Wolfgang Amadeus Mozart: The Life and Legacy of a Musical Genius

Introduction

Wolfgang Amadeus Mozart is considered one of the greatest geniuses in the history of Western music. In his brief 35 years of life, he produced a musical corpus of extraordinary beauty, depth, and versatility that continues to move and inspire people worldwide more than two centuries after his death. A prolific composer, Mozart left over 600 works spanning virtually all musical genres of his time, from symphonies and concertos to operas and sacred music, excelling in each with unparalleled mastery.

Born in Salzburg, Austria, in 1756, Mozart displayed a precocious and extraordinary musical talent that was meticulously cultivated by his father, Leopold Mozart. His childhood was marked by extensive tours across Europe, where he performed for royalty and aristocracy as a child prodigy. Throughout his life, he faced significant personal and professional challenges, including complex family relationships, financial difficulties, and career obstacles. However, even in the most difficult moments, his musical creativity remained unwavering, producing masterpieces that combine formal clarity, melodic beauty, and expressive depth.

This text explores Mozart’s life journey, from his childhood as a musical prodigy to his final days working on the Requiem, examining his upbringing, career, personal life, and the extraordinary legacy he left for music and Western culture. Through this journey, we seek to understand not only the musical genius but also the man behind the immortal compositions that continue to resonate through the centuries.

Childhood and Early Years

Wolfgang Amadeus Mozart was born in Salzburg, Austria, on January 27, 1756. His full baptismal name was Johannes Chrysostomus Wolfgangus Theophilus Mozart, as recorded in the Salzburg Cathedral the day after his birth. He was the son of Leopold Mozart, a composer and Kapellmeister (music director) to the Prince-Archbishop of Salzburg, and Anna Maria Pertl, daughter of the administrator of St. Gilgen castle.

Leopold Mozart was a respected musician, author of a famous violin treatise published in the very year of Mozart’s birth. In addition to his work as a composer, Leopold also served as a violin teacher for the chapel boys. The Mozart family lived on Getreidegasse (No. 9) in Salzburg, a city that was then part of the Holy Roman Empire.

Wolfgang was the youngest of the couple’s seven children, but only he and his older sister, Maria Anna (nicknamed “Nannerl”), born in 1751, survived infancy. This reality reflected the high infant mortality rates of the era.

Mozart’s musical talent manifested itself with extraordinary precocity. At the age of three, he already demonstrated an impressive musical sensibility, able to pick out chords on the harpsichord. By four, he was playing short pieces, and by five, he was beginning to compose his first works. There are numerous anecdotes about his precise memory for pitch, his scribbling of a concerto at age five, and his gentleness and sensitivity (he was afraid of the trumpet).

At just four years old, Mozart was already assimilating the harpsichord lessons his sister Nannerl was beginning to receive. Recognizing his son’s exceptional talent, Leopold began to teach him music, and young Wolfgang learned with incredible ease. Even at such a young age, he was already jotting down his melodic ideas.

At five, Mozart wrote his first harpsichord concerto, “Minuet and Trio in G Major,” now cataloged in the Köchel Index as K.1. It is worth noting that Mozart did not assign opus numbers to his compositions; the numbering of his work would be done later by the Austrian musicologist Ludwig von Köchel, hence the “K” designation preceding his work numbers.

Leopold described his son as “the miracle which God let be born in Salzburg” and felt it his duty to publicize this talent to the world (and, incidentally, to profit from it). The father was keenly conscious of his duty to God, as he saw it, to bring the miracle to the world’s notice.

Convinced that his son was a genius, Leopold organized an intensive study program and the first concert tours. In early 1762, at just six years old, alongside his 10-year-old sister (who was also an accomplished instrumentalist), Mozart was taken to Munich, where their recital was a great success.

In September 1762, the family traveled to Vienna, where the children received praise from Viennese society. They were soon invited to play for Empress Maria Theresa in the Schönbrunn Palace. Young Mozart impressed everyone not only with his musical talent but also with his captivating personality, despite his tender age.

In mid-1763, Leopold obtained a leave of absence from his position as deputy Kapellmeister at the Prince-Archbishop’s court in Salzburg, and the family embarked on a prolonged tour. They visited the main musical centers of Western Europe: Munich, Augsburg, Stuttgart, Mannheim, Mainz, Frankfurt, Brussels, and Paris (where they stayed for the winter), then London (where they spent 15 months), returning via The Hague, Amsterdam, Paris, Lyon, and Switzerland, arriving back in Salzburg in November 1766.

