Mozart Week 2017

mozart-week-2017

“Each year around the time of Wolfgang Amadeus Mozart‘s birth in January, the Mozarteum Foundation Salzburg hosts the Mozart Week with opera performances and orchestral, chamber, and soloist concerts. World-renowned Mozart interpreters, orchestras, and ensembles are responsible for the unparalleled reputation of this unique event. This week of concerts, which was first held in 1956, invites visitors from around the world to rediscover Mozart’s works from ever-changing perspectives and to hear them afresh.”  

Mozarts Geburtshaus on Getreidegasse in Salzburg - Mozart was born here on 27 January 1756

Mozarts Geburtshaus 3

Mozarts Geburtshaus, the house in which Mozart was born on 27 January 1756, on Getreidegasse, is now one of the most frequently visited museums in the world. The exhibition, which spreads over three floors, carries the visitors into Wolfgang’s world, telling when he began to make music, who his friends and patrons were, how the relationship with his family looked like, how strong was his passion for the opera… Here can be seen portraits, original manuscripts and documents, as well as personal objects and musical instruments on which he has played: his childhood violin and the clavichord on which he composed a few of his wonderful works.  

Mozarts Wohnhaus

Entrance in Mozart's House 2

Mozart statue

In Makartplatz there is Mozart-Wohnhaus, the residence where Mozart lived between 1773 and 1781 (the year when he left for Vienna). The building was severely damaged in the Second World War’s bombings, but it was faithfully reconstructed and today hosts the second important Mozart museum in Salzburg. 

The fascinating history of how Mozart Residence was saved and reconstructed can be read on the page of The Mozarteum Foundation from the anniversary year 2016 (20 years since the official opening of the rebuilt Mozart Residence).  

Mozartswohnhaus Salzburg - Tanzmeistersaal

In the spacious rooms visitors can see portraits and original documents, manuscripts of Mozart’s works from the Salzburg years, Wolfgang’s original fortepiano, as well as the famous Family Portrait in the Master’s Dance Hall (Tanzmeistersaal)

The programme of the Mozart Week 2017 is beautiful, with concerts taking place in the Grosser Saal Mozarteum, Grosses Festspielhaus, Wiener Saal Mozarteum, Universitaet Mozarteum, Mozart-Wohnung. Among them Mozart’s D minor Piano Concerto no 20, K.466 (on 28 January in the Grosses Festspielhaus, with the Wiener Philharmonic conducted by Thomas Lengelbrock and Leif Ove Andsnes playing the piano) and the B-flat Major Piano Concerto no 27, K.595 (on 31 January in the Grosser Saal Mozarteum, with the Scottish Chamber Orchestra conducted by Robin Ticciati and Maria Joao Pires playing the piano). K.595 has only recently appeared in the online program of the Mozart Week, having replaced the C Major Piano Concerto no 21, K.467, which is in both the printed and pdf form of the 2017 Program – a replacement that is not good news for those who bought a ticket especially for the C Major Piano Concerto no 21…  

Mozart Family Portrait

Salzburg is a city of Music: during the year extraordinary performances take place in churches, in palaces, in concert halls… Salzburger Schlosskonzerte is one of the biggest musical events in the world: the concerts take place in the marble hall of the Mirabell Palace, there where, in another time, young Wolfgang Amadeus Mozart played himself ❤   

Salzburg Mirabell Schlosskonzerte

On Mozart Week, or whenever you are in Salzburg, give yourself the joy of discovering the beauties of a city whose cultural, historical and memorial values have always been respected by its rulers and inhabitants!  

Salzburg - Altstadt 2

Salzburg - Altstadt

Salzburg - Historical City - Altstadt

beautiful-salzburg

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Als Luise… on a 27 January 2016 in the Tanzmeistersaal

“the 26th.
A Song – Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte”
It is Mozart’s entry in his hand-written Catalogue of Works, on a 26th of May 1787. 

On the score, in his handwriting: “The 26th of May 1787 Landstrasse”, on the top left-hand corner of the first page – in the top right-hand corner he signed with “W.A. Mozart / in Herr Gottfried von Jacquin’s room”. 

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

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

Erzeugt von heisser Phantasie…  

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

Erzeugt von heißer Phantasie,
In einer schwärmerischen Stunde
Zur Welt gebrachte! Geht zu Grunde!
Ihr Kinder der Melancholie!

