Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was a prolific … Read Full Bio ↴Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was a prolific and influential composer of the Classical period. Despite his short life, his rapid pace of composition resulted in more than 800 works of virtually every Western classical genre of his time. Many of these compositions are acknowledged as pinnacles of the symphonic, concertante, chamber, operatic, and choral repertoire. Mozart is widely regarded as among the greatest composers in the history of Western music, with his music admired for its "melodic beauty, its formal elegance and its richness of harmony and texture".

Born in Salzburg, then in the Holy Roman Empire and currently in Austria, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. His father took him on a grand tour of Europe and then three trips to Italy. At 17, he was a musician at the Salzburg court but grew restless and traveled in search of a better position.

While visiting Vienna in 1781, Mozart was dismissed from his Salzburg position. He stayed in Vienna, where he achieved fame but little financial security. During his final years there, he composed many of his best-known symphonies, concertos, and operas. His Requiem was largely unfinished by the time of his death at the age of 35, the circumstances of which are uncertain and much mythologized.

La finta giardiniera K. 196 Pt. 2: X. Aria. Una damina una nipote
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, immola…
Ave verum corpus, K. 618 Ave verum corpus natum de Maria Virgine Vere passum, immolat…
Ave Verum K.618 Ave verum corpus, natum De Maria Virgine Vere passum, immola…
Batti Batti O Bel Masetto Batti, batti, o bel Masetto, La tua povera Zerlina; Starò qu…
Benedictus Benedictus qui venit in nomine Domine. Hosanna in excelsis!…