In most of these cities, Mozart, and often his sister, played and improvised, sometimes at court, sometimes in public or in a church. Leopold’s surviving letters to friends in Salzburg tell of the universal admiration 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). In London, they met, among others, Johann Christian Bach, Johann Sebastian Bach’s youngest son and a leading figure in the city’s musical life. Under his influence, Mozart composed his first symphonies—three survive (K.16, K.19, and K.19a). Two more followed during a stay in The Hague on the return journey (K.22 and K.45a).

During these travels, Mozart not only performed but also absorbed musical influences from the different regions and composers he encountered. His ability to assimilate and adapt diverse musical styles was remarkable from an early age, contributing to the development of his unique and versatile style.

After little more than nine months in Salzburg, the Mozarts set out for Vienna in September 1767, where (apart from a 10-week break during a smallpox epidemic) they spent 15 months. Mozart wrote a one-act German Singspiel, “Bastien und Bastienne,” which was performed privately.

Greater hopes were attached to his prospect of having an Italian opera buffa, “La finta semplice” (“The Feigned Simpleton”), performed at the court theater—hopes that were, however, frustrated, much to Leopold’s indignation. But a substantial, festive Mass setting (probably K.139/47a) was successfully performed before the court at the dedication of the Orphanage Church. “La finta semplice” was performed the following year, 1769, in the Archbishop’s palace in Salzburg.

In October 1769, at just 13 years old, Mozart was appointed an honorary Konzertmeister at the Salzburg court, a remarkable recognition for someone so young.

By this age, Mozart had already acquired considerable fluency in the musical language of his time, and he was especially adept at imitating the musical equivalent of local dialects. The early Paris and London sonatas, the autographs of which include Leopold’s helping hand, show a childlike pleasure in patterns of notes and textures. But the London and The 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.

Musical Training and Artistic Development

Wolfgang Amadeus Mozart’s musical training was extraordinary not only for its precocity but also for its breadth and depth. Unlike many composers of his time, Mozart did not receive formal musical education in conservatories or educational institutions. His training was conducted primarily by his father, Leopold Mozart, and complemented by experiences gained during his travels throughout Europe.

Leopold Mozart, himself a respected violinist and composer, was his son’s principal musical mentor. Author of a treatise on violin technique that became a reference work of the period, Leopold possessed solid musical knowledge that he transmitted to his son from a very early age. He developed a rigorous study program for Wolfgang that included music theory, composition, instrumental technique, and improvisation.

Leopold’s teaching method was demanding and disciplined. He exposed his son to a wide variety of musical styles and encouraged him to study and analyze the works of renowned composers. Leopold also kept a notebook where he recorded his son’s progress and the pieces he learned, a document that became an important historical source on Mozart’s musical education.

During his travels across Europe, Mozart encountered various musical styles and influential composers, which significantly enriched his development. Some of the main influences on his artistic development were Johann Christian Bach, Johann Sebastian Bach’s youngest son, who exerted great influence on young Mozart during his stay in London. J.C. Bach’s elegant galant style, with its fluid melodies and clear structures, left profound marks on Mozart’s early compositions, especially his initial symphonies.

Joseph Haydn was another significant influence. Mozart developed great admiration for Haydn, whom he met personally. Haydn’s influence is particularly noticeable in the formal structure and thematic development of Mozart’s compositions, especially his string quartets and symphonies.

During his travels to Italy between 1770 and 1773, Mozart deeply absorbed the Italian operatic style. In Rome, after hearing the Sistine Chapel choir sing Gregorio Allegri’s Miserere (whose reproduction was forbidden), Mozart was able to transcribe it entirely from memory, demonstrating his extraordinary auditory capacity and musical memory.

In Bologna, Mozart studied counterpoint with Padre Martini, one of the greatest specialists of the time in this compositional technique. This study deepened his knowledge of the Baroque tradition and the work of composers like Johann Sebastian Bach.

Mozart mastered various instruments, being particularly virtuosic on the harpsichord, piano, and violin. His transition from harpsichord to piano occurred gradually, especially after 1777, when he experienced Stein’s pianos in Mannheim and was impressed by the resources offered by the instrument.