Ihr danket Flammen euer Sein,
Ich geb’ euch nun den Flammen wieder,
Und all’ die schwärmerischen Lieder;
Denn ach! – er sang nicht mir allein.

Ihr brennet nun, und bald, ihr Lieben,
Ist keine Spur von euch mehr hier:
Doch ach! der Mann, der euch geschrieben,
Brennt lange noch vielleicht in mir.

(Gabriele von Baumberg)

Conceived of fervent fantasy,
Brought into the world
in an hour of rapture! Perish!
You, children of melancholy!

You owe to passion’s flames your being:
To the flames I now return you
with all the songs of ecstasy,
for alas! not to me alone he sang them.

You burn now, and soon, my loves,
no trace of you will remain:
but alas! the man who wrote you
may long still burn within me. 

“Mozart allowed himself to be inspired by poems he came across by chance or to which friends drew his attention or which seemed appropriate for a particular occasion. Thje text of the song ‘Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte’ beginning with the words ‘Erzeugt von heisser Phantasie’ is by Gabriele von Baumberg (1766-1839). who was regarded as the ‘Sappho of Vienna’ and as the most importaant Austrian poetess of her time. She frequented the circle surrounding the author Karoline Pichler (1769-1843) who also knew Jacquin and Mozart. Pichler refers to Baumberg’s poems as a ‘beautiful legacy left to her fatherland and one would only wish that they were better known and more vivid in the memory of today’s world, as they deserve.’ Gabriele von Baumberg’s poetry, which was published in Blumauer-Ratschky’s ‘Almanac of the Muses’ as early as 1786, has, in Mozart’s setting, achieved immortality.”

Johanna Senigl, Internationale Stiftung Mozarteum Salzburg (translated by Elizabeth Mortimer) – W.A. MOZART ‘Als Luise’, Faksimile mit Edition

The facsimile of ‘Als Luise’, © Internationale Stiftung Mozarteum Salzburg

http://www.mozarthaus.biz/en/227-faksimile-lied-kv-520-als-luise-die-briefe-mit-dreisprachiger-einf%C3%BChrung-auf-dt-en-fr.html

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

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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…

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

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Cafe Tomaselli, in the evening of a 27 January…

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salzburg-203-mozart-statue-in-mozartplatz-in-the-evening-of-27-january-2016

Mozart’s statue and a glimpse of the moon…

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

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salzburg-205-the-magic-of-salzburg-in-the-evening-of-a-27-january-2016

salzburg-206-the-magic-of-salzburg-in-the-evening-of-a-27-january-2016

salzburg-207-the-magic-of-salzburg-in-the-evening-of-a-27-january-2016

salzburg-208-the-magic-of-salzburg-in-the-evening-of-a-27-january-2016

salzburg-209-the-magic-of-salzburg-in-the-evening-of-a-27-january-2016

salzburg-209-the-magic-of-salzburg-in-the-evening-of-a-27-january-2016

salzburg-210-the-magic-of-salzburg-in-the-evening-of-a-27-january-2016

salzburg-211-the-magic-of-salzburg-in-the-evening-of-a-27-january-2016

salzburg-212-the-magic-of-salzburg-in-the-evening-of-a-27-january-2016

salzburg-213-the-magic-of-salzburg-in-the-evening-of-a-27-january-2016

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Back to the hotel… 

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salzburg-219-the-magic-of-salzburg-in-the-evening-of-a-27-january-2016

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salzburg-222-returning-to-the-altstadthotel-kasererbrau-at-almost-midnight-in-a-magical-night-of-a-27-january-2016

salzburg-223-returning-to-the-altstadthotel-kasererbrau-at-almost-midnight-in-a-magical-night-of-a-27-january-2016

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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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Mozart Week 2016

Mozart Woche 2016

“Each year around the time of Wolfgang Amadeus Mozart‘s birth in January, the Mozarteum Foundation Salzburg hosts the Mozart Week with opera performances and orchestral, chamber, and soloist concerts. World-renowned Mozart interpreters, orchestras, and ensembles are responsible for the unparalleled reputation of this unique event. This week of concerts, which was first held in 1956, invites visitors from around the world to rediscover Mozart’s works from ever-changing perspectives and to hear them afresh.” 

