that his outlook and compositions paralleled this decline. In opposition to this, some present-day scholars point out correspondence from Mozart's final year indicating that he was in good cheer, as well as evidence that Mozart's death was sudden and a shock to his family and friends. Mozart's attributed last words: "The taste of death is upon my lips...I feel something, that is not of this earth."
	The actual cause of Mozart's death is also a matter of conjecture. His death record listed "hitziges Frieselfieber" ("severe miliary <!--this is not a typo-->fever," referring to a rash that looks like millet-seeds), a description that does not suffice to identify the cause as it would be diagnosed in modern medicine. Dozens of theories have been proposed, including ], ] poisoning, and ]. The practice of ] medical patients, common at that time, is also cited as a contributing cause.

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	Mozart died at approximately 1 a.m. on ], ] in Vienna. With the onset of his illness, he had largely ceased work on his final composition, the ] some days earlier. Popular legend has it that Mozart was thinking of his own impending death while writing this piece, and even that a messenger from the afterworld commissioned it. Documentary evidence has established that the anonymous commission came from one ], and that most if not all of the music had been written while Mozart was still in good health. A younger composer, and Mozart's pupil at the time, ], was engaged by ] to complete the Requiem. He was not the first composer asked to finish the Requiem, as the widow had first approached another Mozart student, Joseph Eybler, who began work directly on the empty staves of Mozart's manuscript but then abandoned it.

	Because he was buried in an unmarked grave, it has been popularly assumed that Mozart was penniless and forgotten when he died. In fact, though he was no longer as fashionable in ] as before, he continued to have a well paid job at court and receive substantial commissions from more distant parts of Europe, ] in particular {{citation needed}}. He earned about 10,000 florins per year<ref name=Harding>Luke Harding. . ]. April 5, 2006.</ref>, equivalent to at least 42,000 US dollars in 2006, which places him within the top 5% of late 18th century wage earners<ref name=Harding/>, but he could not manage his wealth. His mother wrote, "When Wolfgang makes new acquaintances, he immediately wants to give his life and property to them." His impulsive largesse and spending often had him asking for loans. Many of his begging letters survive, but they are evidence not so much of poverty as of his habit of spending more than he earned. He was not buried in a "mass grave" but in a regular communal grave according to the 1784 laws in Austria.

	Though the original grave in the ] was lost, memorial gravestones (or ]s) have been placed there and in the ]. In 2005 new DNA testing was performed by Austria's University of Innsbruck and the US Armed Forces DNA Identification Laboratory in Rockville, Maryland, to determine if a skull in an Austrian Museum was actually his, using DNA samples from the marked graves of his grandmother and Mozart's niece. Test results were inconclusive, suggesting that none of the DNA samples were related to each other.

	In 1809 Constanze married ] diplomat ] (1761–1826). Being a fanatical admirer of Mozart, he (and Constanze?) edited vulgar passages out of many of the composer's letters and wrote a Mozart biography. Nissen did not live to see his biography printed, and Constanze finished it.

	==Works, musical style, and innovations==
	{{seealso\|1=List of compositions by Wolfgang Amadeus Mozart}}

	===Style===
	Mozart's music, like ]'s, stands as an archetypal example of the Classical style. His works spanned the period during which that style transformed from one exemplified by the '']'' to one that began to incorporate some of the ] complexities of the late ], complexities against which the ''galant'' style had been a reaction. Mozart's own stylistic development closely paralleled the development of the classical style as a whole. In addition, he was a versatile composer and wrote in almost every major genre, including ], ], the solo ], chamber music including ] and ], and the piano ]. While none of these genres were new, the ] was almost single-handedly developed and popularized by Mozart. He also wrote a great deal of religious music, including ]es; and he composed many dances, ], ]s, and other forms of light entertainment.

