Contact us with any questions. Enjoy our concerts? 25 and 40, both in G minor. To learn more, view ourPrivacy Policy. no development section,[6] starts quietly in the strings and expands into the rest of the orchestra. Less than 20 years since Mozart composed his Symphony No. Its character is operatic in scope, or else, as Einstein put it, "a fatalistic piece of chamber music." Here is a live performance from September, 2020 featuring Andrs Orozco-Estrada and the Frankfurt Radio Symphony: Featured Image: The gates of Viennas Belvedere Palace. The development section expands only the first few notes of the first subject. Mozart and his were returning back home to Vienna from Salzburg in late 1783. 39 in E major of Wolfgang Amadeus Mozart, K. 543, was completed on 26 June 1788. Pedal notes which are heard in the alto part before the second subject begins. I hope you don't mind that I made 9 completely covered double sided revision flash card things from this information and I am so grateful! Regal fanfare figures and drum beats blend with descending scale flourishes. Posted on 1 second ago; June 24, 2022 . The text notes that he completed it on July 25, 1788. 39, 40, and 41) were composed over two months in the summer of 1788. But the No. This regal D major soon wanes, however; Mozart pulls this introductory section to the minor side, shading the music in a much darker hue. The finale begins with a characteristically cheerful tune that soon gives way to all manner of harmonic surprises and developments. A circle of fifths progression as heard in the second subject. [1] Nikolaus Harnoncourt argues that Mozart composed the three symphonies as a unified work, pointing, among other things, to the fact that the Symphony No. Development is where the composer 'develops' one or both ideas that were heard in the exposition. The conductor,Nikolaus Harnoncourt, believed that these three monumental works, the apotheosis of Mozarts symphonic writing, were conceived as a trilogy. 40 in G Minor: Opening the Door to the Romantic World, Bachs Concerto for Two Violins, The Netherlands Bach Society, Mahlers Third Symphony: A Progression to the Divine, William Schumans Third Symphony: An American Monument, Sibelius Third Symphony: Classical and Austere, Samuel Barbers Capricorn Concerto: An Homage to the Baroque. All rights reserved. A Study of Attribution, Chronology, and Source Transmission, False Recapitulations in the Works of Haydn, Normative Wit: Haydn's Recomposed Recapitulations (MTO 21.2), Readdressing Haydns Formal Models: Common Paths Through Expositions, Multiple Themes and Musical Space in the Dominant, Haydn's Dramatic Dissonances: Chromaticism and Formal Process in His String Quartets, Opp. 24 in B-flat major, K. 182/173dA. The final movement (Allegro) is a jubilant, celebratory romp. Tuneful epic with a majestic finale. It doesn't, however, have the tragic romanticism of the G minor symphony #40, or the magnificent heroics that earned the C major its nickname, the Jupiter. Otto Jahn: Life of Mozart (1891) - Vol. His Symphony No. There is no firm date for its premiere, and Mozart's plan to introduce it at the "Concerts in the Casino" series was cancelled due to lack of ticket sales. One of the difficulties in writing about Mozart is trying (in vain) to limit the word great. His symphonies from 26 to 41 are sometimes called his great symphonies, but of these, thefinal three have been accorded a special degree of greatness. Mozart composed six symphonies in Vienna: Haffner (#35) 1782, Linz (#36) 1783, Prague (#38) 1787. 40 in G minor (3rd movement)? The Symphony No. Redlands Symphony Association Equity Statement, Bassoon Concerto in B-flat major, K.191/186e, Horn Concerto No. And Mozart calls attention to this section of the movement by using 3-4-5 in the bass to support the very first piano solo in the movement during which the violin is silent (mm. 39 in E-flat. 39, Mozart took the rare step of omitting the oboes, allowing the two clarinets to rise to greater prominence. This is done to fool people into thinking weve arrived back to the recapitulation, but in reality, we are not back into the first key, and also, the attitude is still quiet and subdued.The theme is repeated, modulating through several keys such as F major, D major and E major. The symphony seems uncharacteristic in many our understandings of what Mozart is supposed to sound like - large sustained forte chords, no possibility of double-dotting what is single-dotted, and even splitting a melodic phrase from one instrument to another. In an ingenious compositional sleight of hand, Mozart gives us a second theme which is really the original theme in disguise. A similar, triumphant E-flat major chord opens the Overture to Mozart's final opera, The Magic Flute. Brief historical and biographical information, analysis, and reflections. TheAndante con motobegins quietly with the declamation of its main theme which