Mozarts Geburtshaus on Getreidegasse in Salzburg - Mozart was born here on 27 January 1756

Mozarts Geburtshaus 3

Mozarts Geburtshaus, the house in which Mozart was born on 27 January 1756, on Getreidegasse, is now one of the most frequently visited museums in the world. The exhibition, which spreads over three floors, carries the visitors into Wolfgang’s world, telling when he began to make music, who his friends and patrons were, how the relationship with his family looked like, how strong was his passion for the opera… Here can be seen portraits, original manuscripts and documents, as well as personal objects and musical instruments on which he has played: his childhood violin and the clavichord on which he composed a few of his wonderful works.  

Mozarts Wohnhaus

Entrance in Mozart's House 2

Mozart statue

In Makartplatz there is Mozarts Wohnhaus, the residence where Mozart lived between 1773 and 1781 (the year when he left for Vienna). The building was severely damaged in the Second World War’s bombings, but it was faithfully reconstructed and today hosts the second important Mozart museum in Salzburg.  

The fascinating history of how Mozart Residence was saved and reconstructed can be read on the page of The Mozarteum Foundation, in the anniversary year 2016 (20 years since the official opening of the rebuilt Mozart Residence). 

Mozartswohnhaus Salzburg - Tanzmeistersaal

In the spacious rooms visitors can see portraits and original documents, manuscripts of Mozart’s works from the Salzburg years, Wolfgang’s original fortepiano, as well as the famous Family Portrait in the Master’s Dance Hall (Tanzmeistersaal)

On 27 January 2016, the Tanzmeistersaal will host a wonderful moment of music: Andreas Staier and Alexander Melnikov will play Mozart’s fortepiano, and Nicolas Altstaedt will play the violoncello. Then, in the evening, Mozart’s Birthday will be celebrated outside Mozart’s Geburtshaus, with mulled wine and cake and musical interludes by Salzburg Superar Choir, at 8 p.m., the time of Mozart’s birth!

The entire programme of the Mozart Week 2016 is beautiful, with concerts taking place in the Grosser Saal Mozarteum, Grosses Festspielhaus, Wiener Saal Mozarteum, Universitaet Mozarteum, Mozart-Wohnung.

Mozart Family Portrait

Salzburg is a city of Music: during the year extraordinary performances take place in churches, in palaces, in concert halls… Salzburger Schlosskonzerte is one of the biggest musical events in the world: the concerts take place in the marble hall of the Mirabell Palace, there where, in another time, young Wolfgang Amadeus Mozart played himself!  

Salzburg Mirabell Schlosskonzerte

On Mozart Week, or whenever you are in Salzburg, give yourself the joy of discovering the beauties of a city whose cultural, historical and memorial values have always been respected by its rulers and inhabitants! 

Salzburg - Altstadt 2

Salzburg - Altstadt

Salzburg - Historical City - Altstadt

Salzburg 3

26 October 1783: The Great Mass in C minor

“Vienna, January 4, 1783

Mon très cher Père!

I cannot possibly write much at the moment, because we’ve just come back from Baroness Waldstätten, and I have to change from head to toe, for I am invited to a private concert at the residence of Herr Court Councilor Spellmann. – We both thank you for your New Year’s wishes and acknowledge freely that we are as dumb as oxen because we completely forgot our own duty of sending wishes to you – so we are sending you our wishes belatedly and won’t even send them as New Year’s Wishes but just as the everyday wishes we always have for you – and we’ll leave it at that. – About my moral commitment, yes, that’s quite correct; – the word flowed from my pen not entirely without my intention – I made the promise firmly in my heart and I hope to keep it. – When I made it, my wife was still single – but the promise was easy to make because I was determined to marry her as soon as she was well again. – Time and circumstances prevented our trip as you know; – but as proof of my promise I have the score of half a mass that is lying here waiting to be finished.”  

Mozart - Autograph of two of the pages of the C minor mass (Kyrie) - 1

Mozart - Autograph of two of the pages of the C minor mass (Kyrie) - 2

The Great C minor Mass, K.427, was composed by Mozart in Vienna in 1782 and 1783, and remained unfinished, missing large portions of the ‘Credo’ and the complete ‘Agnus Dei’.

