On a 27 January 2016, in Salzburg

A place where each moment of the day is marked with, and holds within it, the feeling of Mozart… A time when the dream becomes the life… In Mozart’s places of the heart. His, and mine.  

There are times when dreams come true! 

Salzburg 119 - Happiness is... to touch Mozart's fortepiano in the Tanzmeistersaal, in Mozart Wohnhaus, on a 27 January

On a 27 January, in Salzburg…

… wake up in the early morning and open the windows to the view of the Hohensalzburg Fortress, and breathe the fresh, crisp air of the mountainous hill… 

Salzburg 1 - Waking up to the view of the Salzburg Fortress

Salzburg 2 - Waking up to the view of the Salzburg Fortress

… look down on a narrow Salzburg street still asleep… and rejoice in the feeling of history wisely and wonderfully preserved for so many years… 

Salzburg 3 - looking down on a narrow Salzburg street still half asleep, and rejoicing in the feeling of history preserved for so many years

Salzburg 4 - looking down on a narrow Salzburg street still half asleep, and rejoicing in the feeling of history preserved for so many years

Salzburg 5 - looking down on a narrow Salzburg street still half asleep, and rejoicing in the feeling of history preserved for so many years

… walk through the Altstadthotel Kasererbraeu, a very fine hotel located in a 1342 building, with fresco decorated halls and gilded mirrors… 

Salzburg 6 - walking through the Altstadthotel Kasererbrau, a hotel located in a 1342 building, with fresco decorated halls and gilded mirrors

Salzburg 7 - walking through the Altstadthotel Kasererbrau, a hotel located in a 1342 building, with fresco decorated halls and gilded mirrors

Salzburg 8 - walking through the Altstadthotel Kasererbrau, a hotel located in a 1342 building, with fresco decorated halls and gilded mirrors

Salzburg 9 - walking through the Altstadthotel Kasererbrau, a hotel located in a 1342 building, with fresco decorated halls and gilded mirrors

Salzburg 10 - walking through the Altstadthotel Kasererbrau, a hotel located in a 1342 building, with fresco decorated halls and gilded mirrors

Salzburg 11 - walking through the Altstadthotel Kasererbrau, a hotel located in a 1342 building, with fresco decorated halls and gilded mirrors

Salzburg 12 - walking through the Altstadthotel Kasererbrau, a hotel located in a 1342 building, with fresco decorated halls and gilded mirrors

… have a special breakfast in a lovely space, intimate and warm as one’s home… 

Salzburg 13 - walking through the Altstadthotel Kasererbrau, a hotel located in a 1342 building, with fresco decorated halls and gilded mirrors

Salzburg 14 - breakfast in a lovely space, intimate and warm as one's home - the Altstadthotel Kasererbrau, a hotel located in a 1342 building

Salzburg 15 - breakfast in a lovely space, intimate and warm as one's home - the Altstadthotel Kasererbrau, a hotel located in a 1342 building

Salzburg 16 - breakfast in a lovely space, intimate and warm as one's home - the Altstadthotel Kasererbrau, a hotel located in a 1342 building

… go out and discover that in the morning of 27 January the clouds are giving place to the blue sky… 

Salzburg 17 - in the morning of 27 January the clouds go away

Salzburg 18 - starting my journey in the city

Salzburg 19 - starting my journey in the city

… start the journey in the city with a walk around the Salzburger Dom, feeling its magnificence in the quiet hours of the morning … 

Salzburg 21 - rejoicing in the magnificence of the Salzburger Dom

Salzburg 22 - rejoicing in the magnificence of the Salzburger Dom

Salzburg 23 - rejoicing in the magnificence of the Salzburger Dom

Salzburg 24 - rejoicing in the magnificence of the Salzburger Dom

Salzburg 25 - rejoicing in the magnificence of the Salzburger Dom

… step inside the Cathedral for a few moments of peace… 

Salzburg 26 - stepping inside the Salzburger Dom for a few moments of peace

Salzburg 27 - stepping inside the Salzburger Dom for a few moments of peace

… then walk to the left, to the baptismal font where little Wolfgang was baptised on 28 January 1756, the day after his birth, as Joannes Chrysostomus Wolfgangus Theophilus Mozart, in honor of Saint John Chrysostom (the feast was universally kept in the West on 27 January until the calendar reform of 1969 – nowadays the feast day of Saint Chrysostom is celebrated on 27 January by the Eastern Orthodox Church, while the Roman Catholic Church commemorates him on 13 September) … 

Salzburg 28 - The baptismal font where little Wolfgang was baptised on 28 January 1756

Salzburg 30 - The baptismal font where little Wolfgang was baptised on 28 January 1756

Salzburg 31 - The baptismal font where little Wolfgang was baptised on 28 January 1756

Salzburg 33 - The baptismal font where little Wolfgang was baptised on 28 January 1756

Salzburg 34 - The baptismal font where little Wolfgang was baptised on 28 January 1756

Salzburg 35 - The baptismal font where little Wolfgang was baptised on 28 January 1756

Salzburg 36 - The baptismal font where little Wolfgang was baptised on 28 January 1756

Salzburg 37 - The baptismal font where little Wolfgang was baptised on 28 January 1756

Salzburg 38 - on the door of the Salzburger Dom

… pass by Mozart’s statue in Mozartplatz and greet him Good Morning on his Birthday 🙂 … 

Salzburg 20 - Good morning on a 27th of January

… cross the bridge over the peaceful water of the Salzach River … 

Salzburg 39 - Bridge over the peaceful water of the Salzach River

Salzburg 40 - Bridge over the peaceful water of the Salzach River

… reach the Mozart Wohnhaus, Mozart’s Residence, at Makartplatz 8 (Hannibalplatz in Mozart’s time), and just stay on the street for a while, immersed in the feeling of joy for being there… 

Salzburg 41 - Mozart Wohnhaus in Salzburg - at Makartplatz 8, former Hannibalplatz

Salzburg 42 - Mozart Wohnhaus in Salzburg - at Makartplatz 8, former Hannibalplatz

Salzburg 43 - Mozart Wohnhaus in Salzburg - at Makartplatz 8, former Hannibalplatz

Salzburg 44 - Mozart Wohnhaus in Salzburg - at Makartplatz 8, former Hannibalplatz

… spend a few moments looking at this special house in the Anniversary Year 2016, remembering its stormy history… 

Salzburg 45 - Mozart Wohnhaus in Salzburg - at Makartplatz 8, former Hannibalplatz

Salzburg 46 - Mozart Wohnhaus in Salzburg - at Makartplatz 8, former Hannibalplatz

Salzburg 47 - Mozart Wohnhaus in Salzburg - at Makartplatz 8, former Hannibalplatz

Salzburg 48 - Mozart Wohnhaus in Salzburg - at Makartplatz 8, former Hannibalplatz

Salzburg 49 - Mozart Wohnhaus in Salzburg - at Makartplatz 8, former Hannibalplatz

Salzburg 50 - Mozart Wohnhaus in Salzburg - at Makartplatz 8, former Hannibalplatz

Salzburg 41 - Mozart Wohnhaus in Salzburg - at Makartplatz 8, former Hannibalplatz

Salzburg 51 - Mozart Wohnhaus in Salzburg - at Makartplatz 8, former Hannibalplatz

Salzburg 52 - Mozart Wohnhaus in Salzburg - at Makartplatz 8, former Hannibalplatz