As an instrumentalist, Mozart possessed exceptional technique. Contemporary accounts describe his ability to improvise, instantly transpose pieces to other keys, and perform complex works at first sight. His memorization capacity was also remarkable, allowing him to faithfully reproduce pieces after a single hearing.

Mozart’s compositional maturation process was marked by a rapid assimilation of different styles and techniques, which he uniquely synthesized in his own works. By age 13, he had already acquired considerable fluency in the musical language of his time and was especially adept at adapting to different musical traditions.

In Bologna, despite being seven years younger than the twenty required by regulations, Mozart won a place in the prestigious Bologna Philharmonic Academy after successfully completing a rigorous examination. He was applauded by all members of the institution and became the youngest academic in the house.

This period marks an important transition in Mozart’s artistic identity. Accustomed to being seen as a child “virtuoso,” he was now beginning to establish himself as a mature musician and composer, signing his works with the name “Wolfgang Amadeus Mozart.”

A notable aspect of Mozart’s musical training is its largely self-taught character. Beyond the teachings received from his father and some masters with whom he had brief contact, such as Padre Martini, Mozart developed much of his skills through independent study of scores, analysis of other composers’ works, and constant experimentation.

Even after establishing himself as a recognized composer, Mozart continued to expand his musical knowledge. In Vienna, for example, he encountered the works of Johann Sebastian Bach and George Frideric Handel through Baron van Swieten, who possessed a vast collection of scores by these Baroque composers. This late contact with Baroque counterpoint significantly influenced his later works, such as Symphony No. 41 “Jupiter” and parts of the Requiem.

Mozart’s musical training, therefore, was a continuous process that extended throughout his life. His ability to absorb, synthesize, and transform different musical traditions into a personal style, characterized by formal clarity, melodic richness, and expressive depth, is one of the most remarkable aspects of his musical genius.

Career and Important Works

Wolfgang Amadeus Mozart’s career was extraordinarily prolific despite his short life. Throughout his 35 years, he composed more than 600 works across virtually all musical genres of his time, from symphonies and concertos to operas and sacred music. His professional trajectory was marked by highs and lows, periods of great recognition and moments of financial difficulty.

After his travels throughout Europe as a child prodigy, Mozart returned to Salzburg, where he was appointed honorary Konzertmeister (concert master) at the archbishop’s court in October 1769, at just 13 years of age. This was his first official position, although still unpaid.

Between 1770 and 1773, Mozart made three journeys to Italy, where he consolidated his reputation as a composer. In Rome, he impressed the Pope with his ability to memorize and transcribe Allegri’s Miserere, being decorated with the “Golden Spur” cross. In Bologna, he became a member of the prestigious Philharmonic Academy, a remarkable achievement for someone so young.

In 1772, Mozart was finally hired as Kapellmeister in Salzburg, his first paid position. During this period, he composed various works for the court, including symphonies, serenades, concertos, and sacred music.

Despite the security of employment in Salzburg, Mozart grew increasingly dissatisfied with the limitations imposed by Archbishop Colloredo, who treated him as a common servant and restricted his artistic ambitions. Tensions increased when the archbishop prohibited Mozart and his father from undertaking performance tours.

In 1777, Mozart decided to seek new opportunities, resigning from his position in Salzburg. Accompanied by his mother, he traveled to Munich, Mannheim, and Paris in search of better employment. In Mannheim, he encountered pianos manufactured by Stein, which deeply impressed him and influenced his transition from harpsichord to piano.

This journey, however, was marked by professional disappointments and the personal tragedy of his mother’s death in Paris in 1778. Unable to secure a satisfactory position, Mozart returned to Salzburg in 1779 and resumed his work for the archbishop.

The turning point in Mozart’s career occurred in 1781, when he definitively broke with the Archbishop of Salzburg after a series of humiliations and established himself in Vienna as an independent musician. This decision was revolutionary for the time, when most musicians depended on patronage from the aristocracy or the church.

In Vienna, Mozart supported himself through a combination of activities: he gave private lessons, composed on commission, organized subscription concerts where he presented his new works, and sold his compositions to publishers. This period, from 1781 to 1786, was one of the most productive of his career.

During his years in Vienna, Mozart produced some of his most important and innovative works. In the field of opera, he revolutionized the genre with works such as “The Abduction from the Seraglio” (1782), “The Marriage of Figaro” (1786), “Don Giovanni” (1787), “Così fan tutte” (1790), and “The Magic Flute” (1791). His operas stand out for their profound psychological characterization of the characters, perfect integration between music and drama, and melodic and orchestral richness.