St. Peter's Abbey

Mozart and Constanze arrived in Salzburg on July 29 (Nannerl’s birthday was on the 30th). They remained in Salzburg for three months and began their return trip on October 27, 1783, at 9,30 in the morning. The day before their departure, on 26 October 1783, the first performance of the Great C minor Mass took place in the Church of St. Peter’s Abbey in the context of a Roman Catholic mass. (This is the view of most scholars, while others discuss that Mozart’s sister wasn’t specific about which Mass was performed on this day of 26 October.)

Salzburg - Stift Sankt Peter

The performers were members of the ‘Hofmusik’, the musicians employed at the court of Prince-Archbishop Count Hieronymus von Colloredo. The C minor Mass was rehearsed with Mozart’s former colleagues in the Kappelhaus of the Church on 23 October 1783.

Kapelle & Gräber am Petersfriedhof © Tourismus Salzburg - S. Siller

Salzburg - Stiftskirche St Peter

At the premiere, the ‘Kyrie’, ‘Gloria’ and ‘Sanctus’ were presented. Constanze sang the “Et incarnatus est”. 

Robert W. Gutman on the Great C minor Mass in his “Mozart – A Cultural Biography” :

“If, in the eyes of the Salzburg Residenz, Mozart no longer existed – officialdom avoided mention of his name – he did remain a presence to many in the city (and, indeed, at court) who continud to perform his music. In 1782 they had even received something new from his pen: to celebrate his elevation to the nobility, Siegmund Haffner the Younger had commissioned a work from him. Even while laboring against the clock to arrange The Abduction for winds – “otherwise someone will beat me to it and have the profits instead of me” – he made time, at Leopold’s insistence, to write what would be refined into the second Haffner Symphony, K.385. It had been hard upon his wedding day when he posted to Leopold the finale, a Presto embodying a reference to Osmin’s aria in The Abduction: “How I will triumph!”

(Leopold had dragooned him into fulfilling the request of a family that had supported his interests since his childhood. As he composed the new Haffner music, he sent it piecemeal to the mail coach. When Leopold returned the entire composition to Vienna early the following year, Mozart gazed in amazement at what he had conceived under pressure and scribbled as fast as pen could travel: “The new Haffner Symphony has in truth surprised me, for I had forgotten every note of it. Indeed, it must make a good effect.”)

Such confidence sank as he confronted the reality of the Salzburg journey , which, one excuse after the other, had resolved itself into a series of postponements. He fixed upon departing in high summer (when pupils broke off their lessons) even though two dark patches hovered above the plan: misgivings about the reception his bride might find in the Tanzmeisterhaus and his fear of arrest upon entering the archbishopric. (“A priest is capable of anything.”) He suggested a meeting in Munich rather than Salzburg, but Leopold indicated that its officials had signaled indifference to the visit. He recognized Mozart’s prevarications as proceeding from a divided spirit. But all at once Mozart determined to face the troublesome issues and redefine himself in his family’s eyes: to demonstrate his new commitments and demand respect for them. At the end of July 1783, he and Constanze left Raimund with a foster mother in the suburb of Ober-Neustift – they foresaw an absence of a month at most – and set out for Salzburg. Family letters wanting, little of importance concerning the visit has come down except passing words about the mass in C minor, K.427.

Its relationship to a vow Mozart had taken somewhat before his union with Constanze remains obscure, as does the nature of the promise itself. She had fallen ill, and he determined to make her his wife upon her recovery. His oath to compose a mass and perform it in Salzburg – “with all my heart and without condition I gave my word and in like manner I hope to keep it” – united concepts of love, thankfulness, reunion, reconciliation, repair, and, with Raimund’s birth, took on the dimension of continuity (unless he committed himself after marrying and only with regard to her safe accouchment). The proof of his having undertaken the obligation, he assured a father ever suspicious of his high-flown assertions, resided in a “well-grounded hope” to complete “the score of half a mass lying here (Vienna)”.