Salzburg 53 - Mozart Wohnhaus in Salzburg - at Makartplatz 8, former Hannibalplatz

Salzburg 54 - Mozart Wohnhaus in Salzburg - at Makartplatz 8, former Hannibalplatz

Salzburg 55 - The open door of Mozart Wohnhaus in Salzburg

Salzburg 56 - The open door of Mozart Wohnhaus in Salzburg

Salzburg 57 - Mozart Wohnhaus in Salzburg

Salzburg 58 - Mozart Wohnhaus in Salzburg

… pass through the open door and go to the garden, to the Mozarteum offices to greet two lovely ladies, Mag. Elke Tontsch and Mag. Stephanie Krenner, whom you have met one day before to offer the Mozart discs of baritone Dan Iordachescu  to the Mozarteum Foundation, to be part of the great Mozart Audio-Visual Collection … 

Salzburg 59 - With Mag. Elke Tontsch and Mag. Stephanie Krenner of the Mozarteum Foundation - At Mozart Wohnhaus in Salzburg

… meet Herr Josef Meingast, the tuner and caretaker of Mozart’s fortepiano for the past 40 years… 

Salzburg 60 - With Herr Josef Meingast, the tuner of Mozart's fortepiano for the past 40 years, in the Tanzmeistersaal of Mozart Wohnhaus

Salzburg 62 - With Herr Holger Maria Hummelbrunner, in the Tanzmeistersaal of Mozart Wohnhaus

… pick up the 2016 Membership Card  of the Stiftung Mozarteum Salzburg… 

Salzburg 63 - My 2016 Membership Card for The Mozarteum Foundation - At Mozart Wohnhaus in Salzburg

… before embarking on the special tour guided by Dr. Johanna Senigl: the visit in the Autograph Vault, a place that holds and guards precious pieces of paper bearing the signs of time and the writing of Wolfgang Mozart and his family… 

Salzburg 64 - Mozart Wohnhaus - Guided tour in the Autograph Vault on a 27 January 2016 - 1

Salzburg 65 - Mozart Wohnhaus - Guided tour in the Autograph Vault on a 27 January 2016 - 2

No photos from the Manuscripts Room, only precious memories inside your heart and mind. 

The joy of visiting the Mozart Wohnhaus right on this special day ❤ … 

Salzburg 66 - Memories of a time when precious scores were kept in lovely cabinets like this one - At Mozart Wohnung Salzburg

Memories of a time when we enjoyed writing letters…

Salzburg 67 - Memories of a time when we enjoyed writing letters and receiving them - At Mozart Wohnung Salzburg

Salzburg 68 - Memories of a time when we enjoyed writing letters and receiving them - At Mozart Wohnung Salzburg

This is how tall you would have seen him if you had passed him by on the street 🙂 ❤ 

Salzburg 70 - This is how he would've looked passing me by - At Mozart Wohnung Salzburg

And then the emotion of finding yourself in the Tanzmeistersaal, the place where Wolfgang Mozart made music with his family and his friends… 

Salzburg 71 - In the Tanzmeistersaal of Mozart Wohnhaus, between fortepiano tuning and rehearsals, on a 27 January

… the feeling of pure bliss, of overwhelming joy, for sitting down in front of Mozart’s fortepiano, touching its keys, delighting in its sweet, magical sound… 

Salzburg 72 - Happiness is... to touch Mozart's fortepiano in the Tanzmeistersaal, in Mozart Wohnhaus Salzburg, on a 27 January

Salzburg 73 - Happiness is... to touch Mozart's fortepiano in the Tanzmeistersaal, in Mozart Wohnhaus Salzburg, on a 27 January

Happiness is… to touch Mozart’s fortepiano in the Tanzmeistersaal, in Mozart’s Residence in Salzburg, on a 27 January 2016… 

And then… 

… take a last look around, in the Tanzmeistersaal, where everything is quiet now, before the concert… 

Salzburg 74 - Quiet time before the concert, on a 27 January - In the Tanzmeistersaal in Mozart Wohnung, Salzburg

Salzburg 75 - Quiet time before the concert, on a 27 January - In the Tanzmeistersaal in Mozart Wohnung, Salzburg

Salzburg 76 - Quiet time before the concert, on a 27 January - In the Tanzmeistersaal in Mozart Wohnung, Salzburg

… and a last look outside…

Salzburg 77 - Quiet time before the concert, on a 27 January - Looking out the window of the Tanzmeistersaal in Mozart Wohnung, Salzburg

Salzburg 78 - Quiet time before the concert, on a 27 January - Looking out the window of the Tanzmeistersaal in Mozart Wohnung, Salzburg

… leave the house and look to your right, then to your left, as if you could have a glimpse of what Mozart saw when he left the house… 

Salzburg 79 - An open window of the Tanzmeistersaal in Mozart Wohnung, Salzburg - Before the concert, on a 27 January

Salzburg 80 - An open window of the Tanzmeistersaal in Mozart Wohnung, Salzburg - Before the concert, on a 27 January

Salzburg 81 - An open window of the Tanzmeistersaal in Mozart Wohnung, Salzburg - Before the concert, on a 27 January

Salzburg 82 - An open window of the Tanzmeistersaal in Mozart Wohnung, Salzburg - Before the concert, on a 27 January

Salzburg 83 - Leaving the Mozart Wohnung, Salzburg, for a break before the concert, on a 27 January

Salzburg 84 - Leaving the Mozart Wohnung, Salzburg, for a break before the concert, on a 27 January

Salzburg 85 - Leaving the Mozart Wohnung, Salzburg, for a break before the concert, on a 27 January

Salzburg 86 - Leaving the Mozart Wohnung, Salzburg, for a break before the concert, on a 27 January

… then turn around and enter the house again – because it is a good time to visit the Mozart Shop before returning to the hotel, to change into an appropriate dress for the afternoon recital… 

Salzburg 87 - The right time to enter the Mozart shop in the Mozart Wohnung - and leave with hands full of books, dvd's, posters, cards, bags etc

… take the road back with a look in the windows of a Music Shop, right after the corner – Mozart and The Mozart Week are everywhere… 

Salzburg 88 - in the window of a Music Shop in Salzburg

(… those outfits are so beautiful! …) 

Salzburg 90 - beautiful!