Communio Lux Aeterna SOPRANO SOLO AND CHORUS LUX eterna …
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…
Domine Jesu Christe DOMINE Jesu Christie, Rex Gloriaee, libera …
Hostias Hostias et preces tibi, Domine laudis offerimus tu suscipe…
I Introitus : Requiem Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
III CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
III. Dies Irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
III. Sequentia: / Rex Tremendae Majestatis CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Introitus Requiem aeternam dona eis, Domine, Et lux perpetua luceat ei…
Introitus Requiem Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
iv HOSTIAS et preces tibi, Domine, laudis…
IV. Offertorium: / Domine Jesu Christe DOMINE Jesu Christie, Rex Gloriaee, libera …
Kyrie Kyrie eleison. Christe eleison. Kyrie eleison.…
La' ci darem la mano (Don Giovanni): Là ci darem la mano, Là mi dirai di sì, Vedi…
Lacrimosa Lacrymosa dies illa, qua resurget ex favilla judicandus ho…
Laudate Laudate Dominum omnes gentes Laudate eum, omnes populi Quon…
Le Nozze di Figaro: Che soave zeffiretto Sull'aria... Che soave zeffiretto... Zeffiretto... Questa se…
Le nozze di Figaro: Cinque... dieci... venti... trenta... Cinque... dieci... venti... trenta... Trentasei... quarantat…
Lux aeterna SOPRANO SOLO AND CHORUS LUX eterna …
O Fortuna O Fortuna, velut Luna statu variabilis, semper crescis a…
Offertorium Domine Jesu DOMINE Jesu Christie, Rex Gloriaee, libera …
Offertorium Hostias HOSTIAS et preces tibi, Domine, laudis…
Offertorium%3A Domine Jesu DOMINE Jesu Christie, Rex Gloriaee, libera …
Porgi amor Porgi, amor, Qualche ristoro Al mio duolo A′miei sospir! O …
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 CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Requiem in D minor K 626: 3. Sequentia: "Recordare" Recordare, Jesu pie, Quod sum causa tuae viae, Ne me perdas …
Requiem in D minor K. 626: I. Introitus: "Requiem aeternam" INTROITUS Requiem aeternam dona ets, Domine, et lux perpetu…
Requiem in D minor K.626 Dies iræ, dies illa Solvet sæclum in favilla Teste David cum…
Requiem in D Minor K.626: 1. Introitus: Requiem Requiem aeternam dona eis, Domine, Et lux perpetua luceat ei…
Requiem in D Minor K.626: 3. Sequentia: Lacrimosa La crimosa Dies illa Qua Re sur get est fa vi lla Iudicandus…
Requiem in D Minor K.626: 4. Offertorium: Domine Jesu Domine, Jesu Christe, Rex gloriae, rex gloriae Libera animas…
Requiem in D Minor K.626: 4. Offertorium: Hostias Hostias et preces, tibi, Domine, Laudis offerimus: Tu suscip…
Requiem Introitus Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
Requiem Rex Tremendae Majestatis CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Requiem%2C Dies irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Requiem, Dies irae Dies iræ, dies illa Solvet sæclum en favilla Teste davidcum …
Requiem: Agnus Dei CHORUS AGNUS DEI, qui tollis peccata …
Requiem: Dies irae Dies iræ, dies illa Solvet sæclum en favilla Teste davidcum …
Requiem: Domine Jesu DOMINE Jesu Christie, Rex Gloriaee, libera …
Requiem: Introitus: Requiem Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
Requiem: IV. Offertorium: Domine Jesu Christe DOMINE Jesu Christie, Rex Gloriaee, libera …
Requiem: Lacrimosa Requiem aeternam dona eis, Domine, et lux perpetua luceat ei…
Requiem: Requiem Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
Requiem: Rex tremendae CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Requiem: VII. Agnus Dei Agnus Dei, qui tollis peccata mundi Dona eis requiem sempite…
Requiem: VIII. Communio: Lux aeterna SOPRANO SOLO AND CHORUS LUX eterna …
Rex Tremendae Rex tremandae maiestatis, qui salvandos salvas gratis, sal…
Rex Tremendae Majestatis CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Ridente la calma K.152 Ridente la calma nell′alma si desti Né resti più segno di…
Sanctus Sanctus, sanctus, sanctus Dominus Deus Sabaoth! Pleni sunt…
Sequentia Dies Irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Sequentia Rex tremendae CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Sequentia%3A Dies Irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Sequentia: Rex tremendae majestatis CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Time To Say Goodbye cutumn roams silently through the streets, You'll be gone, a…
Tuba Mirum Tuba mirum spargens sonum per sepulchra regionum, coget om…
Turkish March Issa Issa Issa Issa Issa Issa Issa Issa Issa Issa Issa Issa …
V. Sanctus SANCTUS, Domine Deus Sabaoth. Pleni sunt …
VII. Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem Agnus…
VII. Communio: Lux aeterna SOPRANO SOLO AND CHORUS LUX eterna …

Voi che sapete che cosa è amor Voi che sapete Che cosa è amor, Donne, vedete S′io l'ho nel …

The lyrics are frequently found in the comments by searching or by filtering for lyric videos

TRACKS

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Most interesting comment from YouTube:

@celalemreaktepe1156

Mio padrone, io dir volevo,

che la cosa... adagio un poco...

(ad Arminda)

Mia signora, io non credevo...
ma lasciatemi parlar.

(a Ramiro)

La nipote, sappia lei...

(ad Arminda)

Il Contino, non vorrei...
senta un poco in cortesia...
io dirò, nipote mia...
questa è cosa da crepar.

(ad Arminda)

Lei si prenda il suo Contino,

(a Ramiro)

lei si sposi la nipote;
faccia lei quel che gli pare
lei mi lasci d'inquietare
che vergogna, che insolenza!
È una vera impertinenza,
non mi state più a seccar.

All comments from YouTube:

@psalm2764

2y↑6

Mozart brought the divine joie de vivre to everything he touched. He was a golden child.

@user-bc1bv1yx4h

2y↑5

The fact that Mozart lived in the same world I live in gives me hope.

@renawilliams6510

10y↑19

Being able to hear Mozart's early operas has made a big change in my life. Thank you !

