1940 Palestine MOZART BUST STATUE Jewish ISRAEL SCULPTURE Plaster BRONZE Hebrew
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1940 Palestine MOZART BUST STATUE Jewish ISRAEL SCULPTURE Plaster BRONZE Hebrew:
$175.00
DESCRIPOTION : Up for sale is a unique MOZART - MUSIC MEMORABILIA - ISRAELIANA PIECE . It is an around 65-70 years old BUST - STATUE of MOZART dated ca 1940\'s - 1950\'s . The PAINTED PLASTER BUST was created in Eretz Israel - Palestine in the 1940\'s up to the early - mid 1950\'s and at the time was very popular and decorated many Eretz Israeli living rooms , book shelves and mainly PIANOS .The BUST includes an embossed nicely written HEBREW TEXT which is spelt in an archaic spelling : \"MOZART\" (\" מוצרט\" ). The few busts which survived inspite the fragility of the plaster and can be rarely found today are usualy quite damaged - Not this bust. The BUST is casted in plaster. It is painted in BRONZE COLOR with glimpses of gold. Dimentions around 9.5\" ( Height ) x 6.0\" x 4.5 ( width ) \" . Very good used condition. Beautiful patina. Small age imperfections caused by its almost 65-70 years of age were nicely mended and restored.( Pls watch the scan for a reliable AS IS image ) . Will be shipped in a special rigid protective box .
PAYMENT : Payment method accepted : Paypal .
SHIPPMENT : Shipp worldwidevia registered airmail is $ 29( Large and heavy bust - Special protective packaging ) . Will be shipped inside a highly protective packaging. Will be sent within3-5 days after payment . Kindly note that duration of Int\'l registered airmail is around 14 days.MORE DETAILS :Wolfgang Amadeus amaˈdeːʊs ˈmoːtsaʁt]; 27 January 1756– 5 December 1791), baptised asJohannes Chrysostomus Wolfgangus Theophilus Mozart,[2]was a prolific and influential composer of theClassical era.Born inSalzburg, he showed prodigious ability from his earliest childhood. Already competent onkeyboardandviolin, he composed from the age of five and performed before European royalty. At 17, Mozart was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. While visitingViennain 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-knownsymphonies,concertos, andoperas, and portions of theRequiem, which was largely unfinished at the time of his death.The circumstances of his early death have been much mythologized. He was survived by his wifeConstanzeand two sons.He composed more than 600 works, many acknowledged as pinnacles andchoralmusic. He is among the most enduringly popular ofclassicalcomposers, and his influence is profound on subsequent Western art music.Ludwig van Beethovencomposed his own early works in the shadow of Mozart, andJoseph Haydnwrote: \"posterity will not see such a talent again in 100 years\".[3]Contents[hide]1 Life and career1.1 Early life1.1.1 Family and childhood1.1.2 1762–73: Travel1.2 1773–77: Employment at the Salzburg court1.3 1777–78: Journey to Paris1.4 Vienna1.4.1 1781: Departure1.4.2 Early years1.4.3 Marriage and children1.5 1782–17861.5.1 1786–87: Return to opera1.6 Later years1.6.1 1788–901.6.2 17911.6.3 Final illness and death2 Honours3 Appearance and character4 Religious views5 Works, musical style, and innovations5.1 Style5.2 Influence5.3 Köchel catalogue6 See also7 Notes8 Bibliography9 Further reading10 External links10.1 Digitized documents10.1.1 Sheet musicLife and careerEarly lifeFamily and childhoodSee also:Mozart\'s nameandMozart familyAnonymous portrait of the child Mozart, possibly byPietro Antonio Lorenzoni; painted in 1763 on commission from Leopold MozartWolfgang Amadeus Mozart was born on 27January 1756 toLeopold Mozart(1719–1787) andAnna Maria, née Pertl (1720–1778), at9GetreidegasseinSalzburg.[4]This was the capital of theArchbishopric of Salzburg, an ecclesiastic principality in what is nowAustria, then part of theHoly Roman Empire.[5]He was the youngest of seven children, five of whom died in infancy. His elder sister wasMaria Anna Mozart(1751–1829), nicknamed \"Nannerl\". Mozart was baptized the day after his birth, atSt. Rupert\'s Cathedralin Salzburg. The baptismal record gives his name in Latinized form, asJoannes Chrysostomus Wolfgangus Theophilus Mozart. He generally called himself \"Wolfgang Amadè Mozart\"[6]as an adult, buthis namehad many variants.Leopold Mozart, a native ofAugsburg,[7]Germany, was a minor composer and an experienced teacher. In 1743, he was appointed as fourth violinist in the musical establishment ofCount Leopold Anton von Firmian, the rulingPrince-Archbishop of Salzburg.