The performance of the mass was to take place in Salzburg’s monastery church of St. Peter’s, where he had old friends, among them Kajetan Hagenauer (Father Dominicus). Mozart’s crossing the threshold of the cathedral where Colloredo presided remained out of the question. Yet, in diplomatic deference, St. Peter’s, likewise, would have had to close its doors to the renegade had the Residenz remonstrated. It, however, looked away even as its own musicians joined the rehearsals in its Kapellhaus – the resources of St. Peter’s alone would have been unequal to the score – which, without the Residenz’s studied, in fact, beneficent aloofness, would also have been out of bounds.

Of the mass he brought to Salzburg only the Kyrie and Gloria stood complete, along with the substance of the Sanctus. The Credo existed only up to the Crucifixus, and nothing of the Agnus Dei had come to paper. (At the performance, plainchant or material adapted from his earlier masses may have filled the gaps. Perhaps he formed an ad hoc Agnus Dei by putting to work music adapted from preceeding movements, the procedure in part followed in the posthumous completion of his Requiem.). Sebastian Bach’s and, in particular, Handel’s spirit, breathed in at van Swieten’s matinees, guides whole sections of the score; but, unlike so many period-style efforts by his contemporaries, these double choruses, fugues, and less formal contrapuntal passages never suggest a hand ruffling the shallows to give the impression of depth. Reinterpreted and given new dimension through Mozart’s finely colored harmonies, ever fresh and scrupulous melodic detail, and volatility of humors, these units show forth as brilliant reinventions, as refinements of the pastiche of his Salzburg masses, the rhetorical grandeur of the ‘Qui tollis’ for two four-part choirs the finest example. Moreover, in the tradition of the Salzburg works, he eggs and sugars the baroque pudding with galant touches: rococo and empfindsam enchantments from time to time take the lead, offering their tender beauties and with them textural contrast, as in the exquisite pathos of the ‘Et incarnatus’, the longest and most demanding of the three soprano solos shaped, so Constanze had it, for her voice.

During the stay in Salzburg he would not or could not complete the mass: that the project fell through his fingers may well have been the effect of a change of heart wrought by his recent and intense labors in Vienna upon a set of string quartets, arguing an aesthetic not of the evocative and reminiscent, but, rather, of their assmilation within a new style fully his own. Yet the mass’s incomplete state in no way compromises its distinction as a magnificent compendium juxtaposing the century’s musical vocabularies. Its wanting sections somehow made good, K.427 came to performance on 26 October 1783, the day before the Mozarts took their departure.

In Salzburg Mozart did compose, but alas for posterity, not an Agnus Dei for the mass. A bizarre turn of events led him to write a pair of works for the Archbishop. An ailing Michael Haydn, helpless to complete a set of six duos (for violin and viola) impatiently awaited at the Residenz, turned to the visiting Mozart to furnish the final two. He emulated Haydn’s style, and they passed as his.

Returned home at the end of November 1783, they found little Raimund almost three and a half months in his grave, the victim of dysentery. Epidemics, parasites and accidents wove a pattern of mortality permitting only about half the children of the time to survive infancy. Parents for the most part brought into the world at least twice the number of offspring they hoped to raise: “Birth is halfway to death”, observed Leopold Mozart, his two children the survivors of seven births. Mozart and Constanze mourned their “poor, round, fat and darling little boy”, who had looked so much like his father, “the face as if sculpted” after his. She would be pregnant early in 1784 – toward the end of January they moved from the Judenplatz to the Trattnerhof on the Graben – and their domestic world recovered its order and flourised, as did his career.”  

Maynard Solomon on the Great C minor Mass in his ‘Mozart – A Life’ biography :

“By its florid style, bravura solos and great length, it explicitly goes counter to attitudes toward and restrictions upon church music current in the Vienna of Emperor Joseph II, which limited the performance of instrumentally accompanied church music to the court chapel and St. Stephen’s Cathedral. Similarly, it could not have been expected to please Salzburg authorities, whose archbishop held official views on church music very similar to those of Joseph II. In an archiepiscopal letter of 19 June 1780 Colloredo had called for the elimination of complex forms of church music and the substitution of German congregational singing. A pastoral letter of 1782 was directed, Eisen notes, “against the liturgy and the excessive ornateness and ostentation of parish churches”, and accompanied sacred vocal music was greaty discouraged. Mozart’s mass in no way reflected the official new Salzburg style, which limited duration to forty-five minutes and abolished solo singing and fugues. Clearly, he had no intention of compromising his effort to create a dramatically expressive, elevated church music style that transcended the Austrian mass tradition at the same time as it drew freely upon Italian sources as well as on Bach and Handel – made aware of the latter through his close association in Vienna with Baron Gottfried van Swieten, who promoted their music in private concerts there.”