… then cross the Salzach River again, rejoicing in the view of the blue skies and beautiful Salzburg, on a day of 27 January 2016…  

Salzburg 91 - blue skies on a 27 January

Salzburg 92 - crossing the Salzach River on the way back to my hotel

Salzburg 93 - crossing the Salzach River on the way back to my hotel

Salzburg 94 - crossing the Salzach River on the way back to my hotel

… pass by the Mozart Statue, again… 

Salzburg 95 - Mozart Statue in Mozartplatz, Salzburg

Salzburg 96 - Mozart Statue in Mozartplatz, Salzburg

Salzburg 97 - Mozart Statue in Mozartplatz, Salzburg

Salzburg 98 - Mozart Statue in Mozartplatz, Salzburg

Salzburg 99 - Mozart Statue in Mozartplatz, Salzburg

Salzburg 100 - Smiling to a beautiful day of 27 january, near Mozart Statue in Mozartplatz, Salzburg

(smiling to a beautiful day of 27 January in just the perfect place to do this 🙂 ) 

… stop for a few moments at Mozart’s Birthplace at Getreidegasse 9 – Mozart Geburtshaus, or Hagenauerhaus, on a day of 27 January 2016… 

Salzburg 101 - stopping for a few moments in front of Mozart's Birthhouse, at Getreidegasse 9, on a 27 January at noon

Salzburg 102 - stopping for a few moments in front of Mozart's Birthhouse, at Getreidegasse 9, on a 27 January at noon

Salzburg 103 - stopping for a few moments in front of Mozart's Birthhouse, at Getreidegasse 9, on a 27 January at noon

Salzburg 104 - stopping for a few moments in front of Mozart's Birthhouse, at Getreidegasse 9, on a 27 January at noon

Salzburg 105 - stopping for a few moments in front of Mozart's Birthhouse, at Getreidegasse 9, on a 27 January at noon

… pass by Cafe Tomaselli, Salzburg’s oldest coffee house, and stop for a while just to picture Leopold Mozart and his son Wolfgang coming here to have a coffee and a talk with friends, more than 200 years ago… 

Salzburg 106 - stopping for a moment in front of Cafe Tomaselli, the oldest cafe in Salzburg, on a 27 January

Salzburg 107 - stopping for a moment in front of Cafe Tomaselli, the oldest cafe in Salzburg, on a 27 January

… pass by the Dom again, then continue to the hotel, enjoying the indescribable charm of those narrow streets and old buildings in Salzburg’s Old Town, some of them almost 600 years old… 

Salzburg 108 - the Dom, again, on the way back to my hotel, in a break before the concert of 27 January

Salzburg 109 - the Dom, again, on the way back to my hotel, in a break before the concert of 27 January

Salzburg 110 - the Dom, again, on the way back to my hotel, in a break before the concert of 27 January

Salzburg 111 - the Dom, again, on the way back to my hotel, in a break before the concert of 27 January

Salzburg 113 - history all around, on the way back to my hotel, in a break before the concert of 27 January

Salzburg 112 - enjoying the fabulous streets on the way back to my hotel, in a break before the concert of 27 January

… reach the Altstadthotel Kasererbraeu and get a better look of it in daylight… 

Salzburg 114 - Altstadthotel Kasererbrau, beautiful, charming, comfortable hotel in a 1342 building

Salzburg 115 - Altstadthotel Kasererbrau, beautiful, charming, comfortable hotel in a 1342 building

Salzburg 116 - Altstadthotel Kasererbrau, beautiful, charming, comfortable hotel in a 1342 building

… prepare for the concert, then proceed on the way back to Mozart Residence… with a stop on the bridge for a photo where your face is lighted by the rays of a wonderful 27 January Salzburg sun, and by the joy of being there! ❤ … 

Salzburg 117 - Crossing the Salzach River again, on the way to the fortepiano recital, on a beautiful 27 January

Salzburg 118 - Crossing the Salzach River again, on the way to the fortepiano recital, on a beautiful 27 January

Salzburg 119 - On the bridge over the Salzach River, on the way to the fortepiano recital, in a beautiful day of 27 January

Salzburg 120 - The sign of The Mozart Week on a 27 January 2016

… reach the Mozart Wohnhaus again, to attend the Fortepiano recital of Nicolas Altstaedt playing the cello,  Andreas Staier and Alexander Melnikov playing Mozart’s Walter-Flügel, in Mozart’s Tanzmeistersaal, in Mozart’s Residence, on a 27 January 2016… 

Salzburg 121 - At Mozart Wohnung again, to attend the fortepiano recital on a 27 January

Salzburg 122 - At Mozart Wohnung again, to attend the fortepiano recital on a 27 January

Salzburg 123 - At Mozart Wohnung again, to attend the fortepiano recital on a 27 January

Salzburg 124 - Ticket to happiness - attending a concert in Tanzmeistersaal on a 27 January 2016

Salzburg 125 - At Mozart Wohnung again, waiting for the fortepiano recital to begin, on a 27 January

After the concert, a smile for the camera, from near the Mozart Family, painted by Johann Nepomuk della Croce  in the winter of 1780-1781… 

Salzburg 126 - Happiness is... to smile near the Mozart Family Portrait in theTanzmeistersaal, Mozart Wohnhaus, on a 27 January

… wait patiently until almost all the people have left… then, overwhelmed by emotion, sit down at Mozart’s fortepiano again… and touch it, and hear its sweet sound, again… 

Salzburg 127 - Happiness is... to be close to Mozart's fortepiano in the Tanzmeistersaal, in Mozart Wohnhaus, on a 27 January

Salzburg 128 - Happiness is... to touch Mozart's fortepiano in the Tanzmeistersaal, in Mozart Wohnhaus, on a 27 January

Salzburg 130 - Happiness is... to touch Mozart's fortepiano in the Tanzmeistersaal, in Mozart Wohnhaus, on a 27 January

… and because it is a time in your life when the dream is truly becoming the life, you would ask if you can sing, there, in Mozart’s music room, and you hear “permission granted”… and then you start to sing ‘Als Luisea cappella… and hear your mezzo voice filling the Tanzmeistersaal, and you feel overwhelmed by the magnificent resonance, by the vibration, by the feeling and emotion of singing in the same place where Mozart used to make music… 

Salzburg 131 - Happiness is... to hear your own mezzo voice singing 'Als Luise' in the Tanzmeistersaal, Mozart Wohnhaus, on a 27 January

… Happiness is… to hear your own voice singing Mozart’s ‘Als Luise‘ in Mozart’s Tanzmeistersaal, in the Mozart Residence, on a 27 January 2016 … 

Salzburg 132 - Happiness is... to hear your own mezzo voice singing 'Als Luise' in the Tanzmeistersaal, Mozart Wohnhaus, on a 27 January

The Tanzmeistersaal is now quiet, after a beautiful evening of music, on a 27 January 2016 … 

Salzburg 133 - The lights are going out after the concert in the Tanzmeistersaal, in Mozart's Wohnhaus

… and it’s time to say goodbye to Mozart Wohnhaus

Salzburg 134 - Saying goodbye to Mozart Wohnhaus, after the fortepiano recital, on a 27 January - with Herr Ramon Estevez

Salzburg 135 - Saying goodbye to Mozart Wohnhaus, after the fortepiano recital, on a 27 January

Salzburg 136 - Saying goodbye to Mozart Wohnhaus, after the fortepiano recital, on a 27 January

Salzburg 137 - Saying goodbye to Mozart Wohnhaus, after the fortepiano recital, on a 27 January

Salzburg 138 - Saying goodbye to Mozart Wohnhaus, after the fortepiano recital, on a 27 January

Salzburg 143 - Saying goodbye to Mozart Wohnhaus, after the fortepiano recital, on a 27 January

Salzburg 144 - Saying goodbye to Mozart Wohnhaus, after the fortepiano recital, on a 27 January

… The lights of the house will soon go down… so you leave… 

Salzburg 145 - Saying goodbye to Mozart Wohnhaus, after the fortepiano recital, on a 27 January

Salzburg 146 - Saying goodbye to Mozart Wohnhaus, after the fortepiano recital, on a 27 January

Salzburg 147 - Saying goodbye to Mozart Wohnhaus, after the fortepiano recital, on a 27 January

Salzburg 148 - Saying goodbye to Mozart Wohnhaus, after the fortepiano recital, on a 27 January

