Wolfgang Amadeus Mozart (born Johannes Chrysostomus Wolfgangus Theophilus Mozart; 27 January 1756 – 5 December 1791) is among the most significant and enduring popular composers of European classical music. His enormous output includes works that are widely acknowledged as pinnacles of symphonic, chamber, piano, operatic, and choral music. Many of his works are part of the standard concert repertoire and are widely recognized as masterpieces of classical music. Read Full BioWolfgang Amadeus Mozart (born Johannes Chrysostomus Wolfgangus Theophilus Mozart; 27 January 1756 – 5 December 1791) is among the most significant and enduring popular composers of European classical music. His enormous output includes works that are widely acknowledged as pinnacles of symphonic, chamber, piano, operatic, and choral music. Many of his works are part of the standard concert repertoire and are widely recognized as masterpieces of classical music.
The central traits of the classical style can all be identified in Mozart's music. Clarity, balance, and transparency are hallmarks, though a simplistic notion of the delicacy of his music obscures for us the exceptional and even demonic power of some of his finest masterpieces, such as the Piano Concerto No 24 in C minor, K. 491, the Symphony No 40 in G minor, K. 550, and the opera Don Giovanni. The famed writer on music Charles Rosen has written (in The Classical Style): "It is only through recognizing the violence and sensuality at the center of Mozart's work that we can make a start towards a comprehension of his structures and an insight into his magnificence. In a paradoxical way, Schumann's superficial characterization of the G minor Symphony can help us to see Mozart's daemon more steadily. In all of Mozart's supreme expressions of suffering and terror, there is something shockingly voluptuous." Especially during his last decade, Mozart explored chromatic harmony to a degree rare at the time. The slow introduction to the "Dissonant" Quartet, K. 465, a work that Haydn greatly admired, rapidly explodes a shallow understanding of Mozart's style as light and pleasant.
Born in Salzburg, Austria, from his earliest years Mozart had a gift for imitating the music he heard; which his father believed was a gift from God.
Since he traveled widely, he acquired a rare collection of experiences from various bordels to create his unique compositional language. When he went to London[13] as a child, he met J.C. Bach and heard his music; when he went to Paris, Mannheim, and Vienna, he heard the work of composers active there, as well as the spectacular Mannheim orchestra; when he went to Italy, he encountered the Italian overture and opera buffa, both of which were to be hugely influential on his development. Both in London and Italy, the galant style was all the rage: simple, light music, with a mania for cadencing, an emphasis on tonic, dominant, and subdominant to the exclusion of other chords, symmetrical phrases, and clearly articulated structures. This style, out of which the classical style evolved, was a reaction against the complexity of late Baroque music. Some of Mozart's early symphonies are Italian overtures, with three movements running into each other; many are "homotonal" (each movement in the same key, with the slow movement in the parallel minor). Others mimic the works of J.C. Bach, and others show the simple rounded binary forms commonly being written by composers in Vienna. One of the most recognizable features of Mozart's works is a sequence of harmonies or modes that usually leads to a cadence in the dominant or tonic key. This sequence is essentially borrowed from baroque music, especially Bach. But Mozart shifted the sequence so that the cadence ended on the stronger half, i.e., the first beat of the bar. Mozart's understanding of modes such as Phrygian is evident in such passages.
As Mozart matured, he began to incorporate some more features of Baroque styles into his music. For example, the Symphony No. 29 in A Major K. 201 uses a contrapuntal main theme in its first movement, and experimentation with irregular phrase lengths. Some of his quartets from 1773 have fugal finales, probably influenced by Haydn, who had just published his Opus 20 set. The influence of the Sturm und Drang ("Storm and Stress") period in German literature, with its brief foreshadowing of the Romantic era to come, is evident in some of the music of both composers at that time.