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	The central traits of the classical style can all be identified in Mozart's music. Clarity, balance, and transparency are hallmarks, though a simplistic notion of the delicacy of his music obscures for us the exceptional and even demonic power of some of his finest masterpieces, such as the ] in C minor, K. 491, the ] in G minor, K. 550, and the opera '']''. The famed writer on music Charles Rosen has written (in ''The Classical Style''): "It is only through recognizing the violence and sensuality at the center of Mozart's work that we can make a start towards a comprehension of his structures and an insight into his magnificence. In a paradoxical way, Schumann's superficial characterization of the G minor Symphony can help us to see Mozart's daemon more steadily. In all of Mozart's supreme expressions of suffering and terror, there is something shockingly voluptuous." Especially during his last decade, Mozart explored ] to a degree rare at the time. The slow introduction to the ], a work that Haydn greatly admired, rapidly explodes a shallow understanding of Mozart's style as light and pleasant.

	From his earliest years Mozart had a gift for imitating the music he heard; since he travelled widely, he acquired a rare collection of experiences from which to create his unique compositional language. When he went to London<ref>The Mozarts first lodged in Cecil Court off Tottenham Court Road, then in Frith Street in Soho, and later in Ebury Street, where a blue plaque commemorates their stay. See .</ref> as a child, he met ] and heard his music; when he went to Paris, Mannheim, and Vienna, he heard the work of composers active there, as well as the spectacular Mannheim orchestra; when he went to Italy, he encountered the ] and the ], both of which were to be hugely influential on his development. Both in London and Italy, the galant style was all the rage: simple, light music, with a mania for ], an emphasis on tonic, dominant, and subdominant to the exclusion of other chords, symmetrical phrases, and clearly articulated structures. This style, out of which the classical style evolved, was a reaction against the complexity of late Baroque music. Some of Mozart's early symphonies are ]s, with three movements running into each other; many are "homotonal" (each movement in the same key, with the slow movement in the tonic minor). Others mimic the works of J.C. Bach, and others show the simple ]s commonly being written by composers in Vienna. One of the most recognizable features of Mozart's works is a sequence of harmonies or ] that usually leads to a ] in the dominant or tonic key. This sequence is essentially borrowed from baroque music, especially Bach. But Mozart shifted the sequence so that the cadence ended on the stronger half, i.e., the first beat of the bar. Mozart's understanding of modes such as Phrygian is evident in such passages.

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	As Mozart matured, he began to incorporate some more features of Baroque styles into his music. For example, the ] K. 201 uses a contrapuntal main theme in its first movement, and experimentation with irregular phrase lengths. Some of his quartets from 1773 have fugal finales, probably influenced by Haydn, who had just published his opus 20 set. The influence of the '']'' ("Storm and Stress") period in German literature, with its brief foreshadowing of the Romantic era to come, is evident in some of the music of both composers at that time.

	Over the course of his working life Mozart switched his focus from instrumental music to operas, and back again. He wrote operas in each of the styles current in Europe: opera buffa, such as '']'', '']'', or '']''; '']'', such as '']''; and '']'', of which '']'' is probably the most famous example by any composer. In his later operas, he developed the use of subtle changes in instrumentation, orchestration, and tone colour to express or highlight psychological or emotional states and dramatic shifts. Here his advances in opera and instrumental composing interacted. His increasingly sophisticated use of the orchestra in the symphonies and concerti served as a resource in his operatic orchestration, and his developing subtlety in using the orchestra to psychological effect in his operas was reflected in his later non-operatic compositions.

	===Influence===
	]
	Mozart's legacy to subsequent generations of composers (in all genres) is immense.