Hermann Abert on the Great C minor Mass in his ‘Mozart’ biography :

“In the present chapter we shall examine only those works that reflect Mozart’s impresions of earlier classics in their freshest and most immediate form. The first and greatest of these works is the C minor mass K427, the genesis of which has already been recounted. Only the Kyrie, Gloria, Sanctus and Benedictus were finished. Of the Credo, only the opening section was completed in draft score, including the choral voices and bass. Only the most essential elements of the accompaniment are indicated here. In the ‘Et incarnatus’, too, the vocal line is written out in full, together with the obbligato wind instruments and bass, with the rest of the accompaniment merely hinted at.

(The mass was completed by Alois Schmitt of Dresden in 1901, and both the full score and vocal score of this completion were published by Breitkopt & Hartel in Leipzig. For the missing sections, Schmitt drew, in part, on other masses and, in part, on individual surviving sacred works by the composer. Individual endings were newly composed and various changes were made to the accompaniment,too. The arrangement has the great merit of having reintroduced the mass to the sacred repertory, yet the manner of its completion raises considerable doubts. (…) The only sections that can be welcomed unconditionally are the replacement of the ‘Et vitam venturi’ by the corresponding movement from K262 and of the ‘Agnus Dei’ by a repeat of the Kyrie, this last-named change inspired by the example of the Requiem. – Annotation by Cliff Eisen)

What distinguished this torso from all Mozart’s other masses is its tendency towards monumentality, a feature it really shares with only the Munich D minor Kyrie K341. The individual sections are developed on a scale previously unknown in Mozart’s works: the Gloria, for example, is in seven completely independent movements, a structure that reveals that in these large-scale complexes Mozart has abandoned his earlier attempts to use rondo form to impose a formal unity on these movements. Their sheer length, moreover, finds a counterpart in the resources that Mozart employs: whereas all his earlier choruses had been in four parts, there are now frequent examples of five-part writing and even an eight-part double chorus. In keeping with local practice in Salzburg, the orchestral forces include neither clarinets nor flutes but make up for this lack by drawing not only on oboes, bassoons and horns but also trumpets and timpani and even four trombones, although, as was usual in Salzburg at this time, these last-named instruments generally support the voices and only occasionally acquire an independent function.

But the most remarkable aspect of this work is the striking unevenness of its individual sections. Passages of an inspired magnificence that far surpasses anything found in the earlier Masses occur alongside others that bear the dusty imprint of a style that had long been out of fashion. Yet it is the more inspired passages – and it is significant that they are nearly all choral movements – that afford the clearest evidence of the influence of Bach and Handel, with even the opening Kyrie falling under this heading: it is a large-scale ternary structure, the third part of which is a slightly abbreviated and modified repeat of the first, with the ‘Christe eleison’ as its middle section, clearly set apart from the others in terms of its tonality and other features, thereby constituing an oasis of welcome relief within  more sombre picture. Unlike most of the earlier Kyrie allegros, this is a movement characterized by austerity and dourness and, as such, an audible echo of the impressions left by Bach. (…)