is repeated. the composition is mostly homophonic, but some sections have overlapping melodies that use octaves that are doubled. An early analyst and critic of Mozart's music, Otto Jahn called the Symphony No. 25 IN G MINOR, K 183 INTRODUCTION Mozart's Symphony No. The home key of E-flat major suggests boldness and heroism. A passionate teacher, Mr. Judd has maintained a private violin studio in the Richmond area since 2002 and has been active coaching chamber music and numerous youth orchestra sectionals. us: [emailprotected]. An example of a smooth dynamic change is at bar 39, where there is a gradual crescendo. This stately beginning yields quietly to the openingAllegrosection. Supplemental understanding of the topic including revealing main issues described in the particular theme; An analysis of Wolfgang Amadeus Mozarts Symphony No. The second movement, an andante, also adheres to convention, though it is remarkable for its combination of elegance and intense expressiveness. Sometimes upcoming concerts programmed an "unidentified symphony" which possibly was number 39. This article follows up Larsens essay by reconsidering some perceived formal difficulties in Haydns symphonies that arise from mismatches between Haydns practice and modern expectations. 2023 Indianapolis Symphony Orchestra. We arrive at a moment of serene transcendence with a wistful operatic conversation which emerges between the bassoon, clarinets, and flute (12:04). He used good patterns of keys and good rhythms. document.getElementById( "ak_js_1" ).setAttribute( "value", ( new Date() ).getTime() ); Enter your email address to subscribe to The Listeners' Club and receive notifications of new posts by email. Sometimes upcoming concerts programmed an unidentified symphony which possibly was number 39. The finale is a short but rollicking Presto cast in a traditional sonata form, and at many points is a showcase for the wind section in the orchestra, especially the flute. With Haydn and Beethoven he brought to its height . Eighteenth-Century Music 10 (2): 213252. Andante (2017, Aug 25). In general, it was basically homophonic, but was free to change to polyphonic when a composer saw fit.It is often extremely difficult to tell whether Mozarts music is polyphonic, or just homophonic with very complex backings.An example of homophonic texture with backing is bars 9-24. Enter the email address you signed up with and we'll email you a reset link. While the first subject of the recapitulation is exactly the same as in the exposition, the bridge passage starts to move harmonically a little earlier, and is considerably longer. Indeed, the movement offers . I. This video was produced by synchronising a data visualisation of Mozart's Symphony No. WE ARE ETERNALLY GRATEFUL. Develops themes and motives from the exposition- Modulates through different keysMozarts development starts off very subdued. Sorry, preview is currently unavailable. Just talk to our smart assistant Amy and she'll connect you with the best It comes from Iwan Anderwitsch, who attended an all-Mozart memorial concert in Hamburg in March of 1792, a year after the composers death: The opening is so majestic that it so surprised even the coldest, most insensitive listener and non-expert, that even if he wanted to chat, it prevented him from being inattentive, and thus, so to speak, put him in a position to become all ears. How did he do it? Rhythms are precise; dynamics are colorful; the tempo unflagging. Johann Christian Bach had been a student of Martini and Sammartini. The work has a very interesting minuet and trio. The first of these involves appearances of the tonic during the development section, which have been termed "medial tonic returns. The second involves the clear statement of primary theme material in a non-tonic key before the decisive tonic return that initiates the recapitulation proper, which are here dubbed medial thematic returns. Both of these formal procedures are commonly discussed as part of the problematic of the so-called false recapitulation. The advantages and disadvantages of this concept as a tool for musical analysis have been well-rehearsed by now. Manuscript Parts as Evidence of Orchestral Size in the Eighteenth-Century Viennese Concerto. Such solemnity was a new type of beginning for Mozart. 39 (also in G minor) is another example of the Sturm und Drang style and may have served as an inspiration for Mozart's Symphony No. First Australians and Traditional Custodians of the lands where we 25, dubbed the Little G Minor. Popular music provides us with a dazzling array of complex song structures, but imagine for a moment a song you put on to dance to, or perhaps to stimulate a good cry. The third movement, marked menuetto, is built around one of Mozarts most admired minuets, and includes one of his beloved country dances. However, we now have what is likely the first known eyewitness account of the performance of the 39th Symphony. https://collections.lib.utah.edu/ark:/87278/s6np691r, Analysis of Mozart symphony no. 40 by Nicholas Rougeux with a recording by the Tasmanian Symphony Orchestra. 