[8]Four years later, he married Anna Maria in Salzburg. Leopold became the orchestra\'s deputyKapellmeisterin 1763. During the year of his son\'s birth, Leopold published a violin textbook,Versuch einer gründlichen Violinschule, which achieved success.[9]When Nannerl was 7, she began keyboard lessons with her father, while her three-year-old brother looked on. Years later, after her brother\'s death, she reminisced:He often spent much time at theclavier, picking out thirds, which he was ever striking, and his pleasure showed that it sounded good.... In the fourth year of his age his father, for a game as it were, began to teach him a few minuets and pieces at the clavier.... He could play it faultlessly and with the greatest delicacy, and keeping exactly in time.... At the age of five, he was already composing little pieces, which he played to his father who wrote them down.[10]Mozart\'s birthplace at Getreidegasse 9, SalzburgThese early pieces,K.1–5, were recorded in theNannerl Notenbuch. There is some scholarly debate about whether Mozart was four or five years old when he created his first musical compositions, though there is little doubt that Mozart composed his first three pieces of music within a few weeks of each other: K. 1a, 1b, and 1c.[11]In his early years, Wolfgang\'s father was his only teacher. Along with music, he taught his children languages and academic subjects.[12]Solomon notes that, while Leopold was a devoted teacher to his children, there is evidence that Mozart was keen to progress beyond what he was taught.[12]His first ink-spattered composition and his precocious efforts with the violin were of his own initiative, and came as a surprise to Leopold,[13]who eventually gave up composing when his son\'s musical talents became evident.[14]1762–73: TravelMain articles:Mozart family grand tourandMozart in ItalyWhile Wolfgang was young, his family made several European journeys in which he and Nannerl performed as child prodigies. These began with an exhibition in 1762 at the court ofPrince-electorMaximilian IIIofBavariain Munich, and at the Imperial Courts in Vienna and Prague. A long concert tour followed, spanning three and a half years, taking the family to the courts of Munich,Mannheim, Paris, London,[15]The Hague, again to Paris, and back home via Zurich,Donaueschingen, and Munich.[citation needed]During this trip, Wolfgang met a number of musicians and acquainted himself with the works of other composers. A particularly important influence wasJohann Christian Bach, whom he visited in London in 1764 and 1765. The family again went to Vienna in late 1767 and remained there until December 1768.Mozart wrote his first symphony when he was eight years old. It is probable that his father transcribed most of it for him.[16]The Mozart family on tour: Leopold, Wolfgang, and Nannerl. Watercolor byCarmontelle, ca.1763[17]The family trips were often difficult, and travel conditions were primitive.[18]They had to wait for invitations and reimbursement from the nobility, and they endured long, near-fatal illnesses far from home: first Leopold (London, summer 1764),[19]then both children (The Hague, autumn 1765).[20]After one year in Salzburg, Leopold and Wolfgang set off for Italy, leaving Anna Maria and Nannerl at home. This tour lasted from December 1769 to March 1771. As with earlier journeys, Leopold wanted to display his son\'s abilities as a performer and a rapidly maturing composer. Wolfgang metJosef MyslivečekandGiovanni Battista MartiniinBologna, and was accepted as a member of the famousAccademia Filarmonica. In Rome, he heardGregorio Allegri\'sMisereretwice in performance, in theSistine Chapel, and wrote it out from memory, thus producing the first unauthorized copy of this closely guarded property of theVatican.[21][22]In Milan, Mozart wrote the operaMitridate, re di Ponto(1770), which was performed with success. This led to further operacommissions. He returned with his father twice to Milan (August–December 1771; October 1772– March 1773) for the composition and premieres ofAscanio in Alba(1771) andLucio Silla(1772). Leopold hoped that these visits would result in a professional appointment for his son, and indeed rulingArchduke Ferdinandcontemplated hiring Mozart but owing to his motherEmpress Maria Theresa\'s reluctance to employ \"useless people\", the matter was dropped[23]and Leopold\'s hopes were never realized.