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Wolfgang Amadeus Mozart (1756–1791) had a powerful influence on the works of Ludwig van Beethoven (1770–1827). Beethoven held Mozart in high regard; some of his music recalls Mozart's, he composed several variations on Mozart's themes and he modeled a number of his compositions on those of the older composer.
The young Ludwig van Beethoven admired this concerto and kept it in his repertoire. Composers who wrote cadenzas for it include Beethoven (WoO 58), Franz Xaver Wolfgang Mozart, Charles-Valentin Alkan, Johannes Brahms (WoO 14), Johann Nepomuk Hummel, Ferruccio Busoni, and Clara Schumann.
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Mozart y Beethoven. A la izquierda, retrato de Ludwig van Beethoven en 1788. A la derecha, retrato de Wolfgang Amadeus Mozart en 1789. Wolfgang Amadeus Mozart ejerció una gran influencia en las obras de Ludwig van Beethoven. Beethoven conocía muchas de las obras de Mozart y compuso muchas de sus propias obras basándose en las del compositor ...
Wolfgang Amadeus Mozart [a] [b] (27 January 1756 – 5 December 1791) was a prolific and influential composer of the Classical period. Despite his short life, his rapid pace of composition resulted in more than 800 works representing virtually every Western classical genre of his time. Many of these compositions are acknowledged as pinnacles of ...
- 27 January 1756, Getreidegasse 9, Salzburg
- Mozart family
- 5 December 1791 (aged 35), Vienna
- Constanze Mozart
The Immortal Beloved (German " Unsterbliche Geliebte ") is the addressee [1] of a love letter which composer Ludwig van Beethoven wrote on 6 or 7 July 1812 in Teplitz in what would be today Czech Republic. The unsent letter is written in pencil on 10 small pages.
Ludwig van Beethoven [n 1] (baptised 17 December 1770 – 26 March 1827) was a German composer and pianist. He is one of the most revered figures in the history of Western music; his works rank among the most performed of the classical music repertoire and span the transition from the Classical period to the Romantic era in classical music.
Summary. Wolfgang Amadeus Mozart (1756–91) and Ludwig van Beethoven (1770–1827), names writ large in histories of the concerto, dominate critical discourse on late eighteenth- and early nineteenth-century works. Their status as the pre-eminent concerto practitioners of the period was enshrined right from the outset.