… what delight in the charming view over the Salzach River, on the way to the evening’s Festive Cake at Mozart’s Geburtshaus, Mozart’s Birthplace, on a 27 January

Salzburg 149 - Crossing the Salzach River on the way to the evening feast, the cake at Mozart Geburtshaus, on a 27 January

Salzburg 150 - Crossing the Salzach River on the way to the evening feast, the cake at Mozart Geburtshaus, on a 27 January

And you find yourself on Getreidegasse, mingling with Mozart admirers, or just passers-by… 

Salzburg 151 - The evening feast, the cake at Mozart's Birthplace, on a 27 January

Salzburg 152 - The evening feast, the cake at Mozart's Birthplace, on a 27 January

Salzburg 153 - The evening feast, the cake at Mozart's Birthplace, on a 27 January

Salzburg 154 - The evening feast, the cake at Mozart's Birthplace, on a 27 January

And here comes the cake! 🙂 A delicate, exquisite, sweet oeuvre d’art! …

Salzburg 155 - The evening feast, the cake at Mozart's Birthplace, on a 27 January

Salzburg 156 - The evening feast, the cake at Mozart's Birthplace, on a 27 January

Salzburg 157 - The evening feast, the cake at Mozart's Birthplace, on a 27 January

Salzburg 158 - The evening feast, the cake at Mozart's Birthplace, on a 27 January

Salzburg 159 - The evening feast, the cake at Mozart's Birthplace, on a 27 January

Salzburg 160 - The evening feast, the cake at Mozart's Birthplace, on a 27 January

I got the “adé” from “Amadé”! 😉

Salzburg 161 - The evening feast, the cake at Mozart's Birthplace, on a 27 January - I got the 'adè' part of Amadè

Salzburg 163 - The evening of 27 January at Mozart's Birthplace - Mozart Geburtshaus

Salzburg 164 - The evening of 27 January at Mozart's Birthplace - Mozart Geburtshaus

Salzburg 165 - The evening of 27 January at Mozart's Birthplace - Mozart Geburtshaus, or Hagenauerhaus

It is now time to go up to the third floor apartment where Wolfgang Mozart was born, on a 27 January 1756, at 8 in the evening… Mozarts Geburtshaus, Mozart’s Birthplace, on Getreidegasse 9 🙂 

At the door, the symbol of Asklepios, on Hagenauerhaus

Salzburg 166 - The evening of 27 January at Mozart's Birthplace - the symbol of Asklepios on Hagenauer Haus

Salzburg 167 - The evening of 27 January at Mozart's Birthplace - the symbol of Asklepios on Hagenauer Haus

Salzburg 168 - The evening of 27 January at Mozart's Birthplace - Mozart Geburtshaus, or Hagenauerhaus

Salzburg 169 - The evening of 27 January at Mozart's Birthplace - Mozart Geburtshaus, or Hagenauerhaus

Salzburg 171 - The evening of 27 January at Mozart's Birthplace - Mozart Geburtshaus, or Hagenauerhaus

Salzburg 170 - The evening of 27 January at Mozart's Birthplace - Mozart Geburtshaus, or Hagenauerhaus

Salzburg 172 - The evening of 27 January at Mozart's Birthplace - Mozart Geburtshaus, or Hagenauerhaus

These stairs he would climb, these corridors he would walk, every day, when he lived here: from his birth in 1756 to 1773, when the Mozart family moved to the house on Hannibalplatz – now Makartplatz (Mozarts Wohnaus). I don’t know how much of what I am seeing he used to see, too, when he would leave home, or return… how were the walls painted? what ornaments and objects were on the stairs and corridors and doors?… I am not a historian (I would have loved to be!), and some things may be difficult to tell even for a historian… so I am left with only my imagination to fill in the blanks… and with the emotion of climbing these stairs, and walking these corridors … 

Salzburg 173 - The evening of 27 January at Mozart's Birthplace - Mozart Geburtshaus, or Hagenauerhaus

Salzburg 174 - The evening of 27 January at Mozart's Birthplace - Mozart Geburtshaus, or Hagenauerhaus

Salzburg 175 - The evening of 27 January at Mozart's Birthplace - Mozart Geburtshaus, or Hagenauerhaus

Salzburg 176 - The evening of 27 January at Mozart's Birthplace - Mozart Geburtshaus, or Hagenauerhaus

Salzburg 177 - The evening of 27 January at Mozart's Birthplace - Mozart Geburtshaus, or Hagenauerhaus

Salzburg 178 - The evening of 27 January at Mozart's Birthplace - Mozart Geburtshaus, or Hagenauerhaus

… Dreaming? or really looking down from the window where Wolfgang Mozart would look at Salzburg himself?… 

Salzburg 179 - Looking down the window of Mozart's Birthplace, on a 27 January 2016

“… on January 27, at 8 pm, my wife fortunately gave birth to our son. Praise God, at this moment both mother and son are alright. We have named the boy Johannes Chrysostomus Wolfgang Gottlieb.”  

Leopold Mozart from Salzburg, 9 February 1756 

Salzburg 180 - Looking down the window of Mozart's Birthplace, on a 27 January 2016

At 8 in the evening, the hour of his birth, a choir of children started to sing below his windows! 🙂 

Salzburg 181 - The evening of 27 January at Mozart's Birthplace - Mozart Geburtshaus, or Hagenauerhaus

Salzburg 182 - The evening of 27 January at Mozart's Birthplace - Mozart Geburtshaus, or Hagenauerhaus

Salzburg 183 - The evening of 27 January at Mozart's Birthplace - Mozart Geburtshaus, or Hagenauerhaus

Salzburg 184 - The evening of 27 January at Mozart's Birthplace - Mozart Geburtshaus, or Hagenauerhaus

salzburg-185-the-evening-of-27-january-at-mozarts-birthplace-mozart-geburtshaus-or-hagenauerhaus

salzburg-186-the-evening-of-27-january-at-mozarts-birthplace-mozart-geburtshaus-or-hagenauerhaus

salzburg-187-the-evening-of-27-january-at-mozarts-birthplace-mozart-geburtshaus-or-hagenauerhaus

salzburg-188-the-evening-of-27-january-at-mozarts-birthplace-the-lights-have-gone-down-in-hagenauerhaus

The lights go down in Mozart’s Birthplace, and the door is now closed… The streets are quiet… You can breathe the magic of the Salzburg night…

salzburg-189-the-evening-of-27-january-at-mozarts-birthplace-saying-goodbye-to-hagenauerhaus

salzburg-190-the-evening-of-27-january-at-mozarts-birthplace-saying-goodbye-to-hagenauerhaus-and-to-getreidegasse

salzburg-191-the-evening-of-27-january-at-mozarts-birthplace-saying-goodbye-to-hagenauerhaus-and-to-getreidegasse

salzburg-192-the-evening-of-27-january-at-mozarts-birthplace-saying-goodbye-to-hagenauerhaus-and-to-getreidegasse

salzburg-193-the-evening-of-27-january-at-mozarts-birthplace-one-last-look-around-hagenauerhaus

salzburg-194-old-door-bells-on-the-outside-of-the-hagenauerhaus-mozart-geburtshaus-in-the-evening-of-a-27-january

Old door bells on the outside of the Hagenauerhaus… would the magic work if you pulled a bell?

salzburg-195-old-door-bells-on-the-outside-of-the-hagenauerhaus-mozart-geburtshaus-in-the-evening-of-a-27-january

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Cafe Tomaselli, in the evening of a 27 January…

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Mozart’s statue and a glimpse of the moon…

… and then, again, the magic of this beautiful city…

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Back to the hotel… 

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Window open to the Salzburg fortress…

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In the Old City, the streets are quiet… it is almost midnight, on a day of 27 January 2016… 

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March 1784, Vienna. An evening at The Trattnerhof.