[24]Toward the end of the final Italian journey, Mozart wrote the first of his works to be still widely performed today, the solomotetExsultate, jubilate,K.165.1773–77: Employment at the Salzburg courtTanzmeisterhaus, Salzburg, Mozart family residence from 1773; reconstructed 1996After finally returning with his father from Italy on 13 March 1773, Mozart was employed as a court musician by the ruler of Salzburg,Prince-Archbishop Hieronymus Colloredo. The composer had a great number of friends and admirers in Salzburg[25]and had the opportunity to work in many genres, including symphonies, sonatas, string quartets,masses, serenades, and a few minor operas. Between April and December 1775, Mozart developed an enthusiasm for violin concertos, producing a series of five (the only ones he ever wrote), which steadily increased in their musical sophistication. The last three—K.216,K.218,K.219—are now staples of the repertoire. In 1776, he turned his efforts topiano concertos, culminating in the E-flat concertoK.271of early 1777, considered by critics to be a breakthrough work.[26]Despite these artistic successes, Mozart grew increasingly discontented with Salzburg and redoubled his efforts to find a position elsewhere. One reason was his low salary, 150 florins a year;[27]Mozart longed to compose operas, and Salzburg provided only rare occasions for these. The situation worsened in 1775 when the court theater was closed, especially since the other theater in Salzburg was largely reserved for visiting troupes.[28]Two long expeditions in search of work interrupted this long Salzburg stay. Mozart and his father visited Vienna from 14 July to 26 September 1773, and Munich from 6 December 1774 to March 1775. Neither visit was successful, though the Munich journey resulted in a popular success with the premiere of Mozart\'s operaLa finta giardiniera.[29]1777–78: Journey to ParisPortrait of Mozart wearing the badge of theOrder of the Golden Spur, received in 1770 fromPope Clement XIVin Rome. The painting is a 1777 copy of a work now lost.[30]In August 1777, Mozart resigned his position at Salzburg[31]and on 23 September ventured out once more in search of employment, with visits toAugsburg, Mannheim, Paris, and Munich.[32]Mozart became acquainted with members of the famous orchestra in Mannheim, the best in Europe at the time. He also fell in love withAloysia Weber, one of four daughters of a musical family. There were prospects of employment in Mannheim, but they came to nothing,[33]and Mozart left for Paris on 14 March 1778[34]to continue his search. One of his letters from Paris hints at a possible post as an organist atVersailles, but Mozart was not interested in such an appointment.[35]He fell into debt and took to pawning valuables.[36]The nadir of the visit occurred when Mozart\'s mother was taken ill and died on 3 July 1778.[37]There had been delays in calling a doctor—probably, according to Halliwell, because of a lack of funds.[38]Mozart stayed withMelchior Grimm, who, as personal secretary of theDuke d\'Orléans, lived in his mansion.[39]While Mozart was in Paris, his father was pursuing opportunities of employment for him in Salzburg.[40]With the support of the local nobility, Mozart was offered a post as court organist and concertmaster. The annual salary was 450 florins,[41]but he was reluctant to accept.[42]By that time, relations between Grimm and Mozart had cooled, and Mozart moved out. After leaving Paris in September 1778 for Strasbourg, he lingered in Mannheim and Munich, still hoping to obtain an appointment outside Salzburg. In Munich, he again encountered Aloysia, now a very successful singer, but she was no longer interested in him.[43]Mozart finally returned to Salzburg on 15 January 1779 and took up his new appointment, but his discontentment with Salzburg remained undiminished.[44]Among the better known works which Mozart wrote on the Paris journey are theA minor piano sonata, K.310/300d and the\"Paris\" Symphony(No.31), which were performed in Paris on 12 and 18 June 1778.[45]ViennaSee also:List of operas by Mozart1781: DepartureTheMozart familyc. 1780. The portrait on the wall is of Mozart\'s mother.In January 1781, Mozart\'s operaIdomeneopremiered with \"considerable success\" in Munich.[46]The following March, Mozart was summoned to Vienna, where his employer, Archbishop Colloredo, was attending the celebrations for the accession ofJoseph IIto the Austrian throne. For Colloredo, this was simply a matter of wanting his musical servant to be at hand (Mozart indeed was required to dine in Colloredo\'s establishment with the valets and cooks.)