Over the course of his working life, Mozart switched his focus from instrumental music to operas, and back again. He wrote operas in each of the styles current in Europe: opera buffa, such as The Marriage of Figaro, Don Giovanni, or Così fan tutte; opera seria, such as Idomeneo; and Singspiel, of which Die Zauberflöte is probably the most famous example by any composer. In his later operas, he developed the use of subtle changes in instrumentation, orchestration, and tone colour to express or highlight psychological or emotional states and dramatic shifts. Here his advances in opera and instrumental composing interacted. His increasingly sophisticated use of the orchestra in the symphonies and concerti served as a resource in his operatic orchestration, and his developing subtlety in using the orchestra to psychological effect in his operas was reflected in his later non-operatic compositions.
The central traits of the classical style can all be identified in Mozart's music. Clarity, balance, and transparency are hallmarks, though a simplistic notion of the delicacy of his music obscures for us the exceptional and even demonic power of some of his finest masterpieces, such as the Piano Concerto No 24 in C minor, K. 491, the Symphony No 40 in G minor, K. 550, and the opera Don Giovanni. The famed writer on music Charles Rosen has written (in The Classical Style): "It is only through recognizing the violence and sensuality at the center of Mozart's work that we can make a start towards a comprehension of his structures and an insight into his magnificence. In a paradoxical way, Schumann's superficial characterization of the G minor Symphony can help us to see Mozart's daemon more steadily. In all of Mozart's supreme expressions of suffering and terror, there is something shockingly voluptuous." Especially during his last decade, Mozart explored chromatic harmony to a degree rare at the time. The slow introduction to the "Dissonant" Quartet, K. 465, a work that Haydn greatly admired, rapidly explodes a shallow understanding of Mozart's style as light and pleasant.
Born in Salzburg, Austria, from his earliest years Mozart had a gift for imitating the music he heard; which his father believed was a gift from God.
Since he traveled widely, he acquired a rare collection of experiences from various bordels to create his unique compositional language. When he went to London[13] as a child, he met J.C. Bach and heard his music; when he went to Paris, Mannheim, and Vienna, he heard the work of composers active there, as well as the spectacular Mannheim orchestra; when he went to Italy, he encountered the Italian overture and opera buffa, both of which were to be hugely influential on his development. Both in London and Italy, the galant style was all the rage: simple, light music, with a mania for cadencing, an emphasis on tonic, dominant, and subdominant to the exclusion of other chords, symmetrical phrases, and clearly articulated structures. This style, out of which the classical style evolved, was a reaction against the complexity of late Baroque music. Some of Mozart's early symphonies are Italian overtures, with three movements running into each other; many are "homotonal" (each movement in the same key, with the slow movement in the parallel minor). Others mimic the works of J.C. Bach, and others show the simple rounded binary forms commonly being written by composers in Vienna. One of the most recognizable features of Mozart's works is a sequence of harmonies or modes that usually leads to a cadence in the dominant or tonic key. This sequence is essentially borrowed from baroque music, especially Bach. But Mozart shifted the sequence so that the cadence ended on the stronger half, i.e., the first beat of the bar. Mozart's understanding of modes such as Phrygian is evident in such passages.
As Mozart matured, he began to incorporate some more features of Baroque styles into his music. For example, the Symphony No. 29 in A Major K. 201 uses a contrapuntal main theme in its first movement, and experimentation with irregular phrase lengths. Some of his quartets from 1773 have fugal finales, probably influenced by Haydn, who had just published his Opus 20 set. The influence of the Sturm und Drang ("Storm and Stress") period in German literature, with its brief foreshadowing of the Romantic era to come, is evident in some of the music of both composers at that time.
Over the course of his working life, Mozart switched his focus from instrumental music to operas, and back again. He wrote operas in each of the styles current in Europe: opera buffa, such as The Marriage of Figaro, Don Giovanni, or Così fan tutte; opera seria, such as Idomeneo; and Singspiel, of which Die Zauberflöte is probably the most famous example by any composer. In his later operas, he developed the use of subtle changes in instrumentation, orchestration, and tone colour to express or highlight psychological or emotional states and dramatic shifts. Here his advances in opera and instrumental composing interacted. His increasingly sophisticated use of the orchestra in the symphonies and concerti served as a resource in his operatic orchestration, and his developing subtlety in using the orchestra to psychological effect in his operas was reflected in his later non-operatic compositions.