Monday, 15 March 1784, Vienna: Mozart performs for Count Esterházy and dates the Piano Concerto in B-flat K. 450. 

Mozart - Piano Concerto 15 - det

The entry in Mozart’s hand-written catalogue of works reads:

“the 15th of March

A Piano concerto. Accompaniment: 2 violins, 2 violas, 1 flute, 2 oboes, 2 bassoons, 2 horns and bass.” 

The Spring of 1784 was busy and exceptionally fulfilling for Mozart in Vienna. In his letters from March and April 1784, Mozart asks for his father’s understanding for not having the time to write to him because of the numerous engagements: 22 between the end of February and the beginning of April. Among them, three concerts in a subscription series at the Trattnerhof, two at the Burgtheater and others in the salons of Count Johann Esterhazy and Prince Galitsin. Mozart tells his father how wonderfully his performances were received: he won extraordinary applause, the hall was “crammed full”, and he was praised repeatedly for the first concert on 17 March. He proudly presents his father the list of subscribers to the Trattnerhof concerts: 174 names from the highest levels of society, all of whom attended his successful performances. Among them, Prince Kaunitz, Prince Galitsin, Therese von Trattner, Baroness Martha Elisabeth von Waldstatten, Count and Countess Thun, Princess Lichnowsky, Prince Lobkowitz, Prince Liechtenstein, Count Zichy, Count Esterházy, Count Nostitz, Baron van Swieten, Councillor Greiner, Countess Waldstein, Count Zinzendorf, Baron Wetzlar, Princess Auersperg, Count Banffi, Ignatz von Born, Count Czernin, Prince Schwartzenberg, Countess Hatzfeld, and many others, all people of importance and position in the Viennese society.  

Ein kolorierter Kupferstich von Carl Schütz, zeigt Am Graben 1781

Dr Michael Lorenz

 “On 20 March 1784 Mozart sent his father the famous list of subscribers who paid an entrance of six gulden for three concerts at the Trattnerhof. In his commentary to this letter Joseph Heinz Eibl gives a number of 176 subscribers, but actually the list contains 174 people, yielding Mozart a gross profit of at least 1,044 gulden. The concerts, at which Mozart played the concertos K.449, 450 and 451 took place on 17th, 24th and 31 March 1784. Nothing is known about the other pieces that were certainly part of the three programs.

Right below the list of subscribers Mozart writes:

Here you have the list of all my subscribers; I have 30 subscribers more than Richter and Fischer combined. The first concert on the 17th went well; the hall was crammed full and the new concerto that I played was very well received; wherever you go people are praising this concert.’

In a letter to his father on 10 April 1784 Mozart again addresses his three concerts at the Trattnerhof:

‘I beg you, don’t be angry that I have not written for such a long time; you know how much I had to do in the meantime! My three subscription concerts brought me great honor. – My concert at the theater also went very well. […] To tell the truth, I recently grew tired of all the playing, and it gives me no small credit that my audience never grew tired of it.’

Michael Lorenz – Mozart in the Trattnerhof  

http://michaelorenz.blogspot.ro/2013/09/mozart-in-trattnerhof.html 

The "Graben" in Vienna, 1781. Mozart lived in the house Graben no.17 from Sept 1781 to July 1782 and later in the house called "Trattnerhof" in 1784.

The “Graben” in Vienna, 1781. Mozart lived in the house Graben no.17 from Sept 1781 to July 1782 and later in the house called “Trattnerhof” in 1784.

Monday, 15 March 1784, Mozart gave the first performance of a piano concerto, either K.449 in E-flat Major, or K.450 in B-flat Major, at Count  Esterházy’s residence in Vienna. And Wednesday, 17 March 1784, Mozart gave his first subscription concert in the Trattner Hall.  

Johann Thomas von Trattner was the leading music publisher and retailer in Vienna between 1770 and 1790. He became court bookseller in 1751 and court printer in 1754. His business flourished, so in 1773 he bought the Freisingerhof on the Graben and the houses around it, took them down and built the Trattnerhof there in 1777. Mozart lived in the Trattnerhof from 23 January to 29 September 1784, and gave piano lessons to Thérèse, Trattner’s second wife. He gave three concerts in Trattner’s concert hall. To Thérèse von Trattner he dedicated his Sonata in C minor, K. 457 composed in 1784 and the Fantasy in C minor, K. 475 written in 1785, both works published in 1785 as his Op. 11 by Artaria, the leading Viennese music publisher. 

Trattnerhof - 1781 engraving by Karl Schutz

The story of Mozart’s Trattnerhof is best told by Dr Michael Lorenz in his fascinating article: Mozart in the Trattnerhof.  Michael Lorenz has a great gift for bringing history to life! To read through his extraordinary work, so masterly researched and written, is to embark in a travel through time, with history coming alive at each step. So… visit his blog to read about Mozart’s Trattnerhof, how he lived there, how he performed there, to read the documented history of that special building, to see images of the place (most of them never before published), the plan of Mozart’s apartment, and also of Trattner’s apartment (where Mozart played in a private concert for Therese von Trattner in May 1784), the list of subscribers to his concerts as he sent it to father Leopold, the earliest existing photograph of the Trattnerhof, taken in 1875, the second entrance of the Trattnerhof at Graben 29A in 1910 (the door that Mozart had to pass to get to his apartment), and many other fascinating images and documents, History will come alive as you read, as you look at the images, so prepare for a wonderful Travel in Time! 

http://michaelorenz.blogspot.ro/2013/09/mozart-in-trattnerhof.html

And as you read, listen to the Music!

The breathtakingly beautiful ‘Andante‘ from  Mozart’s Piano Concerto in B-flat Major No 15, K.450 

Mozart - Andante from Piano Concerto no 15 - 1 - det 1

Mozart - Andante from Piano Concerto no 15 - 1 - det 2

Mozart - Andante from Piano Concerto no 15 - 2 - det 1

Mozart - Andante from Piano Concerto no 15 - 2 - det 2

Mozart - Andante from Piano Concerto no 15 - 3 - det 1

Mozart - Andante from Piano Concerto no 15 - 3 - det 2

Mozart - Andante from Piano Concerto no 15 - 4 - det 1

Mozart - Andante from Piano Concerto no 15 - 4 - det 2

Mozart – Piano Concerto in B-flat Major No 15, K.450 – III Allegro 

Mozart - Piano Concerto 15 - Allegro part 3

The sound of Mozart’s Piano Concerto in B-flat Major (No 15, K.450)

Mozart - Piano Concerto 15

Mozart - Andante from Piano Concerto no 15 - 1

Mozart - Andante from Piano Concerto no 15 - 2

Mozart - Andante from Piano Concerto no 15 - 3

Mozart - Andante from Piano Concerto no 15 - 4

Mozart – Piano Concerto in E-flat Major no 14, K.449 – Andantino 

Mozart – Piano Concerto in E-flat Major no 14, K.449 

The E-flat Major no 14 is the first composition Mozart entered into his hand-written catalogue of works, which he started in Vienna in 1784 and kept for seven years, until his death, marking down main themes, dates of completion, and other important information. The entry about the D-flat Major Piano Concerto is that he finished it on 9 February 1784. 