[47]But Mozart was planning a bigger career even as he continued in the archbishop\'s service;[48]for example, to his father he wrote:My main goal right now is to meet the emperor in some agreeable fashion, I am absolutely determined heshould get to know me. I would be so happy if I could whip through my opera for him and then play a fugue or two, for that\'s what he likes.[49]Mozart did indeed soon meet the Emperor, who eventually was to support his career substantially with commissions and a part-time position.In the same letter to his father just quoted, Mozart outlined his plans to participate as a soloist in the concerts of theTonkünstler-Societät, a prominent benefit concert series;[49]this plan as well came to pass after the local nobility prevailed on Colloredo to drop his opposition.[50]Colloredo\'s wish to prevent Mozart from performing outside his own establishment was in other cases, however, carried through, raising the composer\'s anger; one example was a chance to perform before the Emperor atCountess Thun\'s for a fee equal to half of his yearly Salzburg salary.The quarrel with the archbishop came to a head in May: Mozart attempted to resign and was refused. The following month, permission was granted, but in a grossly insulting way: the composer was dismissed literally \"with a kick in the arse\", administered by the archbishop\'s steward, Count Arco. Mozart decided to settle in Vienna as a freelance performer and composer.[51]The quarrel with the archbishop went harder for Mozart because his father sided against him. Hoping fervently that he would obediently follow Colloredo back to Salzburg, Mozart\'s father exchanged intense letters with his son, urging him to be reconciled with their employer. Mozart passionately defended his intention to pursue an independent career in Vienna. The debate ended when Mozart was dismissed by the archbishop, freeing himself both of his employer and his father\'s demands to return. Solomon characterizes Mozart\'s resignation as a \"revolutionary step\", and it greatly altered the course of his life.[52]Early yearsSee also:Haydn and MozartandMozart and FreemasonryMozart\'s new career in Vienna began well. He performed often as a pianist, notably in a competition before the Emperor withMuzio Clemention 24 December 1781,[51]and he soon \"had established himself as the finest keyboard player in Vienna\".[51]He also prospered as a composer, and in 1782 completed the operaDie Entführung aus dem Serail(\"The Abduction from the Seraglio\"), which premiered on 16 July 1782 and achieved a huge success. The work was soon being performed \"throughout German-speaking Europe\",[51]and fully established Mozart\'s reputation as a composer.1782 portrait ofConstanze Mozartby her brother-in-lawJoseph LangeNear the height of his quarrels with Colloredo, Mozart moved in with the Weber family, who had moved to Vienna from Mannheim. The father, Fridolin, had died, and the Webers were now taking in lodgers to make ends meet.[53]Marriage and childrenAloysia, who had earlier rejected Mozart\'s suit, was now married to the actor and artistJoseph Lange. Mozart\'s interest shifted to the third Weber daughter,Constanze.The courtship did not go entirely smoothly; surviving correspondence indicates that Mozart and Constanze briefly separated in April 1782.[54]Mozart faced a very difficult task in getting his father\'s permission for the marriage.[55]The couple were finally married on 4 August 1782 inSt. Stephen\'s Cathedral, the day before his father\'s consent arrived in the mail.[55]The couple had six children, of whom only two survived infancy:Raimund Leopold (17 June– 19 August 1783)Karl Thomas Mozart(21 September 1784– 31 October 1858)Johann Thomas Leopold (18 October– 15 November 1786)Theresia Constanzia Adelheid Friedericke Maria Anna (27 December 1787– 29 June 1788)Anna Maria (died soon after birth, 16 November 1789)[56]Franz Xaver Wolfgang Mozart(26 July 1791– 29 July 1844)1782–1786In the course of 1782 and 1783, Mozart became intimately acquainted with the work ofJohann Sebastian BachandGeorge Frideric Handelas a result of the influence ofGottfried van Swieten, who owned many manuscripts of theBaroquemasters. Mozart\'s study of these scores inspired compositions in Baroque style and later influenced his personal musical language, for example infugalpassages inDie Zauberflöte(\"The Magic Flute\") and the finale ofSymphony No.41.[8]In 1783, Mozart and his wife visited his family in Salzburg. His father and sister were cordially polite to Constanze, but the visit prompted the composition of one of Mozart\'s great liturgical pieces, theMass in C minor. Though not completed, it was premiered in Salzburg, with Constanze singing a solo part.