	Many important composers since Mozart's time have expressed profound appreciation of Mozart. ] averred, "He is the only musician who had as much knowledge as genius, and as much genius as knowledge." ]'s admiration for Mozart is also quite clear. Beethoven used Mozart as a model a number of times: for example, Beethoven's Piano Concerto No. 4 in G major demonstrates a debt to Mozart's ]. A plausible story – not corroborated – regards one of Beethoven's students who looked through a pile of music in Beethoven's apartment. When the student pulled out Mozart's A major Quartet, K. 464, Beethoven exclaimed "Ah, that piece. That's Mozart saying 'here's what I could do, if only you had ears to hear!' "; Beethoven's own ] is an obvious tribute to Mozart's ], and yet another plausible – if unconfirmed – story concerns Beethoven at a concert with his sometime-student ]. As they listened to Mozart's ], the orchestra reached the quite unusual coda of the last movement, and Beethoven whispered to Ries: "We'll never think of anything like that!" Beethoven's Quintet for Piano and Winds is another obvious tribute to Mozart, similar to Mozart's own quintet for the same ensemble. Beethoven also paid homage to Mozart by writing sets of ] on several of his themes: for example, the two sets of variations for cello and piano on themes from Mozart's '']'', and cadenzas to several of Mozart's piano concertos, most notably the ] K. 466. A famous legend asserts that, after the only meeting between the two composers, Mozart noted that Beethoven would "give the world something to talk about." However, it is not certain that the two ever met. ] wrote his ''Mozartiana'' in praise of Mozart; and ]'s final word was alleged to have been simply "Mozart". The theme of the opening movement of the ] K. 331 (itself a set of variations on that theme) was used by ] for his ''Variations and Fugue on a Theme of Mozart'', written in 1914 and among Reger's best-known works.<ref>''Penguin Guide to Classical Compact Discs''</ref>

	In addition, Mozart received outstanding praise from several fellow composers including ], ], ], ], and many more.

	Mozart has remained an influence in popular contemporary music in varying genres ranging from ] to modern ] and ]. An example of this influence is the jazz pianist ], who has performed piano concertos of Mozart and was inspired by them to write a concerto of his own.

	===The Köchel catalogue===
	{{main\|Köchel-Verzeichnis}}

	In the decades after Mozart's death there were several attempts to catalogue his compositions, but it was not until 1862 that ] succeeded in this enterprise. Many of his famous works are referred to by their Köchel catalogue number; for example, the ''Piano Concerto in A major'' (]) is often referred to simply as "K. 488" or "KV. 488". The catalogue has undergone six revisions, labeling the works from K. 1 to K. 626.

	==Myths and controversies==
	Mozart is unusual among composers for being the subject of an abundance of legend, partly because none of his early biographers knew him personally. They often resorted to fiction in order to produce a work. Many myths began soon after Mozart died, but few have any basis in fact. An example is the story that Mozart composed his ] with the belief it was for himself. Sorting out fabrications from real events is a vexing and continuous task for Mozart scholars mainly because of the prevalence of legend in scholarship. Dramatists and screenwriters, free from responsibilities of scholarship, have found excellent material among these legends.

	An especially popular case is the supposed rivalry between Mozart and ], and, in some versions, the tale that it was poison received from the latter that caused Mozart's death; this is the subject of ]'s play '']'', ]'s opera '']'', and ]'s play '']''. The last of these has been made into a ] of the same name. Shaffer's play attracted criticism for portraying Mozart as vulgar and loutish, a characterization felt by many to be unfairly exaggerated, but in fact frequently confirmed by the composer's letters and other memorabilia. For example, Mozart wrote ] on the words "Leck mich im Arsch" ("Lick my ]") and "Leck mich im Arsch recht fein schön sauber" ("Lick my arse nice and clean") as party pieces for his friends. The Köchel numbers of these canons are 231 and 233.

	Another debate involves Mozart's alleged status as a kind of superhuman prodigy, from childhood right up until his death. While some have criticised his earlier works as simplistic or forgettable, others revere even Mozart's juvenilia. In any case, several of his early compositions remain very popular. The ] ''Exultate, jubilate'' (K. 165), for example, composed when Mozart was seventeen years old, is among the most frequently recorded of his vocal compositions. It is also mentioned that around the time when he was five or six years old, he could play the piano blindfolded and with his hands crossed over one another. {{citeneeded}}