Perhaps it was the personal disappointments that Mozart endured in Salzburg that robbed him of any desire to complete this remarkable work. Not until 1785 was it to enjoy a curious resurrection in Vienna when Mozart was invited to provide an oratorio for the Tonkünstler- Sozietät concert on 13 and 17 March. In spite of the shortage of time, he accepted the commission as he saw it as a welcome opportunity to introduce the music of his mass, which he held in particularly high regard, to a larger audience. The chosen text was an adaptation of the popular oratorio subject of Davidde penitente, the author of which, hitherto unidentified, was no doubt one of the Viennese court poets. As we know from Johann Sebastian Bach, this retexting of existing music had never been regarded askance by composers of the older period, and the fact that these adapters often revealed a high degree of musical appreciation is clear from the present piece, the text of which is not only poetically impeccable but subtly adapted to suit the expressive content of the individual movements of the mass. All the existing movements were used with minimal changes, the only exception being the Credo, which once again remained unfinished (K469). (…) The result is a work – half oratorio, half cantata – that is bound to create an ambivalent impression on present-day listeners but which was not without importance for the Viennese audiences of Mozart’s day. The special status enjoyed by the Viennese oratorio under Fux had already been undermined by the modern Neapolitan style, but the very fact that Mozart was ablet o risk offering the public a work of such austerity and to call it an oratorio suggests that the old tradition was still very much alive. It was probably only in Vienna at this time that the independent handling of the orchestra and the elaborate artistry of many of the numbers could count on unanimous approval. Even so, the monumental grandeur of the choruses was a risk since, in the wake of Zeno and Metastasio, choruses had largely been suppressed in the Viennese oratorio as elsewhere, yet Mozart was still able to trust in the abiding appeal of the Fuxian tradition, and on this point he was not mistaken as Davidde penitente proved hugely successful not only in Vienna but elsewhere at German and foreign music festivals until well into the nineteenth century. “

St. Peter's Abbey Church and monastery, view from Hohensalzburg Castle - 2

St Peter’s Abbey was founded in 696 by Saint Rupert at the site of a Late Antique church stemming from the first Christianization in the area in the days of Severinus of Noricum. In the Middle Ages, St Peter’s was known for its exceptional writing school. In 1074, Archbishop Gebhard of Salzburg  sent several monks to the newly established filial monastery of Admont in the March of Styria. In the 15th century, the abbey adopted the Melk Reforms. In 1623, Archbishop Paris Graf von Lodron founded the Benedictine University of Salzburg, which until its dissolution in 1810 was closely connected to the abbey. 

Stiftskirche St Peter

Stiftskirche St Peter 2

Kirche St. Peter © Erzdiözese Salzburg - Josef Kral

The present-day Romanesque abbey church at the northern foot of the Monchsberg was erected from about 1130 onwards at the site of a previous Carolingian church building, it was dedicated to Saint Peter in 1147.  One of the organs had been built on the rood screen in 1444 by Heinrich Traxdorf of Mainz. While the steeple received its onion dome in 1756, the interior, already re-modelled several times, was refurbished in the Rococo style between 1760 and 1782 under Abbot Beda Seeauer by Franz Xaver König, Lorenz Härmbler, Johann Högler, Benedikt Zöpf and others. The high altar is a work by Martin Johann Schmidt.  (wiki)

Mozart’s letter of 4 January 1783: from the book of Robert Spaethling 

Source of info: Wiki 

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Salzburg - Stift Sankt Peter 2

Tuesday, 27 January 1756

“S-a născut în 27 ianuarie și de atunci n-a mai apus niciodată!”

“He was born on 27 January and since then he never set again!” 

Happy Birthday, Humanity! Mozart is born! 

Mozart's portrait - from Mozart Family Portrait painted by Johann Nepomuk della Croce, Salzburg 1790-1791

1756 Calendar

 

Happy Birthday, Wolfgang Amadeus Mozart!

Wolfgang Amadeus Mozart was born on 27 January 1756 and left our world on 5 December 1791. Thirty five years was the time on earth of this wonderful child of humanity. God loved him too much and called him back. The angel who lightened our life returned to heaven. His body rests in the peace of the St Marx Cemetery, but his kind and generous soul, his free spirit, his tremendous genius will live eternally through his divine Music… 

Thank you, Mozart, for the gift of your beautiful music!… Eternal gratitude, flowers and tears… a moving homage carrying within it all the loving thoughts which wend your way today and for ever…  

Wolfgang Amadeus Mozart - 1780

Leopold Mozart from Salzburg, 9 February 1756  

“… 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.”   

Mozarts Geburtshaus on Getreidegasse in Salzburg - Mozart was born here on 27 January 1756

Vienna, 16 October 1762   

“The order to go to the Court arrived immediately after it was known we had arrived in Vienna. We were received with such extraordinary kindness by their majesties that if ever I tell them about it, people will say I have made it all up. Suffice it to say that Wolferl jumped up into the empress’ lap, grabbed her round the neck and kissed her right and proper. In short, we were with her from 3 till 6, and the emperor himself came in from the next room and took me to hear the infant play the violin.” 