39 becomes a kind of overturea musical call to order. The final movement trails off with no coda, leaving the real contrapuntal fireworks for the end of Symphony No. Published online by Cambridge University Press: 05 October 2012 David Damschroder. Douglas Lilburn: Piano Sonata (1939) in A minor. 40 in G Minor (K. 550), movement 3, Trio in response to Leonard B. Meyer from Part Two - Masterpieces. The first movement begins with a slow introduction, something Mozart does in only 2 other symphonies (the n.36 "Linz" and n.39).Daniel Freeman has noted that it is probably the longest and most sophisticated slow introduction written for any major symphony up to that time.. It's a regal D major. Quiet main material and energetic, somewhat agitated transitions characterize this movement. cite it correctly. Mozart was five years old when he com- This is to become a very important aspect of the first movement, and by the time we reach the final cadence of the opening, our ears are resigned to this minor-mode world. Nothing in his life at the time justifies the minor keys. Jupiter is the Roman name for the Greek god Zeus- God of all Gods, so therefore, the music represents Jupiter and his power. It is not certain why, but many believe it was because of its emotional style. 39 in E flat major, K543. The section features various keys but avoids using the tonic or the dominant. Herbert Blomstedt. Haydn, a dear friend and colleague, wrote that "posterity will not see such a talent again in 100 years." That would not quite prove to be true, but even by the time of his death, Mozart's place in music history was among the most assured of any composer. That's a lot of time to become familiar with the themes before Mozart launches into the development section. Butler&Stauffer&Greer) (University of Illinois, 2008), Climbing Monte Romanesca: Eighteenth-Century Composers in Search of the Sublime, Teaching Sonata Expositions Through Their Order of Cadences, Flowers over the Abyss: A Musical Uncanny in Nineteenth-Century Criticism, Beethoven op.132, MT autumn 2017, revised, Child Composers THEIR WORKS A Historical Survey, "About a Key: Tonal Reference in Beethoven's Sonata-Form Works. III. He became quite friendly with Mozart during the latter's London visit in 1764-65. That motivation goes far to explain their extraordinary scope and striking ingenuity which surely would have been lost on audiences of that time.. The Exposition-The exposition should consist of 4 clear cut sections:-Theme 1 in tonic key-Bridge modulating keys to-Theme 2 in dominant key contrasting mood- A closing section (coda) with a repeatThe first theme is in C major. 24 and Ballet Kr. :)))). 24 in g minor K 183, was composed in 1773 in Salzburg, while he was working for the Archbishop of the city. He begged for help from his friend Michael Puchberg, Just imagine my situation: sick and full of worry and grief I am forced to sell my quartets {K 575, 589, 590] for a trifle just to get some cash into my hands and meet my immediate obligationsAnything would be a help just now. 135, Trazom's Wit: Communicative Strategies in a 'Popular' Yet 'Difficult' Sonata. A hugely intricate yet static fugue followed by an extremely syncopated and almost jazzy movement in 11/8 time. COMPOSED/WORLD PREMIERE: Mozart entered the Symphony No. Space to play or pause, M to mute, left and right arrows to seek, up and down arrows for volume. 21: Historical, Theoretical and Performance Interpretations, A rudimentary approach to the history of the major and minor keys, Time out of jointTime set right: Principles of form in Haydn's Symphony No. HubPages is a registered trademark of The Arena Platform, Inc. Other product and company names shown may be trademarks of their respective owners. The recapitulation has similar dynamics to the exposition. EXCERPT 2 Bassoon I Part Score S . Balanced phrases (4 or 8 bars) that sound like questions and answers. Not really. Sergey Taneyev: Prelude and Fugue op. My paper covers the analysis of the first movement of Mozart's K 333. The exposition presents the work's main themes, ideas, or subjects (the terms can be used interchangeably). Mozart, for instance, avoids them altogether, even in the most likely places: in the preludes K. 284a (formerly known as the Capriccio in C, K. 395/300g), or in his keyboard fantasies (K. 394, 396, 397 and 475), especially those written in 1782, when he was immersed in the music of J. No. Sometimes the work finishes with a small coda. Finale (Presto). The home key of E-flat major suggests boldness and heroism. 25 is not great? 