	Benjamin Simkin, a medical doctor, argues in his book ''Medical and Musical Byways of Mozartiana''<ref> at ] PMID 1286388</ref> that Mozart had ]. However, no Tourette syndrome expert, organization, psychiatrist or neurologist has stated that there is ] and several have stated that they do not believe there is enough evidence to substantiate the claim.<ref>, ''SchoolBehavior.com'', May 20, 2006.</ref>

	===''Amadeus'' (1984)===

	]’s 1984 motion picture '']'', based on the play by ], won eight ] and was one of the year’s most popular films. While the film did a great deal to popularize Mozart’s work with the general public, it has been criticized for its historical inaccuracies, and in particular for its portrayal of Antonio Salieri’s intrigues against Mozart, for which little historical evidence can be found. On the contrary, it is likely that Mozart and ] regarded each other as friends and colleagues: it is well documented, for instance, that Salieri frequently lent Mozart musical scores from the court library, that he often chose compositions by Mozart for performance at state occasions, and Salieri taught Mozart's son, ].

	The idea that he never revised his compositions, dramatized in the film, is easily exploded by even a cursory examination of the autograph manuscripts, which contain many revisions. Mozart was a studiously hard worker, and by his own admission his extensive knowledge and abilities developed out of many years' close study of the European musical tradition. In fairness, Schaffer and Forman never claimed that ''Amadeus'' was intended to be an accurate biographical portrait of Mozart. Rather, as Shaffer reveals on the DVD release of the film, the dramatic narrative was inspired by the biblical story of ] – one brother loved by God, and the other scorned.

	==Media==
	{{multi-listen start}}
	=== Orchestral ===
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	{{multi-listen item\|filename=Wolfgang Amadeus Mozart - Symphony 40 g-moll - 2. Andante.ogg\|title=K550\|description=Mozart's ], 2nd movement\|format=]}}
	{{multi-listen item\|filename=Wolfgang Amadeus Mozart - Symphony 40 g-moll - 3. Menuetto, Allegretto-Trio.ogg\|title=K550\|description=Mozart's ], 3rd movement\|format=]}}
	{{multi-listen item\|filename=Wolfgang Amadeus Mozart - Symphony 40 g-moll - 4. Allegro assai.ogg\|title=K550\|description=Mozart's ], 4th movement\|format=]}}
	{{multi-listen item\|filename=Wolfgang Amadeus Mozart - Don Giovanni - Overtüre.ogg\|title=K527\|description=Overture to Don Giovanni\|format=]}}
	{{multi-listen item\|filename=Mozart_Eine_kleine_Nachtmusik_KV525_Satz_4_Rondo.ogg\|title=K525\|description=], 4th movement\|format=]}}
	{{multi-listen item\|filename=Wolfgang Amadeus Mozart - Sinfonia Concertante für Violine, Viola und Orchester - 3. Presto.ogg\|title=K364\|description=Sinfonia Concertante in E flat, 3rd movement (Presto)\|format=]}}
	{{multi-listen item\|filename=Mozart - Concerto in D for Flute K.314.ladybyron.ogg\|title=K314\|description=Concerto in D for Flute\|format=]}}
	{{multi-listen item\|filename=Wolfgang Amadeus Mozart - Klarinettenkonzert A-Dur - 1. Allegro.ogg\|title=K622\|description=Clarinet Concerto in A major, 1st movement\|format=]}}
	{{multi-listen item\|filename=Wolfgang Amadeus Mozart - Klarinettenkonzert A-Dur - 2. Adagio.ogg\|title=K622\|description=Clarinet Concerto in A major, 2nd movement\|format=]}}
	{{multi-listen item\|filename=Wolfgang Amadeus Mozart - Klarinettenkonzert A-Dur - 3. Rondo (Allegro).ogg\|title=K622\|description=Clarinet Concerto in A major, 3rd movement\|format=]}}