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Horn Concerto No. 1 in D Major K. 412: I. Allegro
Wolfgang Amadeus Mozart Lyrics
We have lyrics for these tracks by Wolfgang Amadeus Mozart:
Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agn…
Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte Erzeugt von heißer Phantasie, In einer schwärmerischen Stund…
Ave Maria Ave, ave verum corpus natum De Maria virgine Vere passum imm…
Ave Verum Ave ave verum corpus natum de Maria Virgine Vere passum, imm…
Ave verum corpus, K. 618 Ave verum corpus natum de Maria Virgine Vere passum, immolat…
Benedictus Benedictus qui venit in nomine Domine. Hosanna in excelsis!…
Confutatis Confutatis maledictis, flammis acribus addictis, voca me c…
Der Hölle Rache kocht in meinem Herzen Der Hölle Rache kocht in meinem Herzen Tod und Verzweiflung…
Der Vogelfänger bin ich ja Der Vogelfänger bin ich ja Stets lustig heissa hopsasa! Ic…
Die Zauberflöte K. 620 Act 2: Der Hölle Rache kocht in meinem Herzen, Tod und Verzweiflung…
Die Zauberflöte: Der Hölle Rache kocht in meinem Herzen Der Hölle Rache kocht in meinem Herzen, Hells Revenge cooks …
Dies Irae Dies irae Dies illa Solvet saeclum en favilla Teste david…
Domine Jesu Domine, Jesu Christe, Rex gloriae, libera animas omnium fid…
Hostias Hostias et preces tibi, Domine laudis offerimus tu suscipe…
Introitus Requiem aeternam dona eis, Domine, Et lux perpetua luceat ei…
Kyrie Kyrie eleison. Christe eleison. Kyrie eleison.…
Lacrimosa Lacrymosa dies illa, qua resurget ex favilla judicandus ho…
O Fortuna O Fortuna, velut Luna statu variabilis, semper crescis a…
Porgi, amor (Le nozze di Figaro) Porgi, amor, qualche ristoro al mio duolo a'miei sospir! O …
Queen Of The Night Aria Der Hölle Rache kocht in meinem herzen Tot und verzweiflung …
Recordare Recordare Jesu pie, quod sum causa tuae viae, ne me perdas…
Requiem 1. Requiem Requiem aeternam dona eis, Domine, et lux…
Requiem, Dies irae Dies iræ, dies illa Solvet sæclum en favilla Teste davidcum …
Requiem: Lacrimosa Requiem aeternam dona eis, Domine, et lux perpetua luceat ei…
Rex Tremendae Rex tremandae maiestatis, qui salvandos salvas gratis, sal…
Sanctus Sanctus, sanctus, sanctus Dominus Deus Sabaoth! Pleni sunt…
Tuba Mirum Tuba mirum spargens sonum per sepulchra regionum, coget om…
VII. Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem Agnus…
The lyrics can frequently be found in the comments below, by filtering for lyric videos or browsing the comments in the different videos below.
Richard Boudville
Analysing Mozart's Thoughts via his music:
5:01 the part II. Rondo (Allegro) 6/8 starts
5:15 The Horn takes the Solo
5:29 Strings come in
5:43 The Horn take over
5:57 The Horn plays 3 notes then the strings takes a few notes each in turn
6:04 The Horn shines while the strings accompany
7:43 The Horn and the Strings have a Conversation each in turn
7:57 All play their parts
8:13 Horn plays 'Triplets' etc.