Mozart's Thematic Catalogue - det

Mozart's Thematic Catalogue

Mozart – ‘Andante’ from Piano Concerto in D Major no 16, K.451  

Graben with the Trattnerhof through time: 

Ein kolorierter Kupferstich von Carl Schütz, zeigt Am Graben 1781

The Graben with Trattnerhof on the right

Vienna, Graben - Carl Schütz as art print or hand painted oil

The Graben towards the northwest, c. 1900

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Images of the scores copyright of Internationale Stiftung Mozarteum

Images of Mozart’s Thematic Catalogue copyright of The British Library 

Photos © where specified,

credits specified there where available,

other images from the internet, assumed to be in the public domain.

DISCLAIMER – I don’t claim credit or ownership on the images taken from the internet, assumed to be in the public domain, used here. The owners retain their copyrights to their works. I am sharing the images exclusively for educational and artistic purposes – this blog is not monetized, and has no commercial profit whatsoever. Whenever I find the credits to internet images I am happy to add them. If you are the artist or the owner of original photos/images presented on this blog and you wish your works to be removed from here, or edited to include the proper credits, please send me a message and they will either be removed or edited. Thank you! 

9 March 1785: the Majestic C Major Piano Concerto

“the 9th of March

A Piano concerto. Accompaniment: 2 violins, 2 violas, 1 flute, 2 oboes. 2 bassoons, 2 horns, 2 clarinets, timpani and bass.”

It is the entry in Mozart’s hand-written catalogue of works, anouncing the splendid Piano Concerto in C Major, no 21, K.467! 

Mozart - Piano Concerto 21 - page 1, det. 1

Mozart - Piano Concerto 21 - page 1, det. 3

Mozart - Piano Concerto 21 - page 1, det. 2

On the 10th of March 1785, less than one month after the premiere of the stormy, moving, dramatic D minor, Mozart was presenting another piano concerto to the Viennese audience: calm, brilliant, full of light and joy, majestic in its great beauty! 

Mozart - Piano Concerto in C Major, No 21, K.467

As with the Piano Concerto in D minor, the C Major Piano Concerto was composed for the series of Lenten subscription concerts that Mozart was giving in 1785. Leopold Mozart, who had come to visit his son just in time to witness the premiere of Mozart’s sublime D minor Piano Concerto, would write to Nannerl: “We never get to bed before one o’clock and I never get up before nine. We lunch at two or half past. The weather is terrible. Every day there are concerts; and the whole time is given up to teaching music, composing and so forth. I feel rather out of it. If only all the concerts were over! It is impossible for me to describe the rush and bustle. Since my arrival your brother’s fortepiano has been taken at least a dozen times to the theater or to some other house…” Father and son went out together, to eat of attend musical or social events, or received friends in Mozart’s apartment, where they would spend hours making music; in the same time the composer went on with the lessons with his pupils, took part in various public and private concerts and, above all, composed!

Mozart entered the C Major Piano Concerto in his catalogue on 9 March 1785 (although on the autograph score he writes “in February 1785” – “Concerto di Wolfgango Amadeo Mozart, nel Febraio 1785”), and premiered it on 10 March 1785 at the Burgtheater – The National Court Theater, in a concert for his own benefit.  

Carl Schuetz, 1783 - Wien - Michaeltrakt mit Hoftheater

A handbill for the concert announced that it would include “a new, just finished Fortepiano Concerto”, in addition to Mozart playing improvisations employing “an especially large Fortepiano pedal”.  

Altes Burgtheater 1

On Thursday, March 10, 1785, Kapellmeister Mozart will have the honor of giving in the Imperial and Royal Court Theater a Grand Musical Concert for his own benefit including not only a new, just finished fortepiano concerto to be played by him, but also an especially large fortepiano pedale in improvising will be used. The remaining pieces will be announced by a large poster on the day of the concert.” 

Altes Burgtheater 3

A letter from Johann Samuel Liedemann, a merchant in Vienna, from 18 February 1785, states that “…the Fortepiano maker Walther had augmented his Fortepiano with a Pedal. Mozart played the instrument and it produced a wonderful effect” (he is referring to the premiere of the D minor Piano Concerto of 11 February 1785). Leopold’s letter to Nannerl and the announcement for the Burgtheater concert of March 10 indicate Mozart also played the C Major Piano Concerto  on a piano which had a special pedal attachment: “He has had a large fortepiano pedal made, which stands under the instrument and is about two feet longer and extremely heavy”. The success of the concert and the receipts of 559 florins were reported by Leopold with satisfaction and pride to his daughter, in the letter of 12 March 1785.   

“This concerto followed the last at four weeks interval. Between the two there is absolute contrast. On one hand, passion, conflict, storm of the spirit; on the other, calm and majesty. We have already noted how, more than once, Mozart produces, one after the other, two first-rate works of highly contrasted inspiration: the autumn before, with the concerto in B flat, K.456, and the sonata in C minor; in 1786, with the concertos in A and C minor; and again in 1787 and 1788 with the quintets and symphonies in G minor and C. We said that it was but one manifestation of his very mobile nature, ready to leap without transition from one aspect of reality to another, from one mood to its opposite. Sometimes the sorrowful work precedes the joyful one; sometimes the contrary. In February and March, 1785, the order is optimistic: the song of peace comes after the tempest; the luminous C major exorcises the sombre and daimonisch D minor. Nevertheless, the concerto in C is not a blithe work; it is powerful and motionless rather than joyful, and in its immobility we recognize, albeit frozen, the billows of the D minor. (Cuthbert Girdlestone) 

Mozart - Piano Concerto 21 - Allegro page 1

Mozart - Piano Concerto 21 - Allegro page 2

The C Major’s first movement, the ‘Allegro’, is (not in the autograph but in all editions), “Maestoso” in its design and essence! The second movement, ‘Andante’, breathtakingly beautiful! The last movement, ‘Allegro vivace assai’, light, airy, wonderful! On the 10th of March, 1785, at the Burgtheater, could this have been the sound that the musicians and audience delighted in? 