@roobookaroo

6y↑3

Don't miss getting the magnificent TDK DVD of the performance staged at the Zurich opera house in 2006, again conducted by Nikolaus Harnoncourt, the indefatigable promoter of Mozart 's early operas. Superb singing and wildly amusing acting and staging. Remarkable joyful performing by gifted lovely newcomer Julia Kleiter. This is a marvelous visual companion to the unequalled brilliant audio rendition in this Harnoncourt 1992 CD playing here. This opera was received with enthusiasm by all opera houses in the German world, in a German libretto! This was the first European-wide operatic success of Mozart, that appealed not just to the elite musical connoisseurs of European courts and aristocracy, but to the wider public eager for quality musical entertainment.

@filiarheni7974

@Roo Bookaroo The DVD with Rudolf Schasching, Eva Mei, Christoph Strehl?

@roobookaroo

@Filia Rheni Yes, that one. very well done, in a minimal decor and staging. A lot of comical invention in visual effects exploiting the farcical situations of the libretto and the music as well.

@filiarheni7974

@Roo Bookaroo Wonderful, thank you, I ordered it.

@lehmannudo7284

2y↑2

please hear :Lucio Silla,Mitridate and Il re pastore,the young Mozart was also a great italian operas composer.

@musicatiranna553

6y↑6

volfango..........il meglio di ciò che la musica può darci............e quest'opera scritta a soli 19 anni!!!!!....lo prova. un capolavoro assoluto. grande e grandissimo anche harnoncourt. grazie maestro.

@alejandrolegler2690

2y↑3

17 anni !!!!

@GeertVanLaer

9y↑24

Never get enough of Mozart

@roobookaroo

6y↑2

Same here.

@GeertVanLaer

9y↑18

Mozart represents the best of life

@roobookaroo

10y↑25

Congratulations for the fantastic info box. Wish other posters followed your example. Immensely valuable.

@eladjohn491

Thank you so much, Roo Bookaroo! It is only thanks to you.

@cavaliereangelo2763

8y↑4

Bellissimo video complimenti ottimo eccellente musica. Mozart, si sa, è un grande artefice di codesta arte, tra l'altro, unico nel suo genere. Adoro superbamente ed immensamente la sua dolcissima musica. Evviva il grande Mozart.

@Wouize

6y↑1

Pouzi :Maitre Jean-M. POLLINI, Avocat :Merci à Youtube ,de mettre en valeur, les oeuvres de jeunesse de "Wolfie", car elles sont , vraiment, hautemment estimables ,et , contiennent , en germe, beaucoup d'élements des grandes ouevres de la maturité!!! Bravo et, encore, merci infiniment!!!

@fanoflogic87

8y↑7

One of my favourites! RIP Harnoncourt.

@buffalosmoke

6y↑11

As strange as it may sound, if I passed away listening to to certain Mozart excerpts, I would be a most contented man....

@eladjohn491

4y↑2

It doesn't sound strange at all! In fact, I feel the same way.

@Wouize

6y↑1

Maitre KLEIN,Avocat : Quelle Joie ,pour moi,d'écouter cette oeuvre de jeunesse de Mozart !Qui plus est, dirigée ,par l'infiniment regrétté Harnoncourt !!

@bedenerexhepaj293

10y↑2

Simply sublime!! Thank you Maestro Harnoncourt!!!

@roobookaroo

Nikolaus HARNONCOURT and Leopold HAGER were the two conductors who untiringly devoted their musical career to enable the late 20th c. public to discover Mozart's early operas and who believed in their intrinsic superior excellence. Mozart is sure to give them both the warmest hug of thanks whenever they come to meet him on his cloud where he has become the conductor of God's choir of angels.

@andysbg77

8y↑5

R.I.P. Maestro Harnoncourt!!!

@Wouize

6y↑3

Maitre KLEIN,Avocat: MOZART a composé ce chef-d’œuvre à 18 Ans:Tout y est PARFAIT !!!

@francoispaolini3830

François-Xavier POLINI,Lauréat Faculté Droit Aix-en-Provence :Cette Oeuvre de jeunesse de MOZART,m'enchante !!!