[57]Mozart metJoseph Haydnin Vienna around 1784, and the two composers became friends. When Haydn visited Vienna, they sometimes played together in an impromptustring quartet. Mozart\'ssix quartets dedicated to Haydn(K.387, K.421, K.428, K.458, K.464, and K.465) date from the period 1782 to 1785, and are judged to be a response to Haydn\'sOpus 33set from 1781.[58]Haydn in 1785 told Mozart\'s father: \"I tell you before God, and as an honest man, your son is the greatest composer known to me by person and repute, he has taste and what is more the greatest skill in composition.\"[59]From 1782 to 1785 Mozart mounted concerts with himself as soloist, presenting three or four new piano concertos in each season. Since space in the theaters was scarce, he booked unconventional venues: a large room in the Trattnerhof (an apartment building), and the ballroom of the Mehlgrube (a restaurant).[60]The concerts were very popular, and theconcertos he premiered at themare still firm fixtures in the repertoire. Solomon writes that during this period Mozart created \"a harmonious connection between an eager composer-performer and a delighted audience, which was given the opportunity of witnessing the transformation and perfection of a major musical genre\".[60]With substantial returns from his concerts and elsewhere, Mozart and his wife adopted a rather plush lifestyle. They moved to an expensive apartment, with a yearly rent of 460 florins.[61]Mozart bought a finefortepianofromAnton Walterfor about 900 florins, and abilliardtable for about 300.[61]The Mozarts sent their sonKarl Thomasto an expensive boarding school,[62][63]and kept servants. Saving was therefore impossible, and the short period of financial success did nothing to soften the hardship the Mozarts were later to experience.[64][65]On 14 December 1784, Mozart became aFreemason, admitted to the lodge Zur Wohltätigkeit (\"Beneficence\").[66]Freemasonry played an important role in the remainder of Mozart\'s life: he attended meetings, a number of his friends were Masons, and on various occasions he composed Masonic music, e.g. theMaurerische Trauermusik.[67]1786–87: Return to operaDespite the great success ofDie Entführung aus dem Serail, Mozart did little operatic writing for the next four years, producing only two unfinished works and the one-actDer Schauspieldirektor. He focused instead on his career as a piano soloist and writer of concertos. Around the end of 1785, Mozart moved away from keyboard writing[68][pageneeded]and began his famous operatic collaboration with thelibrettistLorenzo Da Ponte. 1786 saw the successful premiere ofThe Marriage of Figaroin Vienna. Its reception inPraguelater in the year was even warmer, and this led to a second collaboration with Da Ponte: the operaDon Giovanni, which premiered in October 1787 to acclaim in Prague, but less success in Vienna in 1788.[69]The two are among Mozart\'s most important works and are mainstays of the operatic repertoire today, though at their premieres their musical complexity caused difficulty for both listeners and performers. These developments were not witnessed by Mozart\'s father, who had died on 28 May 1787.[70]In December 1787, Mozart finally obtained a steady post under aristocratic patronage. Emperor Joseph II appointed him as his \"chamber composer\", a post that had fallen vacant the previous month on the death ofGluck. It was a part-time appointment, paying just 800 florins per year, and required Mozart only to compose dances for the annual balls in theRedoutensaal(seeMozart and dance). This modest income became important to Mozart when hard times arrived. Court records show that Joseph\'s aim was to keep the esteemed composer from leaving Vienna in pursuit of better prospects.[71]In 1787, the youngLudwig van Beethovenspent several weeks in Vienna, hoping to study with Mozart.[72]No reliable records survive to indicatewhether the two composers ever met.Later years1788–90See also:Mozart\'s Berlin journeyDrawing of Mozart insilverpoint, made byDora Stockduring Mozart\'s visit to Dresden, April 1789Toward the end of the decade, Mozart\'s circumstances worsened. Around 1786 he had ceased to appear frequently in public concerts, and his income shrank.[73]This was a difficult time for musicians in Vienna because of theAustro-Turkish War: both the general level of prosperity and the ability of the aristocracy to support music had declined.