Mozart composed 27 piano concertos, most during his Viennese period. Works such as the Piano Concerto No. 20 in D minor (K. 466) and Piano Concerto No. 21 in C major (K. 467) established a new standard for the genre, with sophisticated dialogues between soloist and orchestra.

In chamber music, his string quartets dedicated to Joseph Haydn (1782-1785) are considered masterpieces of the genre, demonstrating his mastery of counterpoint and sonata form. He also composed quintets, trios, and sonatas for various instruments.

Among his 41 symphonies, the last three (No. 39 in E-flat major, No. 40 in G minor, and No. 41 in C major, known as “Jupiter”) are particularly celebrated for their structural sophistication and expressive richness.

Despite his complicated relationship with the church, Mozart composed important sacred works, such as the “Coronation Mass” (1779) and, in his final days, the incomplete “Requiem” (1791).

From 1786, despite the artistic success of his works, Mozart’s popularity in Vienna began to decline. Changes in musical taste, the economic crisis caused by the war against the Turks, and his own sometimes difficult personality contributed to his growing financial difficulties.

In 1787, Mozart was appointed chamber composer to Emperor Joseph II, a position that guaranteed him an annual pension, but with relatively light obligations—composing dances for court balls. This appointment improved his financial situation but did not completely resolve his problems.

In the last years of his life, Mozart continued to produce masterpieces, including his final symphonies, the opera “The Magic Flute,” and the “Requiem,” anonymously commissioned by Count von Walsegg-Stuppach. This last work remained unfinished due to the composer’s premature death on December 5, 1791.

Mozart’s musical legacy is immense and encompasses virtually all genres of his time. His ability to combine formal clarity, melodic beauty, harmonic sophistication, and expressive depth established new standards for Western music.

Some of his main contributions include the development of sonata form, which Mozart refined and expanded, making it the fundamental structure for much of classical and romantic music. He transformed the piano concerto into a sophisticated dialogue between soloist and orchestra, profoundly influencing the later development of the genre. His operas perfectly combine music and drama, with complex psychological characterizations and innovative integration between arias, recitatives, and ensembles.

Mozart had the unique ability to absorb and synthesize different musical traditions—Italian, French, German, and Baroque counterpoint—into a personal style characterized by clarity, balance, and expressiveness.

Personal Life

Wolfgang Amadeus Mozart’s personal life was as complex and fascinating as his music. Despite his musical genius, Mozart faced various challenges in his private life, from complicated family relationships to financial and health difficulties.

Mozart’s relationship with his father, Leopold, was one of the most significant and, at times, conflicted in his life. Leopold was simultaneously father, teacher, business manager, and mentor to Wolfgang. He dedicated much of his life to developing and promoting his son’s talent, often at the expense of his own musical career.

During Mozart’s childhood and adolescence, Leopold exercised almost total control over his life, organizing his tours, negotiating contracts, supervising his education, and even choosing his clothes. This relationship, initially beneficial for Wolfgang’s musical development, became increasingly tense as he grew and sought independence.

The breaking point occurred when Mozart decided to leave Salzburg and establish himself in Vienna as an independent musician in 1781, contrary to his father’s wishes. Leopold never fully approved of this decision, considering it imprudent. The correspondence between father and son reveals both the deep love and the tensions that marked this relationship.

Despite the conflicts, Mozart maintained respect and admiration for his father until the end. Leopold’s death in 1787 deeply affected Wolfgang, who expressed his grief in emotional letters.

Mozart’s marriage to Constanze Weber on August 4, 1782, was another point of contention with his father. Leopold did not approve of the Weber family and tried to dissuade his son from this matrimony, but Wolfgang followed his heart.

Constanze Weber was the sister of Aloysia Weber, with whom Mozart had previously fallen in love, but who did not return his feelings. Despite this unusual beginning, Wolfgang and Constanze’s marriage appears to have been happy and based on mutual affection, as evidenced by their letters.

The couple faced various difficulties, including chronic financial problems and family tragedies. Of the six children they had, only two survived infancy: Karl Thomas (1784-1858) and Franz Xaver Wolfgang (1791-1844), who was born a few months before his father’s death and also became a musician, although he never achieved his father’s fame.