@arash.ert14232

Sublime, vraiment!

@PiroozAzDirooz

10y↑1

spettacolare !

@aleksandarracunica8713

4y↑1

This is magic

@Hermes1548

9y↑7

I agree with Scott Burnham (Mozartʼs Grace, Princeton
University Press, 2013, Kindle ed., po. 108) that “Wherever
one positions Mozart in the cosmography of human
perfectibility, one thing remains unquestioned: we place
absolute trust in Mozartʼs musical judgement, as in no otherʼs.”

@roobookaroo

6y↑2

"Mozart's Grace" is indeed an important and insightful analysis of the inimitable charm of Mozart's music. Callng it "Grace" is one way of describing it. Scott Burnham mainly focuses on passages of the late works that are well known of the public at large, and only on 2 operas (Don Giovanni and Cosi). His earliest quotation is from K201, the fulgurant Symphony No. 29, certainly a product of Mozart's teenage music. And Burnham does quote Hermann Abert many times, whose monumental book on Mozart (fortunately recently translated into English) remains the most authoritative in-depth study of ALL of Mozart's music. Abert was the most influential German musical critic to recognize that Mozart's early music, that is that of his teens, was as interesting and creative (if not even more) than the later music, the one that was made popular in the 19th c, while ignoring the earlier music that the Romantics per force never knew. Abert goes one step further than Burnham, and believes that there is more than "grace" in Mozart's music, especially a "demonic" side, that in fact we can already clearly spot in Mitridate or Lucio.Silla.

@psalm2764

@Roo Bookaroo Mozart was not demonic. Period.

@andysbg77

10y↑1

A great record with an awesome cast!!!!
I have the CD!!!

@roobookaroo

Get also the Harnoncourt DVD, another masterpiece of interpretation. And staged, not just studio.

@francoispaolini3830

Maitre Jean-Michel PAOLINI , Avocat : François-Xavier, me voici, de retour de Paris; Je me réjouis de ton Commentaire !! Comme on dit,parfois, à l'Audience : je n'ai rien à ajouter!!

@galas062

thank you!!!

@josuaravena

1:10:46 Los tres primeros compases de Sandrina se equilibran con los tres ultimos de su solo actuando el cuarto compas como eje central.

@dragicapetrovic3487

7y↑2

Birthday remembrance Wolfgang Amadeus Mozart ~ <3 ~ :D:P

@stefanstamenic3640

@David Gleba Early piano concertos, as well as Mozart's sonatas, are "copies" of German composers who worked in Paris (Amadeus stayed there for 15 months from June 1763): Hermann Friedrich Raupach (1728-1778), Johann Gottfried Eckard (1735-1809), Johann Schobert (1720-1767, Leontzi Honauer (1730-1790).... Schobert greatly influenced Wolfgang Amadeus Mozart, who admired his music warmly. The work which most impressed the seven-year-old composer seems to have been the D major Sonata of op.3; imitation of this sonata and others can be traced in Mozart’s subsequent Parisian and English sonatas. Movements from Schobert’s sonatas also appear recast in Mozart’s earliest piano concertos. His fascination for Schobert’s music was not merely fleeting: when Mozart was in Paris in 1778 he taught his pupils Schobert’s sonatas, and the A minor Sonata k310, composed in Paris, contains in its Andante an almost literal quotation from a movement of Schobert’s op.17 no.1 that Mozart had already arranged years before in a concerto. Check it out for yourself https://www.youtube.com/watch?v=BdfyELffD3E
Johann Schobert - Piano Concerto No.3 in G-major, Op.13 (1765) Wonderful "andante", twelve minutes of pure pleasure from the core of 18th century. Bridge between CPE Bach and Mozart that tangent piano accurately renders with the discreet support of strings. Outer movements are more conventionally written, but "andante" is a hidden gem worth any second of its listening.

@psalm2764

You deny reality.