39, Mozart took the rare step of omitting the oboes, allowing the two clarinets to rise to greater prominence. The three main sections of sonata form are the exposition, development, and recapitulation. Later, in 1862, Ludwig Kochel, a writer and composer, published a catalogue classifying all of Mozarts work, so the piece was eventually namedSymphony No 41 in C Major K551 Jupiter.The piece was completed on the 10th of August 1788. They share the start of the second subject with the strings. Original lyrics with separate . Musicologists love to speculate on how Mozart's career might have progressed if he had lived beyond age 35, since his mastery and musical daring were only accelerating; his Symphonies No. Violin Sonata In A Minor Analysis 877 Words | 4 Pages. Listen for the almost comic dialogue which unfolds between the low and high strings (10:27). It is usually repeated, giving the pre-recording age audience a chance to familiarise themselves with the material. Save my name, email, and website in this browser for the next time I comment. As the movement progresses, the descending scales of the introduction return, erupting as brilliant, celebratory fireworks. I am so sorry.. The first movement,Adagio-Allegroopens with a slow, serious, chromatic introduction, colored by brass fanfares and descending lines. Mozart, Wolfgang Amadeus, 1756-1791. Symphony #41 in C major was written by Wolfgang Amadeus Mozart. 32 E. Washington St In a letter dated October 31st, 1783 Mozart wrote to his father: A string of superlatives characterizes the earliest-known audience account of a performance of Mozarts Symphony No. 3: Johann Sebastian Bach's "Brandenburg" Concerto No. 40 in G minor, K.550. The Symphony no. in E-Flat Major, K. 543, Wolfgang Amadeus Mozart, By Marianne Williams Tobias, The Marianne Williams Tobias Program Note Annotator Chair, Three years before his death in 1791, Mozart embraced a renewed zest for writing symphonies in the summer of 1788. Harmonic Matches Find songs that harmonically matches to Symphony in G Major, Eisen G8: I. Allegro - Leopold Mozart, Toronto Chamber Orchestra, Kevin Mallon. This sequence goes for three bars, although the same thing except in a lower range starts two bars later at bar 94.Another interesting thing about this third theme is from listening to the piece, it seems to be the climax of emotion in the piece. Heine y J. M. Gonzlez Martnez (eds. 35 in D Major, K. 385 'Haffner' Wolfgang Amadeus Mozart LEARN Overview IV. Charles Groth. Location: Pedagogy IV. From that point forward, Mozart takes firm control, following traditionalsonata-allegroformat for the duration of this movement. Copyright J. Willard Marriott Library. In case you can't find a relevant example, our professional writers are ready Unfortunately, Mozart never got to perform this piece in his lifetime.Style-Wolfgang Mozart followed a set of guidelines loosely when creating his music. He is a graduate of the Eastman School of Music where he earned the degrees Bachelor of Music and Master of Music, studying with world renowned Ukrainian-American violinist Oleh Krysa. The mid-section trio contrasts by featuring a duet between a clarinet and flute in a quiet, unique combination with occasional tiny string participation. An analysis of Wolfgang Amadeus Mozart's Symphony No. 40 in G minor shows how the main themes or "subjects" of sonata form are repeated and developed to create a dynamic musical narrative. | Find, read and cite all the research . Scholars have noted his theological preference. Unlike most Classical Era first movement sonatas, Mozart begins in media res dropping the listener into the quick motion of the lower strings and a turbid melody in violin octaves. Onto: Handel - And the Glory of the Lord!! Its understated ending caps off a remarkable youthful work that shows Schubert's mastery of symphonic writing and hints at the directions he would later take. Typical harmonic progression (Examples may differ.) And he offered another innovation his orchestration omits oboes and includes, instead paired clarinets. The strings are busy most of the time and plays a variety of things such as the melody, running scales, sustained notes and chords. In particular, the use of the G minor key, which was a relatively uncommon choice for a symphony at the time, adds a sense of darkness and intensity to the . Need a custom essay sample written specially to meet your by Markus Neuwirth and Pieter Berg (Leuven University Press, 2015), 215251. Such a reading of Haydn, which seeks to reconcile historically informed analysis with emphatic interpretation, illustrates how the spectacular grand pauses in the Symphony No. On June 1788, he wrote to a friend with disarming simplicity, As it is, I have very little to do in town, and I am not exposed to many visitors, I shall have more time for work. Precisely why he did it has been the topic of speculation over many years. It is in the dominant key (G major), and stays in that key for the whole section. While not always easy to hear, this visualisation of Mozart's Symphony No. 39, von Dittersdorf's models