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Wolfgang Amadeus Mozart (1756–1791) was a prolific composer and wrote in many genres. Perhaps his best-admired work is in opera, piano concerto, piano sonata, symphony, string quartet, and string quintet. Mozart also wrote many violin sonatas, and other forms of chamber music, violin concertos, and other concertos for one or more solo ...
Köchel-Verzeichnis, published 1975 in East Germany. The Köchel catalogue (German: Köchel-Verzeichnis) is a chronological catalogue of compositions by Wolfgang Amadeus Mozart, originally created by Ludwig Ritter von Köchel, in which the entries are abbreviated K. or KV. Its numbers reflect the ongoing task of compiling the chronology of ...
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12 Variations in E♭ major on the Romance "Je suis Lindor" from "Le Barbier de Seville" by Pierre Beaumarchais, music by Antoine-Laurent Baudron, K. 354 6 Variations in F major on the aria "Salve tu, Domine" from the opera "I filosofi immaginarii" by Giovanni Paisiello , K. 398
The later 1780s were the height of his success, with the string quartets dedicated to Haydn (who called Mozart the greatest living composer), the three great operas on Lorenzo Da Ponte’s librettos— The Marriage of Figaro (1786), Don Giovanni (1787), and Così fan tutte (1790)—and his superb late symphonies. In his last year he composed ...
Wolfgang Amadeus Mozart 's String Quartet No. 1 in G major, K. 80/73f, was completed in its original three-movement form on 15 March 1770 while touring in Lodi, Lombardy. Mozart was 14 at the time. The fourth movement was added later, possibly in 1773, when Mozart and his father visited Vienna.
The Symphony No. 1 in E♭ major, K. 16, is a symphony written in 1764 by Wolfgang Amadeus Mozart at the age of eight years. [1] By this time, he was already notable in Europe as a wunderkind performer but had composed little music. The autograph score (handwritten original) of the symphony is today preserved in the Biblioteka Jagiellońska in ...
Mozart's approach to composition. A surviving letter of Mozart's to his father Leopold (31 July 1778) indicates that he considered composition an active process: You know that I plunge myself into music, so to speak—that I think about it all day long—that I like experimenting—studying—reflecting. One cannot quite determine from these ...