“The first movement is headed maestoso, a mark which should be observed and not replaced in practice by brillante, as is done by some musicians who consider they know what Mozart wanted better than Mozart himself. But the first subject, as we hear it in the first eleven bars, belies this indication. It is a march like so many first subjects in concertos of the period, but a tiptoed march, in stocking feet, and even when woodwind, brass and drums interrupt the stringgs, it does not rise above piano. It is almost a comedy motif and we should not be surprised to see Leporello emerge from it. But this impression is soon rectified. Conforming to the plan of the quiet beginning followed by a forte, Mozart repeats the theme with all the resources of his orchestra, modulates at once with unusual freedom and, passing quickly through A minor and C minor, settles a while in G major on a tonic pedal. (…) After giving out these two themes, it would seem that the tutti had but to conclude and admit the solo. But this concerto does not act like its predecessors. Instead of a closing figure, the march begins again, first in imitations in the strings, piano, then, when all the orchestra has joined in, forte, and the music launches forth into a working-out whose progress, led with a steady step and insistent in its regularity, reminds us of the straining and pitiless vigour of the D minor. There is no modulating; everything comes down, in the last resort, to rises and falls of one octave, repeated several times, without haste, now with the whole orchestra, now antiphonally, with strings and woodwind. Such calm perseverance is irresistible; its strength is in its mass, not in its fire or speed (on condition, once again, that the movement is taken at a moderate speed and even heavily, maestoso, and not brillante. Played swiftly and lightly, this passage becomes a kind of breathless race that keeps on coming back to its starting-point, which is nonsense); the music looks neither right nor left; its progress is due to singleness of will. No passage demonstrates better than this both the kinship and the ontrast which unite and separate the twin concertos; in one, vehemence and wrath; in the other, self-assurance; in both, a will firm and inexorable.”  (Cuthbert Girdlestone) 

“In neither of Mozart’s earlier works do we find the contrapuntal potential of the opening so fully realized on the larger structural level as it is in K.567, where various polyphonic settings of the opening theme produce some of the main structural blocks of the ritornello. (…) Charles Rosen has described K.467 as “Mozart’s first true essay in orchestral grandeur” and has commented on the block-like nature of its construction…”  

And the ‘Andante’ that follows… Mozart’s fragile, beautiful soul, transfigured into Music! 

Mozart - Piano Concerto 21 - Andante page 1

Mozart - Piano Concerto 21 - Andante page 2

“The world of the andante is that of the “dream” andantes, a family which comprises some of Mozart’s most beautiful slow movements in earlier years and in the long successions of which it is the last; but its form is unique. It is a piano cantilena preceded by a tutti prelude and sumptuously sustained and adorned by the murmur of the strings and the multi-coloured raiment of the wind. The tune winds from key to key, smooth and closely blended; it passes through various moods, some dreamy, some full of anguish, some serene, but the themes hardly stand out; it is a river, moving slowly but unceasingly, and only from time to time does an eddy in the current announce a freshy subject. Yet it is not a fantasia. There is directions and progress in its emotion and its form. The stream advances, turns back, passes on again, and though its structure be free, it is never loose. (…) And all the time it never stops singing; one feels that its chief contribution here is its tone colour, the pale, delicate colour of the 1780 piano, whose beauty Mozart never set forth more felicitously than in this nocturne. We say, nocturne, and in truth the rapprochement with Chopin can hardly be avoided. he hazy atmosphere of the mutes, the quivering calm of the ceaseless triplets, the slow, sustained song of the piano—more than all this, the veiled and sorrowfully passionate soul which this music expresses with such immediacy, do we not find them in the work of Chopin and especially in those nocturnes of which the “dream” of Mozart’s reminds us? This Andante, so placid at first hearing, betrays on further acquaintance an agitated mood. Its perpetual instability, to which its constant modulating and its unsatisfied quest for new places bears witness; its morbid disquiet, thinly concealed now and again under an appearance of calm, breaking forth with heart-rending pathos in the chromaticisms and the discreet yet pungent hues of ex.270 are unquestionably fundamental elements of Mozart’s nature, but they are elements which he shares with Chopin.” (Cuthbert Girdlestone) 

To our ears, to our heart, the ‘Andante’ of Mozart’s C Major Piano Concerto no 21 is perfect beauty as it is: a ‘simple’ melody that moves us to tears whenever we listen to it. We don’t even want to imagine it changed in any way – and the only way in which we would probably accept it changed would be to listen to Mozart himself playing it. Philipp Karl, an amateur-musician who had heard Mozart perform two of his piano concertos in Frankurt, in October 1790, later reported that when Mozart played the slow movements of his piano concertos he embellished them “tenderly and tastefully once one way, once differently, following the momentary inspiration of his genius”. In 1803 Phillip Karl published embellished versions of six Mozart piano concerto slow movements (K.467, K.482, K.488, K.491, K.503 and K.595), presumably inspired by his contact with Mozart, but not imitative of the composer’s own improvisations.” 

“The andante occupies a world apart, a sonic dream world evoked by the magical effect of muted and pizzicato strings. It offers moments of sublime beauty and ends in a state of bliss, but its surface serenity cannot conceal the turmoil that lies beneath. At every turn there is a poignant reminder that happiness is transient, its promise easily revoked. And the escape to a dream world is consummated only in the imagination.” (David Grayson)  

Anton Muller - Altes Burgtheater

Altes Burgtheater 2

How might that evening of 10 March 1785 have looked like? Here’s what David Grayson tells us in his book “Mozart: Piano Concertos Nos. 20 and 21”:

“Iconographic evidence suggests that in “halls” like the Mehlgrube the players would probably have occupied a low platform situated not at  the end of the room, but against one of the long walls. The seating plan for K.466 would probably have been similar to the one recommended in 1802 by the piano-maker and Mozart pupil Nannette Stein Streicher:

“In performing concertos, especially Mozart’s, one should move the fortepiano several feet nearer (the audience) than the orchestra is. Directly behind the piano leave just the violins. The bass-line and wind instruments should be further back, the latter more than the former.”

Adalbert Gyrowetz, one of whose symphonies was programmed in Mozart’s Mehlgrube series, noted in his presumed autobiography that Mozart had hired a “full theater orchestra” for these concerts.  This was most likely the orchestra of the Burgtheater, where, four days later, on 15 February 1785, Mozart again played the D-minor Piano Concerto, in a concert given by the singer Elisabeth Distler.

The Burgtheater, representing the third category of concert venue, was also the site of the premiere of the Piano Concerto in C, K.467, less than a month later, on 10 March 1785. Located on the Michaelerplatz, the Burgtheater was built in 1741 and renovated numerous times before its closing in 1888. Plans reflecting the state of the building during the 1780s show an oval-shaped house, with seating on the floor divided into two sections, ostensibly according to the social rank of the spectators: the Noble Parquet in front, and behind it the slightly elevated Second Parquet, with rows of benches and standing rooms at the rear. (Social segregation was not complete, however, as individuals connected to the theater, including composers and performers, could obtain passes granting admission to the Noble Parquet.) Four balconies surrounded the floor. The lower two held the boxes rented on an annual basis by the nobility, plus, in the first tier, one box overlooking the stage, reserved for the director, and three “Imperial loges” (one in the center and two on the right) overlooking the orchestra, which occupied the floor at the front of the stage. The upper two balconies were galleries with benches and standing room. When jam-packed, the Burgtheater may have accomodated as many as 1800 spectators, but most estimates of the audience capacity are much lower, ranging from around 1000 to 1350.