@stefanstamenic3640

@David Gleba In subsequent music criticism, Anfossi's influences on Mozart's work were recognized. Mozart knew Anfossi well, so much so that he cites him in two letters about him: in one he calls him "very well known Neapolitan", in the other he says "my enemies say that I want to correct Anfossi's work". Subsequently he wrote arias for Anfossi's Il Curoso Indiscreto and Le gelose fortunate on the occasion of two performances in Vienna in 1783 and 1788.Two important musicologists, Georges du Parc Poulain Saint-Foix and Theodor Wyzewa, in their monumental monograph on Mozart in five volumes, report a detailed comparison between the score of Anfossi's La finta giardiniera and that of Mozart. The two scholars note many similarities between the two works, noting that the Salzburger often followed the formal schemes of Anfossi's work and even took up its rhythmic invention. This work is also mentioned in the essay "Italian music in the eighteenth century" edited by Roberto Zanetti for Bramante publisher. Zanetti adds: "on the other hand, Mozart more generally adopted what is considered a characteristic of Anfossi's operas, that is, the division of the aria into two parts, of different tempo and rhythm", which is usually attributed to Mozart.

@psalm2764

you should pick on Beethoven, who not only was an accomplice in poisoning Mozart to death, but took over Mozart's unfinished works and call them his own. He went deaf 7 years later. And that is the truth.

@dragicapetrovic9470

9y↑3

Happy Birthday my dear Mozart! ~ <3 ~ :D:P

@LuksaObradovic1

super hvala )

@LuksaObradovic1

Beautiful ;)

@digmaciti2033

Lukša Obradović тоже люблю

@SuperMelvyn

7y↑1

Interesting for musicologists and excellent performance but time spent on this is time taken away from Figaro, Giovanni, Zauberflote, Cosi, and all the great instrumental works which repay repeated listening.

@ddehggial9932

6y↑5

time well spent for opera lovers who don't want to limit themselves to just 4 operas.

@roobookaroo

6y↑6

Absurd. The free, uninhibited spirit of youth, energy, vitality, and limitless exuberance is alive in Mozart's teenage music, something that he himself will have to leave behind in his adult years of disappointments et continual hardships in his constant battle to meet the needs of keeping his little family afloat.

@roobookaroo

6y↑5

All those fuddie-duddies who only know the last 4 operas of Mozart are aging guys who are the direct offshoot of the 19th c. tradition that knew only the last few works of Mozart favored by the opera house managers because they were sure to draw the crowds and cover their costs of production. These fuddie-duddies are gradually fading from the scene. All young newcomers to Mozart have had the immense luck of being introduced from the word go to the WHOLE of Mozart's incandescent works thanks to the marvelous historical feat of Philips who decided to record and publish ALL of Mozart's music, 200 CDs which became available the world over in 1991 to all new lovers of Mozart. Just scan the list of commenters here. This aging commenter is the exception. All the rest are young, unbiased lovers of Mozart who can spontaneously sympathize with and be enraptured by the fabulous youthful uninhibited music of the maestrino's teenage operas. Bravo Harnoncourt, who could appreciate Mozart's music without waiting for Philips to educate his taste and sensitivity. Bravo for devoting your whole life to bringing those exciting and fascinating operas to the non-professional public. And Bravo Philips for your masterpiece of recording professionalism! and above all, bravo Mozart! We'll never know your music of full maturity and of old age, alas! Because when dying at nearly 36, you still were a young composer. But thanks to you we know the energy, vitality, exuberant joie de vivre of the spirit of youth. Something unique in the annals of music that no other opera composer has ever been able to produce.

@roobookaroo

6y↑7

Well said. The old fogies who only know what they encountered as young people in the early 20th century have staid stuck on their dogma that what the little they knew of Mozart (the last 4 operas, a few concertos, a few symphonies, etc.) represented the "essence" of his versatile genius. A profound illusion from which they've never emerged. Let them stew in their old juice and let's all of us, more open-minded and curious amateurs, enjoy the immense variety of Mozart's musical invention. Once you know those early operas well, you come to realize that Mozart's early music has an intoxicating flavor all of its own and an unbridled orchestral imagination that we don't encounter any more in his later years.