Constanze proved to be a loyal and practical companion. After Mozart’s death, she worked tirelessly to preserve his legacy, organizing memorial concerts, promoting the publication of his works, and collaborating with his first biographers.

Despite his sometimes difficult personality, Mozart cultivated important friendships throughout his life. In Vienna, he integrated into intellectual and artistic circles, establishing relationships with prominent figures of the time.

One of the most significant friendships was with Joseph Haydn, whom Mozart deeply admired. Haydn, in turn, recognized Mozart’s genius, declaring to Leopold: “Before God and as an honest man I tell you that your son is the greatest composer known to me either in person or by name.” Mozart dedicated his six string quartets (K. 387, 421, 428, 458, 464, and 465) to Haydn, a demonstration of his respect for the older composer.

Another important friendship was with the librettist Lorenzo Da Ponte, with whom he collaborated on three of his greatest operas: “The Marriage of Figaro,” “Don Giovanni,” and “Così fan tutte.” This creative partnership resulted in some of the most significant works in the operatic repertoire.

Mozart also maintained relationships with the Viennese nobility, including Baron Gottfried van Swieten, who introduced him to the works of Bach and Handel, significantly influencing his later compositions.

In December 1784, Mozart was initiated into the Masonic lodge “Zur Wohltätigkeit” (“To Beneficence”) in Vienna. Freemasonry, with its ideals of brotherhood, equality, and enlightenment, exerted significant influence on his life and work.

Mozart composed various pieces for use in Masonic ceremonies, including the “Masonic Funeral Music” (K. 477) and the cantata “Die Maurerfreude” (“The Mason’s Joy,” K. 471). His last complete opera, “The Magic Flute,” contains evident Masonic symbolism, reflecting the ideals of the quest for wisdom, virtue, and universal harmony.

Participation in Freemasonry provided Mozart not only with artistic inspiration but also with a network of social and spiritual support during the last years of his life.

Contemporary accounts describe Mozart as a complex person with contrasting personality traits. He was known for his irreverent humor, often scatological, as evidenced in his letters to his family. He had a playful nature and enjoyed wordplay, riddles, and puns.

At the same time, he could be impulsive, temperamental, and sometimes arrogant, especially in professional matters. His frankness in criticizing other musicians frequently caused him problems. Music historian C. Schonberg describes him as “complicated… with a complicated personality and an unprecedented knack for making enemies.”

Physically, Mozart was described as a man of short stature, with a face marked by smallpox, prominent blue eyes, a large nose, and plump hands. His appearance did not correspond to the grandeur of his music, which sometimes surprised those who met him for the first time.

Despite these complexities, Mozart possessed an extraordinary ability to separate his personal life from his artistic creation. Even in periods of great personal difficulty, he produced music of transcendent beauty and serenity.

Contrary to the popular belief that Mozart lived and died in extreme poverty, recent research suggests that he had periods of considerable prosperity, especially between 1786 and 1790. His income came from various sources: salary as imperial court composer, fees for commissioned compositions, revenue from subscription concerts, publication of his works, and private lessons for aristocratic students.

However, Mozart had difficulty managing his finances. He maintained an expensive lifestyle, with refined tastes in clothing, furniture, and entertainment. He frequently moved to larger and more expensive apartments and was generous in lending money to friends, often without getting it back.

In the last years of his life, Mozart’s financial situation deteriorated due to a combination of factors: decline in demand for private lessons and subscription concerts, medical expenses for Constanze’s fragile health, and reduction in commissions for new compositions.

Mozart’s letters from this period reveal constant financial concerns and requests for loans from friends and acquaintances. However, even in these difficult moments, he maintained hope in his situation and continued to produce masterpieces.

Final Years and Death

Wolfgang Amadeus Mozart’s final years, from 1788 to 1791, were marked by a paradoxical combination of personal and financial difficulties on one hand, and extraordinary musical creativity on the other. This final period, though brief, produced some of his most profound and innovative works, culminating in his premature death at the age of 35.

In 1788, Mozart’s situation in Vienna began to deteriorate significantly. The Austro-Turkish War, which began that year, caused an economic crisis that deeply affected Viennese cultural life. The aristocracy, the main patron of the arts, reduced spending on entertainment, resulting in fewer commissions and opportunities for musicians like Mozart.