	=== Vocal ===
	{{multi-listen item\|filename=Die Holle Rache.ogg\|title=Rondo Alla Turca\|title=Der Hölle Rache\|description=Der Hölle Rache, from ]\|format=]}}
	{{multi-listen item\|filename=Mozart - vesperae de dominica. 1. dixit dominus.ogg\|title=K321, 1st movement\|description=Vesperae de dominica - dixit dominus\|format=]}}
	{{multi-listen item\|filename=Mozart - vesperae de dominica. 2. confitebor.ogg\|title=K321, 2nd movement\|description=Vesperae de dominica - confitebor\|format=]}}
	{{multi-listen item\|filename=Mozart - vesperae de dominica. 3. beatus vir.ogg\|title=K321, 3rd movement\|description=Vesperae de dominica - beatus vir\|format=]}}
	{{multi-listen item\|filename=Mozart - vesperae de dominica. 4. laudate pueri.ogg\|title=K321, 4th movement\|description=Vesperae de dominica - laudate pueri\|format=]}}
	{{multi-listen item\|filename=Mozart - vesperae de dominica. 5. laudate dominum.ogg\|title=K321, 5th movement\|description=Vesperae de dominica - laudate dominum\|format=]}}
	{{multi-listen item\|filename=Mozart - vesperae de dominica. 6. magnificat.ogg\|title=K321, 6th movement\|description=Vesperae de dominica - magnificat\|format=]}}

	=== Piano ===
	{{multi-listen item\|filename=Rondo Alla Turka.ogg\|title=Rondo Alla Turca from K331\|description=Piano Sonata No. 11 in A major, 3rd movement\|format=]}}
	{{multi-listen item\|filename=K545 allegro.ogg\|title=K545, movement 1\|title=K545\|description=Piano Sonata in C major, 1st movement\|format=]}}
	{{multi-listen item\|filename=K545 andante.ogg\|title=K545, movement 2\|title=K545\|description=Piano Sonata in C major, 2nd movement\|format=]}}
	{{multi-listen item\|filename=K545 rondo.ogg\|title=K545, movement 3\|title=K545\|description=Piano Sonata in C major, 3rd movement\|format=]}}
	{{multi-listen item\|filename=Mozart - KV 570.ogg\|title=K378/K317d\|description=Piano/Violin Sonata in B Flat (arranged for flute)\|format=]}} <!--The filename is incorrect, this is accually Mozarts 10th Piano/Violin sonata (KV. 378 in the early KV revision). The violin part has been arranged for flutes.-->
	{{multi-listen item\|filename=Mozart_-_Piano_Concerto_No.20_in_D_minor_K.466_Mvt._1.ogg\|title=K466\|description=Piano Concerto No.20 in D minor, 1st movement\|format=]}}
	{{multi-listen end}}

	==See also==
	* ]
	* ]
	* ]
	* ]
	* ], about the possible actual writer of various Mozart's works
	* ], a confectionery named in his honor.
	* ], a disputed theory that certain kinds of music enhance performance on certain mental tasks; the researchers who coined the term used a piece by Mozart in their first study.
	* '']'', a ] by ], based on Forman's film
	* The ], an annual classical music festival named in the composer's honor; since 1974, it has performed 278 of Mozart's 626 works—possibly more than any other festival or concert series in the ].