Mozart in Schonbrunn, playing at Court - 1762

 Paris, 1 February 1764   

“You can easily imagine, then, how impressed and amazed were these French people, who are so infatuated with the customs of their court, when the king’s daughters stopped stock still not only in their apartments but in the public gallery when they say my children and approached them…  But the most extraordinary thing of all in the eyes of these French people was that at the grand couvert after nightfall on New Year’s Day, not only was it necessary to make room for us all to go up to high table, but my Herr Wolfgangus was privileged to stand next to the queen, speaking to her constantly, entertaining her, repeatedly kissing her hands and consuming the dishes that she handed him from the table.”  

Paris, 1 February 1764  

“4 sonatas by Monsieur Wolfgang Mozart are currently being engraved. Just imagine the stir that these sonatas will make in the world when it says on the title-page that they are the work of a 7-year-old child. You’ll hear in due course how good these sonatas are; one of them has an Andante in a very unusual style. And I can tell you that every day God works new wonders through this child. He is always accompanying other performers at public concerts. He even transposes the arias while accompanying them a prima vista; and everywhere people place Italian and French works before him that he has no difficulty in sight-reading.”  

Leopold Mozart with  Wolfgang and Maria Anna - 1763 Paris

London, 28 May 1764  

“The kindness with which both their majesties – the king as well as the queen – received us is indescribable. Their common touch and friendly manner allowed us to forget that they were the king and queen of England; we have been received at every court with extraordinary courtesy, but the welcome that we were given here surpasses all the others . All will be well as long as we stay healthy with God’s help and if He keeps our invincible Wolfgang in good health. The king gave him not only works by Wagenseil to play, but also Bach, Abel and Haendel, all of which  he rattled off prima vista. He played the king’s organ so well that everyone rates his organ playing far higher than his harpsichord playing. He then accompanied the queen in an aria that she sang and a flautist in a solo. Finally he took the violin part in some Haendel arias and played the most beautiful melody over the simple bass, so that everyone was utterly astonished. In a word, what he knew when we left Salzburg is a mere shadow of what he knows now. You can’t imagine it.”  

Mozart - 1763 Salzburg

Munchen, 15 November 1766  

“God – who has been far too good to me, a miserable sinner – has bestowed such talents on my children that, apart from my duty as a father, they alone would spur me on to sacrifice everything to their decent education.Every moment I lose is lost for ever. And if I ever knew how valuable time is for young people, I know it now. You know that my children are used to work: if – on the excuse that one thing prevents another – they were to get used to hours of idleness, my entire edifice would collapse; custom is an iron shirt. And you yourself know how much my children, especially Wolfgangerl, have to learn. But who knows what’s being planned for us on our return to Salzburg? Perhaps we’ll be received in such a way that we’ll be only too pleased to shoulder our bundles and go on our way. But, God willing, I shall at least be bringing my children to their fatherland; if they are not wanted, it won’t be my fault; but people won’t get them for nothing.”   

Mozart child - painted by Greuze

Vienna, 30 January 1768  

“Now, in order to convince the public of what is involved here, I decided on a completely exceptional course of action, namely, to get him to write an opera for the theatre. And what kind of an uproar do you think immediately arose among these composers?… What? Today we are to see a Gluck and tomorrow a boy of 12 sitting at the harpsichord and conducting his own opera?… Yes, despite all those who envy him! I’ve even won Gluck over to our side…”   

Wolfgang child - 1770

Vienna, 30 July 1768  

“His Grace has no liars, charlatans and swindlers in his service who with his prior knowledge and gracious permission go to other towns and like conjurors throw dust in people’s eyes; no, they are honest men who to the honour of their prince and their country announce to the world a miracle that God allowed to see the light of day in Salzburg. I owe it to the Almighty God to see this through, otherwise I’d be the most thankless of creatures: and if it were ever my duty to convince the world of this miracle, it is now, when people are ridiculing all that is called a miracle and denying all such miracles. And so they have to be convinced: and was it not a great joy and a great triumph for me to hear a Voltairean say to me in amazement: ‘For once in my life I have seen a miracle; it is the first!’”  

Mozart Family Portrait

THE VOICE OF GOD 

Salzburg - Altstadt

WALKING WITH MOZART ON HIS BIRTHDAY

1756 Calendar