During this period, Mozart faced increasing financial difficulties. His letters from this time contain frequent requests for loans from friends and acquaintances, particularly his fellow Mason Michael Puchberg. In a letter from June 1788, Mozart wrote to Puchberg: “If you abandon me, I will lose my honor and credit, which is what I wish to preserve more than anything.”

To economize, the Mozart family moved to a more modest apartment in the suburbs of Vienna. Despite these difficulties, 1788 was a year of extraordinary musical productivity. In just six weeks during the summer, Mozart composed his last three symphonies (No. 39 in E-flat major, No. 40 in G minor, and No. 41 in C major, known as “Jupiter”). These masterpieces, which represent the pinnacle of his symphonic writing, curiously were not performed during his lifetime.

In 1789, Mozart undertook a journey to Berlin, Dresden, and Leipzig, hoping to improve his financial situation. Although he performed successfully at the court of King Frederick William II of Prussia and received a commission for six string quartets, the trip did not result in the permanent position he had hoped for.

The year 1790 brought more challenges. The death of Emperor Joseph II, who had been an important patron, and the ascension of Leopold II, who was less interested in music, further reduced opportunities at court. That year, Mozart composed the opera “Così fan tutte,” which premiered in January at Vienna’s Burgtheater.

The year 1791, the last of Mozart’s life, was paradoxically a period of renewed hope and intense creative activity. His financial situation began to improve, and he received important commissions.

In March, Mozart performed in public for the last time as a pianist, playing his Piano Concerto No. 27 in B-flat major (K. 595). In May, he was appointed unpaid assistant to the Kapellmeister of St. Stephen’s Cathedral, with the promise of succeeding the incumbent, Leopold Hofmann. This position would have provided financial stability, but Hofmann outlived Mozart.

During the summer, Mozart received two significant commissions: the opera “La clemenza di Tito” (“The Clemency of Titus”) for the coronation celebrations of Emperor Leopold II as King of Bohemia in Prague, and “The Magic Flute,” a German opera (singspiel) for the Theater auf der Wieden in Vienna.

“The Magic Flute,” with its libretto rich in Masonic symbolism and music that combines popular elements with contrapuntal sophistication, premiered on September 30 to great success. Mozart conducted the first performances and was delighted with the warm reception from the audience.

Amid these projects, Mozart received a mysterious commission: a requiem requested anonymously by a messenger from Count Franz von Walsegg-Stuppach, who intended to present it as his own composition in memory of his deceased wife. This work, which would become known as the “Requiem in D minor” (K. 626), occupied Mozart until his final days.

In mid-November 1791, while working intensely on the “Requiem” and supervising performances of “The Magic Flute,” Mozart became seriously ill. Symptoms included swelling of the hands and feet, vomiting, high fever, and skin rashes.

Confined to bed, Mozart continued to work on the “Requiem” with the help of his pupil Franz Xaver Süssmayr, to whom he gave detailed instructions on how to complete the work. According to accounts, Mozart even rehearsed parts of the “Requiem” with friends gathered around his bed on the eve of his death.

Mozart’s health deteriorated rapidly. On the night of December 4, his physician, Dr. Thomas Franz Closset, was urgently called but could do little. Wolfgang Amadeus Mozart died at 12:55 AM on December 5, 1791, at the age of 35.

Contrary to the popular belief that Mozart was buried in a pauper’s grave due to extreme poverty, his funeral followed the Viennese customs of the time for middle-class citizens. The body was laid out in his home and then taken to St. Stephen’s Cathedral for a blessing.

Following Emperor Joseph II’s funeral reforms, which aimed at economy and hygiene, Mozart was buried without an elaborate coffin in a common grave (not a mass grave) in St. Marx Cemetery on the outskirts of Vienna. This practice was standard for most Viennese who did not belong to the aristocracy.

The absence of a marked grave was not the result of neglect or poverty but simply the normal procedure of the time. Only Constanze and a few friends accompanied the procession to the cemetery, again according to the customs of the time, and not due to lack of respect or recognition.

The exact cause of Mozart’s death remains a subject of debate among historians and physicians. The official death certificate listed “severe miliary fever” as the cause of death, a vague diagnosis that could encompass various conditions.

Over the years, numerous theories have been proposed, including rheumatic fever, kidney failure, poisoning (a theory popularized by Peter Shaffer’s play “Amadeus” but lacking historical evidence), trichinosis, and streptococcal infection. A study conducted by the University of Amsterdam in 2009 suggested that Mozart may have died from complications caused by a bacterial throat infection, possibly streptococcal, which was common in Vienna that winter.