in Mozart's music, CD Booklet: C. Ditters von Dittersdorf: Ovid Symphonies Nos. The first theme is always in the home key. MOZART - SYMPHONY 40 (full analysis) Mekel Rogers 4.49K subscribers Subscribe 22 1K views 8 months ago A video walkthrough for Mozart's Symphony 40 http://somethingclassical.blogspot.com. Tempo changes also add variety. [1], The Symphony No. Minor-keyed symphonies were not unheard of, but were not the norm at the time. Surely Mozart was proud of this piece as he later arranged it for string quintet (K. 406) (Alber, p. 31). Bach "Brandenburg" Concerto No. Of course, the introduction's turn to the minor is called forth once again; the Allegro often slips into the minor mode, particularly with the second major theme. At the first dramatic change, the key also changes dramatically, going from a happy sounding G major, to a dark sounding C minor.A coda of the exposition is supposed to stay in the same key as theme two- G major.For these reasons, it is reasonable to assume that the first dramatic change, bar 81, is the beginning of a new third theme.At bar 89, we begin to hear another sequence of something very similar to motive two, although twice as fast. By labeling his symphony Eroica, Beethoven added his work to the line of the characteristic symphony genre (Haydn's "Le midi" Symphony, e.g., see above essay The Eighteenth-Century Symphony) while also inspiring critical writings that looked anticipated the more flushed out programmes of the nineteenth-century dramatic symphonies and . 40 into his catalogue on July 25, 1788.A later version, heard most often today and played at these . Symphonies, K. 543, E major; Analysis, appreciation. Mozart deftly shows his expertise in counterpoint, guiding multiple lines into complex yet clear contrapuntal textures. Darkly virtuosic. Mozart's K 333 Sonata in B-flat Major is a fairly standard piece. This is followed by an Allegro in sonata form, though while several features the loud outburst following the soft opening, for instance connect it with the galant school that influences the earliest of his symphonies. live, learn and work. Hints of the exposition heard, this time in G minor. Continuing the journey started with the episode on the first movement, in this episode I'll go into the second and third movements of Mozart's symphony n.40 . All Rights Reserved. This volume promises to fulfill the needs of both students and professionals in the field of music theory. By separating the two components of this devicethe seemingly preemptory recurrence of the tonic and of the main themethis article clarifies the analytic problem and shows how a more historical sense of formal process reveals important yet overlooked aspects of Haydns evolving approach to symphonic form during his two decades as Prince Esterhazys resident symphonist. One is a fairly early work and the other is No. The guidelines set down came under several headings:MoodRhythmTextureMelodyDynamicsMood-The guidelines for mood were quite simple- large variations. Most dynamics occur suddenly and there are only a few crescendos and no diminuendos. The independence of the winds and greater interplay of the parts in general, and the fact that the second theme group contains several themes (including a particularly felicitous "walking theme") compared to those earlier symphonies whose second groups were practically always completely trivial, are just a very few of the points that distinguish this movement from those earlier works, from which it has more differences than similarities. 41 by Wolfgang Amade-us Mozart, a sublime masterpiece from 1788 that exemplifies why its composer occupies a spot on the very top rung of symphonic creation. Symphonie-Orchester des Bayerischen Rundfunks. Symphonie-Orchester des Bayerischen Rundfunks. The forceful Menuetto is set off by the trio's unusual tint of the second clarinet playing arpeggios in its low (chalumeau) register. Presentation on Mozart's Symphony #29 in A Major. By using our site, you agree to our collection of information through the use of cookies. In the specific section of the music from 0:00-0:30 of Mozart's "Odense" Symphony, the melody is played by the strings in unison, while the rest of the orchestra provides harmonic accompaniment. In modern times, the work is part of the core symphonic repertoire and is frequently performed and recorded. Please reply! Classical sonatas, symphonies, and concertos share common musical DNA: the system of contrasting themes known as sonata form. Nevertheless, Mozarts subtle yet wayward treatment of dissonance, his unprecedented use of enharmonic orchestration, as well as his atypical choice instrumental texture greatly contributed to the redefining of Viennese Classicismsubsequently introducing the latter foundations of Romantic self-expression. As if hearkening back to the major-minor polarity set up at the very beginning of the symphony, we once again hear