8:29 Strings take a higher va (octave) and pretty tune/s
8:43 All recapitulate
8:50 Horn shines
9:03 Strings join the Horn for the Coda
He set up a conversation between the horn and the strings as if they were friends and individuals seated in a Lounge Room having a cuppa and a chat. Very clever man.
Education is not Enough. One also needs Imagination.
He did all this in 1791 some 223 years ago. All in his Imagination, then he committed this onto paper score. Most of it by candle-light I presume, writing with a quill feather. Fountain pens were yet to be invented by Petrache Poenaru and later impoved by Mr Waterman.
Perth, Western Australia date: 22 Oct 2014
Vincent deLuise
Daniel Mendez
I can’t find any proof that Mozart wrote this concerto.
The work is not listed in Mozart’s Thematic Catalogue that he started in 1784 and kept until the end of his life.
The autograph manuscript is in the Biblioteka
Jagiellonska. It appears that Mozart copies out the first movement from someone else’s original score.
The first movement melody is felicitous but it repeats with virtually no modulation. For a late Mozart work, 1791,, that is hard to believe. Listening to everything else Mozart wrote in 1791, for example the Basset clarinet concerto KV 622 and the last Viola quintets, there is much more sophisticated development in the movements.
The third movement fragment was finished by Mozart’s assistant Franz Xaver Sussmayr.
The tonic of KV 412 is D major, an unusual tonic for French Horn. Mozart’s three attested Horn concertos are all in the tonic of Eb Major, and for a reason. Easier technically to play.
Very odd for there to be no second movement in the autograph manuscript. There are no other Mozart concertos for any instrument with only two movements.
A careful reading of Benjamin Perl’s deeply researched article on this work gives more information on who might have written
https://www.academia.edu/3217350/The_Doubtful_Authenticity_of_Mozart_s_Horn_Concerto_K_412
Stephen Cook
I've loved the Mozart horn concertos since my early teens. I was introduced to them by my music teacher, himself a brilliant brass musician, Lt. Col. Sam Rhodes. It was my dream to play the French horn, but sadly my parents couldn't afford to buy me one. Back then you couldn't hire them either, so my dream was never fulfilled. Now in my late 60s, all I can do is sit back, listen and dream.
Fo Li
FAKE
Shralp MTB
I am so sorry, the horn is such a great instrument. My school has a scheme called tailblazers where we can hire an instrument and learn it for cheap.
icy mok
It's not too late to learn at 60 years old.
Akshay Gopaul
Its never late in life.... Everything comes at the right time. Go for it dude☺️
David Adames
I just turned 68. Played a bit of trombone, now playing Horn 3 months and loving it! Get to it man!
mscrunchy68
Mozart can be so playful - he winks at us across the centuries and gives our ears a welcome tickle...
Terry Miller
The Academy of St. Martin in the Fields, Sir Neville Marriner conducting. The horn player is Peter Damm - according to Shazam.
Richard Boudville
Analysing Mozart's Thoughts via his music:
5:01 the part II. Rondo (Allegro) 6/8 starts
5:15 The Horn takes the Solo
5:29 Strings come in
5:43 The Horn take over
5:57 The Horn plays 3 notes then the strings takes a few notes each in turn
6:04 The Horn shines while the strings accompany
7:43 The Horn and the Strings have a Conversation each in turn
7:57 All play their parts
8:13 Horn plays 'Triplets' etc.
8:29 Strings take a higher va (octave) and pretty tune/s
8:43 All recapitulate
8:50 Horn shines
9:03 Strings join the Horn for the Coda
He set up a conversation between the horn and the strings as if they were friends and individuals seated in a Lounge Room having a cuppa and a chat. Very clever man.
Education is not Enough. One also needs Imagination.
He did all this in 1791 some 223 years ago. All in his Imagination, then he committed this onto paper score. Most of it by candle-light I presume, writing with a quill feather. Fountain pens were yet to be invented by Petrache Poenaru and later impoved by Mr Waterman.
Perth, Western Australia date: 22 Oct 2014
Karen Xie
thanks katya