The “Requiem in D minor” (K. 626), Mozart’s last composition, remained unfinished at his death. Constanze, concerned about receiving the final payment for the commission, entrusted several of Mozart’s pupils, primarily Franz Xaver Süssmayr, with completing the work.

Süssmayr, who had discussed the composition extensively with Mozart during his illness, completed the unfinished parts and composed the sections that were entirely missing (Sanctus, Benedictus, and Agnus Dei). Süssmayr’s version of the Requiem was delivered to Count von Walsegg-Stuppach as if it were entirely by Mozart.

The Requiem, with its emotional intensity and spiritual depth, has become one of Mozart’s most beloved works and a powerful symbol of his prematurely interrupted genius. The romantic image of Mozart feverishly working on his own funeral mass, though not entirely accurate, captured the popular imagination and contributed to the mythology surrounding his death.

Legacy and Influence

Wolfgang Amadeus Mozart’s legacy transcends his brief 35 years of life. More than two centuries after his death, his music continues to move, inspire, and influence people around the world. His impact on the history of Western music is profound and multifaceted, encompassing technical, aesthetic, and cultural aspects.

Contrary to the popular belief that Mozart died forgotten and unrecognized, he was widely respected as a composer during his lifetime, although he did not always enjoy corresponding financial success. After his death, his reputation grew rapidly.

Constanze Mozart played a crucial role in preserving and promoting her husband’s legacy. She organized memorial concerts, negotiated with publishers to publish his unpublished works, and collaborated with his first biographers. In 1798, she sold Mozart’s manuscripts to publisher Johann Anton André, ensuring their preservation.

The first substantial biography of Mozart, written by Friedrich Schlichtegroll and published in 1793, helped establish his image as a musical genius. Throughout the 19th century, as the Romantic movement increasingly valued the figure of the tormented genius artist, Mozart’s stature continued to grow.

In 1862, Ludwig von Köchel published his chronological catalog of Mozart’s works (the “Köchel Index”), which assigned “K” numbers to the compositions and remains the standard cataloging system to this day. This meticulous work was fundamental in organizing and preserving Mozart’s vast musical corpus.

Mozart’s musical legacy is immense and encompasses virtually all genres of his time. His most significant contributions include the refinement of sonata form, developing it beyond its basic structure to create works of extraordinary sophistication and expressiveness. His approach profoundly influenced later composers, from Beethoven to Brahms.

Mozart elevated the piano concerto to new heights, creating a sophisticated dialogue between soloist and orchestra. His 27 piano concertos established a standard that influenced the development of the genre in subsequent centuries.

His operas, especially the trilogy with libretti by Lorenzo Da Ponte (“The Marriage of Figaro,” “Don Giovanni,” and “Così fan tutte”) and “The Magic Flute,” revolutionized the genre with their profound psychological characterization, perfect integration between music and drama, and musical sophistication. Mozart demonstrated that opera could be simultaneously popular entertainment and high art.

His string quartets, quintets, and other chamber works established new standards of balance, interaction between voices, and expressiveness. Although he composed fewer symphonies than some of his contemporaries, Mozart’s mature works in this genre, especially his last three (39, 40, and 41), are considered masterpieces that expanded the expressive and structural possibilities of the form.

One of Mozart’s greatest contributions was his ability to synthesize different musical traditions—Italian, French, German, and Baroque counterpoint—into a personal style characterized by clarity, balance, and expressiveness.

Mozart’s influence on subsequent composers is vast and profound. Ludwig van Beethoven deeply admired Mozart and was influenced by his piano sonatas, concertos, and symphonies. He studied Mozart’s scores meticulously and even planned to take lessons from him (a plan interrupted by his mother’s death). The Mozartian influence is evident in his early works, although Beethoven later developed a more personal and revolutionary style.

Franz Schubert was profoundly influenced by Mozart’s melodic and structural clarity. His admiration is evident in works such as the Great Symphony in C major, which echoes aspects of Mozart’s “Jupiter.” Johannes Brahms intensively studied Mozart’s works and incorporated elements of his classical style into his own compositions, combining them with a Romantic sensibility.