	==References==
	<references/>

	==Further reading==
	* Braunbehrens, Volkmar: <cite>Mozart in Vienna: 1781-1791</cite>, Timothy Bell Trans, HarperPerennial, 1986 ISBN 0-06-0997405-2 {{Please check ISBN\|0-06-0997405-2 (too long)}}
	* Deutsch, Otto Erich: <cite>Mozart: A Documentary Biography</cite>, Eric Blom et al. Trans, Stanford University Press, 1965
	* Aloys Greither: <cite>Wolfgang Amadé Mozart</cite>, Rowohlt Taschenbuch Verlag GmbH, 1962
	* Robert W. Gutman: <cite>Mozart: A Cultural Biography</cite>, Random, 2001 ISBN 0-15-100482-X
	* ]: <cite>1791: Mozart's Last Year</cite>, Thames & Hudson, 1988 ISBN 0-500-28107-6
	* Piero Melograni: <cite>Wolfgang Amadeus Mozart: A Biography</cite>, The University of Chicago Press, 2006 ISBN 0-226-51956-2 Read
	* Massimo Mila: <cite>Lettura delle Nozze di Figaro</cite>, Einaudi, 1979 ISBN 88-06-18937-9
	* Mark Rayner: <cite>The Amadeus Net</cite>, ENC, 2005 ISBN 0-9752540-1-4
	* Stanley Sadie, ed.: <cite>Mozart and his Operas</cite>, St. Martin's, 2000 ISBN 0-312-24410-X
	* Maynard Solomon: <cite>Mozart: a life</cite>, Harper, 1996 ISBN 0-06-092692-9
	* Hershel Jick: <cite>A Listener's Guide to Mozart's Music</cite>, Vantage, 1997 ISBN 0-553-12308-9
	* ]: <cite>Mozart</cite>, The Chautauqua Press, 1932
	* Wilhelm Otto Deutsch,
	* Nicholas Till: <cite>Mozart and the Enlightenment<cite>,Faber,Norton, 1992 ISBN 0-571-16169-3
	* Gregory Allen Robbins,
	*
	* ] and Simon P. Keefe, Editors: <cite>The Cambridge Mozart Encyclopedia</cite>, Cambridge University Press, 2006 ISBN 0-521-85659-0

	==External links==

	{{wikiquote}}{{wikisourceauthor}}{{Commons\|Wolfgang Amadeus Mozart}}
	=== General reference===

	* – the life, times and music of Wolfgang Amadeus Mozart
	* - the Brazilian site of Mozart by the coloratura soprano Camila Argolo
	* - at mozartones.com
	* from Aaron Green, guide to Classical Music at About.com.
	* The Wolfgang Amadeus Mozart Educational Fanpage - resource for students, teachers and music lovers.
	*
	*
	* Exploring the world of Classical-Era Music (1770-1827), encompassing the music, personalities and accomplishments of Mozart and his contemporaries.
	*
	*(''French'') blog about W.A. Mozart and his family

	===Scores===

	*
	* - International Music Score Library Project's Mozart page.
	* {{ChoralWiki}}
	*{{gutenberg author\|name=Mozart\|id=Wolfgang_Amadeus_Mozart}}
	*{{IckingArchive\|idx=Mozart\|name=Wolfgang Amadeus Mozart}}
	*
	* at Tunespotting.com
	* at ]
	<!-- The below website seems to be a commercial site... is it useful? -->
	*
	*

	===Recordings===
	* free 24-hour webradio from Swedish Radio
	* of string quartets, symphonies, concertos and more from the Isabella Stewart Gardner Museum podcast,
	*
	*
	* - Biography and various free recordings in MP3 format.
	* , from the ] at the ] Library.
	*
	* - Free Selection of Mozart Video Performances
	* Listen to a from , a mixed chamber choir based in Leicester, UK.
	*

	===Specific topics===

	* A free via podcast
	* - Go to "Turning the Pages"
	*
	* Many trancriptions from artists like Sabine Meyer, John McCaw, Charles Neidich, etc.
	* - turn the pages of Mozart's musical diary online (requires Shockwave plugin)
	*, picture of , his , his , his , and his (bnf = French National Library).
	*
	* The proper name of Mozart's piano concerto K. 271 revealed
	* , Wilhelm Otto Deutsch
	*
	*
	* , from NPR
	*
	*

	{{Persondata
	\|NAME=Mozart, Wolfgang Amadeus
	\|ALTERNATIVE NAMES=Mozart, Johannes Chrysostomus Wolfgangus Theophilus (full name)
	\|SHORT DESCRIPTION=]
	\|DATE OF BIRTH=], ]
	\|PLACE OF BIRTH=], ]
	\|DATE OF DEATH=], ]
	\|PLACE OF DEATH=], ]
	}}

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Revision as of 16:43, 22 November 2006