Mozart letting the music slip fluidly between the two, though the changes have a much shorter shelf life in this movement. Simple rhythms and occasional use of dotted rhythms and syncopation to create momentum and add interest. In order to remain focused and present a concise argument, I will be limiting my discussion to the first movement of the work without the inclusion of its recapitulation. The Trio section, introduced by the clarinets, is an Austrian countrylndler. After Mozart died, the piece was given the name Jupiter by the composer Johann Peter Saloman, a composer and concert organizer. To Classical era composers the minor mode was perhaps too fraught for ordinary use. The recapitulation repeats the themes from the exposition, but altered slightly.The first movement of a symphony is usually in sonata form. Completed in Vienna on the 26th of June 1788, the E-flat major Symphony was one of the great last three symphonies he composed. This essay was written by a fellow student. Marianne Williams Tobias, Indianapolis Symphony Orchestra, 2016. This time, the third theme comes back in F minor.Being out of the tonic key creates tension again, which goes against what the recapitulation is suppose to be about, but also by creating this tension again, the coda has a much greater effect, because it is like the calm after a storm.During the coda, Mozart once again hints towards another key, but this time restricts himself to only hinting at the dominant (G major). EN. 26, in the same key, as a model.[3]. This great symphony is written in the key of G minor and the melancholy feel of this key pervades the first movement, although other movements are lighter in mood. The first violins virtuosic melodic line (a frequent staple on audition lists for professional orchestra jobs) amounts to the eighteenth century equivalent of a hoedown. However, these sonatas were not written as a group (Kirby 101). Joseph Haydn's Symphony No. Porticodoro/SmartCgArt is member of the League of Composers/ISCM-NY and other Musical Associations. The accompaniment is generally harmonic in nature, providing support and depth to the composition. [That] in itself is something of a puzzle, insists the distinguished writer Phillip Huscher, for it is no less a masterwork. In fact, he notes, it is also the least studied of the three. They share the start of the second subject with the strings.- There are two horns in different keys which maximizes the number of notes. 25. Thank you! Academia.edu no longer supports Internet Explorer. The Classical period therefore became known as the Age of Enlightenment.There were certain guidelines composers started to follow when developing a piece so people could understand the music easier. The melody for this particular folk dance derived from local drinking songs which were popular in Vienna during the late 18th century. His symphonies are the most frequently written by composers in his lifetime. Suite 600 It then becomes [so] fiery, full, ineffably grand and rich in ideas, with striking variety in almost all obbligato parts, that it is nearly impossible to follow so rapidly with ear and feeling, and one is nearly paralyzed. The first, second and last movements of this symphony are in sonata form, the third one is in minuet and trio form. Indianapolis, IN 46204. Academia.edu uses cookies to personalize content, tailor ads and improve the user experience. Your information is being handled in accordance with the. This trilogy stands apart from his previous symphonic repertoire in innovation, emotion, increased dissonance, and profound content. [1] Though a contrast in tempo and mood, the movement is not any less harmonically adventurous. Undergraduate Music Student on December 15, 2013: ^suddenly changing dynamics can be described as "Terrased Dynamics" - only in this baroque context though, also this piece is performed by a SYMPHONY orchestra not a CHAMBER orchestra, the difference being its size, the groups of instruments involved, and the era in which it was written, to a certain extent. Some perfect examples of his catchy melody lines are bars 1-16.Dynamics-During the classical period, it started to become a custom that dynamics should flow smoothly, rather than the terraced dynamics of the baroque period.The flow of these dynamics created tension and excitement.During Mozarts Jupiter, there are many crescendos and decrescendos, but also many terraced dynamics. It remains one of his most interesting and popular symphonies, owing to its richness of contrapuntal and harmonic exploration. The modern tradition of taking textbook sonata form as the starting point, as he put it with disarming simplicity, often invites difficulties in the analysis of Haydns sonata forms. JOANNES CHRISOSTOMUS WOLFGANG GOTTLIEB MOZART (He began to call himself Wolfgango Amadeo about 1770 and Wolfgang Amad in 1777) BORN: January 27, 1756.Salzburg, Austria DIED: December 5, 1791.Vienna.