Richard Strauss considered Mozart his favorite composer and was influenced by his approach to orchestration and operatic writing. Even composers who radically broke with the tonal tradition, such as Arnold Schoenberg and Igor Stravinsky, expressed deep admiration for Mozart. Stravinsky famously declared: “Mozart is the most pure of all composers.”

Beyond his influence on classical music, Mozart has deeply penetrated popular culture. Mozart’s life has inspired numerous literary, theatrical, and cinematic works. The most famous is Peter Shaffer’s play “Amadeus” (1979), adapted for cinema by Milos Forman in 1984. Although historically inaccurate in many aspects, this work contributed enormously to the popularization of Mozart and his music.

In the 1990s, studies suggested that listening to Mozart’s music could temporarily improve spatial-temporal reasoning (the so-called “Mozart Effect”). Although subsequent research has questioned these conclusions, the idea captured the popular imagination and led to renewed interest in his music.

Mozart’s music frequently appears in films, television programs, advertising, and other media. Works such as Eine Kleine Nachtmusik (Little Night Music), Symphony No. 40, and the overture to “The Marriage of Figaro” are instantly recognizable even to people without formal musical training.

Locations associated with Mozart, such as his birthplace in Salzburg and his residence in Vienna, have become important tourist destinations, attracting millions of visitors annually.

Mozart occupies a central place in music education worldwide. His piano sonatas, in particular, are pillars of the pedagogical repertoire, offering gradual technical and musical challenges for developing students. The clarity, balance, and elegance of his compositions provide an ideal model for students of composition and music theory. The music education method developed by Shinichi Suzuki extensively incorporates Mozart’s works, recognizing their value for the technical and musical development of young instrumentalists.

Mozart’s legacy continues to be preserved and studied through various institutions. The International Mozarteum Foundation, founded in 1880 in Salzburg, is dedicated to preserving and promoting Mozart’s legacy through concerts, academic research, and education. The Neue Mozart-Ausgabe, a complete critical edition of Mozart’s works published between 1955 and 2007, established definitive texts of his compositions based on meticulous research of the original manuscripts. Festivals dedicated to his music are held annually in cities such as Salzburg and Vienna, attracting musicians and audiences from around the world.

Mozart’s music maintains extraordinary relevance in the contemporary world. Its emotional universality communicates fundamental human emotions in a way that transcends cultural and temporal barriers. Mozart achieves the rare feat of creating music that simultaneously satisfies the intellect and the heart, combining structural complexity with direct emotional appeal.

His music has proven remarkably adaptable to different interpretive approaches, from historically informed performances on period instruments to modern interpretations and even adaptations in contemporary genres. Research in music therapy has explored the beneficial effects of Mozart’s music in various clinical contexts, from stress reduction to pain management.

Conclusion

Wolfgang Amadeus Mozart remains one of the most extraordinary figures in the history of Western music. In a surprisingly brief life of 35 years, he produced a musical corpus of incomparable beauty, depth, and versatility that continues to resonate with listeners of all ages and backgrounds more than two centuries after his death.

From his childhood as a musical prodigy, traveling through European courts under the rigorous guidance of his father, to his final days in Vienna feverishly working on the Requiem, Mozart’s life was dedicated to music. His ability to absorb and synthesize different musical traditions, combined with his natural genius for melody, harmony, and form, resulted in a unique style characterized by clarity, balance, and expressiveness.

Mozart’s music transcends its time and historical context, speaking directly to the heart and mind of listeners with a voice that remains fresh and relevant. His work spans virtually all musical genres of his time—opera, symphony, concerto, chamber music, sacred music—and in each, he achieved levels of excellence that have rarely been equaled.

Mozart’s legacy extends beyond his compositions. His influence on subsequent generations of composers is profound and enduring. From Beethoven to Stravinsky, musicians of various eras and styles have acknowledged their debt to Mozart and found inspiration in his music. His presence in popular culture, music education, and contemporary concert life attests to the universality and timelessness of his art.

Mozart’s personal life, with its joys and difficulties, provides an essential human context for understanding his extraordinary musical output. His ability to create transcendent beauty amid often challenging circumstances is part of the mystery and enduring fascination of his genius.

As musicologist H.C. Robbins Landon observed: “When all the dust of research and analysis settles, there remains the miracle of a man who, in such a short life, produced masterpieces in every genre of composition and gave humanity beauty and consolation that transcend time.” This is the true legacy of Wolfgang Amadeus Mozart—music that continues to enrich, inspire, and transform lives throughout the world.