Wolfgang Amadeus Mozart (born January 27, 1756, Salzburg, archbishopric of Salzburg [Austria]—died December 5, 1791, Vienna) was an Austrian composer, widely recognized as one of the greatest composers in the history ofWestern music. With Haydn andBeethoven he brought to its height the achievement of the Viennese Classical school. Unlike any other composer in musical history, he wrote in all the musicalgenres of his day and excelled in every one. His taste, his command of form, and his range of expression have made him seem the most universal of all composers; yet, it may also be said that his music was written to accommodate the specific tastes of particular audiences.

Early life and works

Mozart most commonly called himself Wolfgang Amadé or Wolfgang Gottlieb. His father,Leopold, came from a family of good standing (from which he was estranged), which included architects and bookbinders. Leopold was the author of a famousviolin-playing manual, which was published in the very year of Mozart’s birth. His mother, Anna Maria Pertl, was born of a middle-class family active in local administration. Mozart and his sisterMaria Anna (“Nannerl”) were the only two of their seven children to survive.

The boy’s early talent formusic was remarkable. At three he was picking outchords on theharpsichord, at four playing short pieces, at five composing. There areanecdotes about his precise memory ofpitch, about his scribbling aconcerto at the age of five, and about his gentleness and sensitivity (he was afraid of thetrumpet). Just before he was six, his father took him and Nannerl, also highly talented, toMunich to play at the Bavarian court, and a few months later they went to Vienna and were heard at the imperial court and in noble houses.

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“The miracle which God let be born in Salzburg” was Leopold’s description of his son, and he was keenly conscious of his duty to God, as he saw it, to draw the miracle to the notice of the world (and incidentally to profit from doing so). In mid-1763 he obtained a leave of absence from his position as deputy Kapellmeister at the prince-archbishop’s court at Salzburg, and the family set out on a prolonged tour. They went to what were all the main musical centers of western Europe—Munich,Augsburg, Stuttgart,Mannheim, Mainz, Frankfurt, Brussels, and Paris (where they remained for the winter), then London (where they spent 15 months), returning through The Hague, Amsterdam, Paris, Lyon, and Switzerland, and arriving back in Salzburg in November 1766. In most of these cities Mozart, and often his sister, played andimprovised, sometimes at court, sometimes in public or in a church. Leopold’s surviving letters to friends in Salzburg tell of the universal admiration that his son’s achievements aroused. In Paris they met several German composers, and Mozart’s first music was published (sonatas for keyboard and violin, dedicated to a royal princess); inLondon they met, among others,Johann Christian Bach,Johann Sebastian Bach’s youngest son and a leading figure in the city’s musical life, and under his influence Mozart composed his firstsymphonies—three survive (K 16, K 19, and K 19a—K signifying the work’s place in the catalog ofLudwig von Köchel). Two more followed during a stay in The Hague on the return journey (K 22 and K 45a).

After little more than nine months inSalzburg the Mozarts set out forVienna in September 1767, where (apart from a 10-week break during asmallpox epidemic) they spent 15 months. Mozart wrote a one-act Germansingspiel,Bastien und Bastienne, which was given privately. Greater hopes were attached to his prospect of having an Italianopera buffa,La finta semplice (“The Feigned Simpleton”), done at the court theater—hopes that were, however, frustrated, much to Leopold’s indignation. But a substantial, festalmass setting (probably K 139/47a) was successfully given before the court at the dedication of the Orphanage Church.La finta semplice was given the following year, 1769, in the archbishop’s palace in Salzburg. In October Mozart was appointed an honorary Konzertmeister at the Salzburg court.

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Still only 13, Mozart had by now acquired considerable fluency in the musical language of his time, and he was especially adept at imitating the musical equivalent of localdialects. The earlyParis and Londonsonatas, the autographs of which include Leopold’s helping hand, show a childlike pleasure in patterns ofnotes and textures. But the London andThe Hague symphonies attest to his quick and inventive response to the music he had encountered, as, with their enrichment of texture and fuller development, do those he produced in Vienna (such as K 43 and, especially, K 48). And his first Italian opera shows a ready grasp of the buffo style.