According to a Vienna theater almanac of 1782, the Burgtheater orchestra comprised 35 players: six first and six second violins, four violas, three cellos, three basses, pairs of flutes, oboes, clarinets, bassoons, horns and trumpets, and one timpanist. Assuming that these figures are also reliable for 1785, that the full theater orchestra participated in Mozart’s concerts in both the Burgtheater and the Mehlgrube, and that the entire ensemble was used for the concerto accompaniments, we can conclude that the orchestra for the first performances of K.466 and 467 consisted of around 32 players (one of the flutes and the two clarinets not being needed). (…) 

Richard Maunder has speculated that, when Mozart performed his piano concertos in the theater, the orchestra may hav been in the pit, while he alone occupied the stage. Putting the soloist in this privileged position, Maunder reasoned, would have helped solve potential balance problems between the fortepiano and the orchestra, whose players would have been seated facing the stage, with their backs to the audience. Such a “theatrical staging” of the concerto moreover made manifest the genre’s affinity with the operatic aria. Daniel Heartz, however, has offered evidence that it was customary for Lenten concert and oratorio performances at the Burgtheater to follow the Italian practice and have all of the musicians on stage: the orchestra, soloists and chorus. He speculated, though, that the arrangement described by maunder might have been a practical necessity at other times of year, when theater rehearsals and stage sets might have made it difficult to rearrange the stage for an orchestra. Mary Sue Morrow has challenged this reasoning, arguing that rehearsals were often held elsewhere and that the theater’s repertory system would have required that the sets be struck after each performance anyway. Maunder’s theory seems unlikely from a purely logistical point of view, given th mixed nature of Mozart’s typical concert programs. For example, his concert of 23 march 1782 at the Burgtheater began and ended with movements of the “Haffner” Symphony, with arias, concertos, concertante movements, and solo piano works interspersed in between. It would have seeed odd for the orchestra to start the program on stage, then repair to the pit, only to re-ascend at the end of the concert for the “haffner” finale. Even odder would have been for the orchestra to remain in the pit throughout, leaving the audience to face an empty stage at the start and conclusion of the evening. For performances of Mozart’s concertos in the theater, then, we may imagine all of the performers on stage, arranged according to the seating plan recommended above by nannette Stein Stricher.” (David Grayson – Mozart: Piano Concertos Nos. 20 and 21 – “Performance practice issues”) 

A look at the Burgtheater through time – that Burgtheater where Mozart premiered his piano concertos and operas: 

Wien - Die k.k. Reitschule und das National-Hoftheater 1829

Michaelerplatz 1, Kuppel - Spanische Winterreitschule

August Gerasch - Vor dem alten Burgtheater

Rudolf Schima - Das Alte Burgtheater. Aquarell (1880)

Carl Wenzel Zajicek -Das alte Burgtheater, 1860

Das alte Burgtheater Aquarell auf Papier signiert und datiert 1912 - Carl Wenzel Zajicek

Altes Burgtheater, Michaelerplatz - The old Burgtheater (before 1888)

Das alte Burgtheater und die Hofreitschule am Michaelerplatz

In 1888 the “old” Burgtheater was demolished, and a new building with the same name was built on the Ringstrasse: the new Burgtheater. The theater where Mozart premiered his masterpieces had to make space for… space… Almost all the places where he had lived and composed were torn down without the smallest thought that those were not just buildings, they were places of history which should have been preserved with love and respect. Instead of them we now have super-stores, or… more space… 

At least his music has survived! 

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On a 4th of March 1791, in Jahn’s Hall

Mozart - Piano Concerto No. 27 in the Thematic Catalogue

Mozart’s Piano Concerto in B-flat Major No 27, K.595, was entered in his Thematic Catalogue on the 5th of January 1791. 

Mozart - Piano Concerto no 27 in the Thematic Catalogue - det

The premiere of the Concerto is supposed to have taken place on 4 March 1791, in a concert in Jahn’s Hall

The actual period of time when he composed the concerto is in controversy, as is the date when it was premiered. Alan Tyson and Simon Keefe place the composition of the B-flat Major Piano Concerto between 1788-1789. Wolfgang Rehm says it was composed late 1790 – early 1791. 

Piano Concerto 27, K.595 - 5th january 1791 - Copyright © The British Library Board - 1

Piano Concerto 27, K.595 - 5th january 1791 - Copyright © The British Library Board - 2

The autograph score of The B-flat Major Piano Concerto, No 27, along with more than 100 Mozart works, was evacuated to the East during the Second World War, and after the war it was considered lost. In the 1970’s the autograph score was discovered in Poland, and it is now held by the Jagiellonian Library in Cracovia.

Otto Erich Deutsch states the B-flat Major Piano Concerto may have been premiered by Mozart himself in an academy concert by clarinettist Joseph Bähr, which took place in Jahn’s Hall on the 4th of March, 1791. In his essay “Mozart’s Reception in Vienna 1787–1791“, Dexter Edge is of the opinion that the B-flat Major may have been premiered by Mozart’s pupil Barbara Ployer in January 1791, in a public concert at Palais Auersperg in Vienna. 

Josefstädter Glacis und Palais Auersperg, 1814 - wiki

Palais Auersperg Vienna

Palais Auersperg Vienna

Maybe the B-flat Major Piano Concerto was the one Mozart played in Jahn’s Hall on the 4th of March 1791, or maybe Mozart played another concerto. In either case, the evening of 4 March 1791 is said to have been Mozart’s last appearance in a public concert. 

In May 1775 Emperor Joseph II had opened Vienna’s Augarten to the public. He dedicated this beautiful place “to all people”, for their amusement, so dance halls, dining and billiard rooms, refreshment places were established, and restaurateur Ignaz Jahn was put in charge as traiteur. Ignaz Jahn had been appointed Imperial Caterer for Schonbrunn Palace in 1772. In 1775 he started running a restaurant in the Augarten (it was said that nowhere in the world you could drink any better coffee than at Jahn’s, in the Augarten), and later opened a Concert Hall adjacent to his other restaurant, in the main part of the city (now Himmelpfortgasse 6), a Concert Hall which would turn into a performance venue for famous musicians and composers in the years to come: among them, Wolfgang Amadé Mozart and Ludwig van Beethoven. At Cafe Frauenhuber, Vienna

Mozart’s arrangement of Handel’s “Acis and Galatea” was performed at Jahn’s Hall in November 1788. His last appearance in public is said to have been the one of 4 March 1791. The first public performance of his “Requiem” would take place at Jahn’s Hall on 2 January 1793 – a benefit concert on behalf of his widow, Constanze, organized by Gottfried van Swieten in support of Mozart’s wife and sons. 

If we look for Jahns Traiteurie today, on Himmelpfortgasse, we will find Café Frauenhuber – Vienna’s oldest coffee house! 

Cafe Frauenhuber 1

Cafe Frauenhuber 2

Cafe Frauenhuber 3

Cafe Frauenhuber 4

Cafe Frauenhuber 5

The coffeehouse changed names for a few times since 1824, then settled for Café Frauenhuber in 1891. Is there any other coffeehouse in the world which can pride itself on having treated its guests to musical entertainment by Mozart and Beethoven? Could any name have been more suitable for this street than “Heaven’s Gate” (Himmelpfort)? 

And yes, the waiter did address me with “gnädige Frau“, like I had read on the Welcome page of Café Frauenhuber

Cafe Frauenhuber 6

Cafe Frauenhuber 7

Cafe Frauenhuber 8

I recall the quiet time spent at this coffeehouse, savoring a hot chocolate in its intimate, refined, charming atmosphere, then outside, on the street, letting my eyes explore all the details of the building and its surroundings… It was late in the evening, and few people were passing by, and there was so much peace, like time had stood still, and you felt you could just close your eyes and start walking in Mozart’s footsteps… on the same street… on a 4th of March 1791… 

Cafe Frauenhuber 9

Cafe Frauenhuber in Wien - Wiki

Cafe Frauenhuber in Wien 1

Camera 360

Images found on the internet, presumed in the public domain, except for Mozart’s Thematic Catalogue © The British Library, Cafe Frauenhuber Wiki, and personal archive ©mezzocristina