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WOLFGANG AMADEUS MOZART
THE VIENNA YEARS
In 1781, fresh from the success of his opera "Idomeneo, King of Crete", the Mozart father and son both were summoned to Vienna as members of the Archbishop of Salzburg's cortege on a state visit to the Austrian capital. The younger Mozart had hopes of making personal contact with members of the Habsburg's court to find a patron or a position there.
The Archbishop of Salzburg, Mozart's boss, had some different ideas which were not very sympathetic to Wolfgang's intentions. To Hieronymus Graf Coloredo, Wolfgang Amadeus Mozart was his court property and forbade his employee to stray from his orders to keep away from any personal contact with the Royal Court of the Austrian Empire.
"OUCH!" cried Wolfgang, as his posterior was the target of the Archbishop's attendant's kicking foot, as the final result of a confrontation.
"YOU'RE FIRED", yelled the Archbishop.
"I QUIT", screamed Mozart, as he took his aching posterior with him forever from the employ of the Salzburg entourage. The hurt to his posterior, was minor to the greater hurt to his pride. He would never again return to Salzburg.
Thus began the Vienna years, his most prolific.
The glitter and glamour of Vienna and its magnificent palaces, such as Schoenbrunn, with its magnificent rooms and salons (such as the Grosse Galerie, as seen above) appealed to the younger Mozart. It was in rooms such as this, where Mozart gave his recitals and enjoyed parties and imperial balls.
The "OUCH" that was later to be heard around the world in the key of Mozart major had its muted beginnings in Vienna in a very slow minor key.
"FREEDOM" was Wolfie's battle cry of joy! He could now creatively do as he wanted without the oppression of Archbishop Hieronymus. In partaking of his new life and expanding himself socially, he once again met up with the family of Aloysia Weber, whom he had an affair with in Mannheim. He was immediately taken by her sister Constanza, and not long after they were married. Papa Mozart (Leopold) already unhappy by his son's schism with the Archbishop, was further displeased with his son's choice of a wife. Leopold never accepted her as his daughter-in-law because her family did not carry any positive influence to help his son's career. Despite this, the marriage lasted with the birth of two sons.
"OPERA" was his prime interest in composition. He had composed several operas in the past, but unlike the success of "IDOMENEO, KING OF CRETE", most were forgotten at the time. Some like "BASTIEN AND BASTIENNE" have been revived in the contemporary repertory.
"THE
ABDUCTION FROM THE SERAGLIO" and
"COSI FAN TUTTE" were premiered in 1782 at the Burgtheatre.
Despite high hopes, both comic operas met with disappointment and were coolly received. "Wolfie" had several problems in being recognized by Emperor Joseph II. Firstly, he was not Italian. He was a "local boy" from nearby Salzburg. At that time, music from Italy was in vogue. Names such as Vivaldi, Corelli, Palestrina, Scarlotti and Paganini, along with their music and styles were given principal recognition. Mozart had a rival in the name of Antonio Salieri, who was the court composer for the emperor. (What might have happened if Mozart changed his name to "Mozarella"?)
Mozart kept himself busy composing all forms of music. In spite of his prolific output as a composer genius, his orchestral and chamber music was composed for him to perform as a pianist. His income was supplemented as a music teacher, giving private lessons to members of the nobility. One of his students, freshly arrived from Germany, impressed him greatly. "Someday, this man will make a musical noise that the world will listen to", he said. The name of the student was Ludwig Van Beethoven.
1786 and "The Marriage of Figaro" Opera Controversy
Immediately around the
corner from St.Stephan's
Cathedral, at 1 Domstrasse,
is the "Figaro House". It was
here where the "Marriage of
Figaro was composed. It is now
a museum open to the public.
By 1786, Mozart could count more than enough disappointments. Yet, he was not discouraged. He met a poet at a party. His name was Lorenzo da Ponte, who was also a librettist. A controversial play written by the French playwright, Beaumarchais, had inspired both Mozart and da Ponte to compose an opera based on the same name, entitled "THE MARRIAGE OF FIGARO". This did not sit well with any members of royalty, as this satire poking fun at nobility, was interpreted to be dangerous for the times.
In 1789, Louis XVI and Marie Antoinette, not only lost their senses of humor, but also lost their heads, thanks to the French Revolution. For obvious reasons, this operatic masterpiece was again met with a negative audience reception.
Not long after the opera's premiere, Mozart's life went through some dramatic changes. His final years deserve special attention. Continue and click Mozart's final years.
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Mozart's life journeys from Salzburg