@jasonmikolajewski2653

27w

@@roobookaroo Very well stated, there is something mesmerizing about Mozart's early work, the way he piles on theme after theme seemingly as quickly as he can conceive of them and without much second thought. This opera has more material in it, and that of finer quality, than just about any other opera. Bellini comes to mind in the scope and conception of his works but even he had the benefit of hindsight, Mozart is breaking new ground with just about every measure here.

@pavelmorgunov2051

4y↑1

Where can I find vocal scores?

@butternut5385

6y↑2

Like erotic love sublimated into music. Ah, Wolfie!

@unspecifiedappleslice313

ooh the italian version

@disneydaisy7052

2:20:00

@user-gl7fw1kx9m

2:16:52

@user-gl7fw1kx9m

59:05
Appena mi vedon

@HUNTERxASSOCIATION

2y↑1

meow meow

@user-gl7fw1kx9m

48:39

@user-gl7fw1kx9m

48:38

@jfernandoom4119

5y↑1

1:02:16
Il brando prendete,
Il paggio uccidete...

@valentinefrey5164

Ha ha. Great catch.

@markhilbertrossetti1796

Cosi.

@aileenbreizh2115

Faut aimer casser l'ambiance pr mettre de la pub sur des compositeurs de légende.. et une vingtaine de surcroît. Ca va pas mieux les gens !

@celalemreaktepe1156

@stefanstamenic3640

3y↑1

He copied it Pasquale Anfossi – "La Finta Giardiniera" December 26, 1773. - W. A. Mozart - KV 196 – "La finta giardiniera" January 13, 1775. ...)"

@davidgleba3832

3y↑2

That is not copying: it is like two different composers setting the same poem to music, or providing music for the Latin text of a Mass (which literally thousands of composers have done, many of them having written dozens of mass settings), etc. Moreover, in the 18th century, opera composers didn't get to choose the libretti they would be setting to music; that was decided by a municipal committee, theater director, or royal decree. It was a common practice of the time for different composers to set the same libretto to music; e.g., in 1774, Anfossi set Giovanni de Gamerra's libretto for "Lucio Silla" to music, the very same libretto that Mozart had set two years earlier, the libretto having been written expressly for Mozart in 1772.

@nickn2794

3y↑2

Learn the difference between libretto and music! Mozart was the COMPOSER, not the LIBRETTISTA! Sorry but you are an ignorant.

@nickn2794

3y↑2

@David Gleba he doesn't even know what a libretto is. He comments a lot under this minor Mozart works saying he copied. He didn't even listen to the music, didn't even realized they're different.

@stefanstamenic3640

@David Gleba @David Gleba In subsequent music criticism, Anfossi's influences on Mozart's work were recognized. Mozart knew Anfossi well, so much so that he cites him in two letters about him: in one he calls him "very well known Neapolitan", in the other he says "my enemies say that I want to correct Anfossi's work". Subsequently he wrote arias for Anfossi's Il Curoso Indiscreto and Le gelose fortunate on the occasion of two performances in Vienna in 1783 and 1788.Two important musicologists, Georges du Parc Poulain Saint-Foix and Theodor Wyzewa, in their monumental monograph on Mozart in five volumes, report a detailed comparison between the score of Anfossi's La finta giardiniera and that of Mozart. The two scholars note many similarities between the two works, noting that the Salzburger often followed the formal schemes of Anfossi's work and even took up its rhythmic invention. This work is also mentioned in the essay "Italian music in the eighteenth century" edited by Roberto Zanetti for Bramante publisher. Zanetti adds: "on the other hand, Mozart more generally adopted what is considered a characteristic of Anfossi's operas, that is, the division of the aria into two parts, of different tempo and rhythm", which is usually attributed to Mozart.