[68]By mid-1788, Mozart and his family had moved from central Vienna to the suburb ofAlsergrund.[73]Although it has been suggested that Mozart\'s aim was to reduce his rental expenses, research shows that by moving to the suburb, Mozart had not in fact reduced his expenses (as claimed in his letter toPuchberg), but merely increased the housing space at his disposal.[74]Mozart began to borrow money, most often from his friend and fellow MasonMichael Puchberg; \"a pitiful sequence of letters pleading for loans\" survives.[75]Maynard Solomon and others have suggested that Mozart was suffering from depression, and it seems that his output slowed.[76]Major works of the period include the last three symphonies (Nos.39,40, and41, all from 1788), and the last of the three Da Ponte operas,Così fan tutte, premiered in 1790.Around this time, Mozart made some long journeys hoping to improve his fortunes: toLeipzig,Dresden, and Berlin in the spring of 1789, and toFrankfurt, Mannheim, and other German cities in 1790. The trips produced only isolated success and did not relieve the family\'s financial distress.[citation needed]1791Mozart\'s last year was, until his final illness struck, a time of great productivity—and by some accounts, one of personal recovery.[77]He composed a great deal, including some of his most admired works: the operaThe Magic Flute; the final piano concerto (K.595 in B-flat); theClarinet ConcertoK.622; the last in his great series of string quintets (K.614 in E-flat); the motetAve verum corpusK.618; and the unfinishedRequiemK.626.Mozart\'s financial situation, a source of anxiety in 1790, finally began to improve. Although the evidence is inconclusive,[78]it appears that wealthy patrons in Hungary and Amsterdam pledged annuities to Mozart in return for the occasional composition. He is thought to have benefited from the sale of dance music written in his role as Imperial chamber composer.[78]Mozart no longer borrowed large sums from Puchberg, and made a start on paying off his debts.[78]He experienced great satisfaction in the public success of some of his works, notablyThe Magic Flute(which was performed several times in the short period between its premiere and Mozart\'s death)[79]and the Little Masonic Cantata K.623, premiered on 17 November 1791.[80]Final illness and deathMain article:Death of Wolfgang Amadeus MozartMozart fell ill while in Prague for the 6 September 1791 premiere of his operaLa clemenza di Tito, written in that same year on commission for the Emperor\'s coronation festivities.[81]He continued his professional functions for some time and conducted the premiere ofThe Magic Fluteon 30 September. His health deteriorated on 20November, at which point he became bedridden, suffering from swelling, pain, and vomiting.[82]Posthumous painting byBarbara Krafftin 1819Mozart was nursed in his final illness by his wife and her youngest sister, and was attended by the family doctor, Thomas Franz Closset. He was mentally occupied with the task of finishing hisRequiem, but the evidence that he actually dictated passages to his studentFranz Xaver Süssmayris minimal.[83]Mozart died in his home on 5 December 1791(aged35) at 1:00 am. TheNew Grovedescribes his funeral:Mozart was interred in a common grave, in accordance with contemporary Viennese custom, at theSt. Marx Cemeteryoutside the city on 7 December. If, as later reports say, no mourners attended, that too is consistent with Viennese burial customs at the time; later Jahn (1856) wrote thatSalieri,Süssmayr,van Swietenand two other musicians were present. The tale of a storm and snow is false; the day was calm and mild.[84]The expression \"common grave\" refers to neither a communal grave nor a pauper\'s grave, but to an individual grave for a member of the common people (i.e., not the aristocracy). Common graves were subject to excavation after ten years; the graves of aristocrats were not.[85]The cause of Mozart\'s death cannot be known with certainty. The official record has it ashitziges Frieselfieber(\"severe miliary fever\", referring to a rash that looks likemillet seeds), more a description of the symptoms than a diagnosis. Researchers have posited at least 118 causes of death, including acuterheumatic poisoning, and a rarekidneyailment.[86]Mozart\'s modest funeral did not reflect his standing with the public as a composer; memorial services and concerts in Vienna and Prague were well-attended. Indeed, in the period immediately after his death, his reputation rose substantially. Solomon describes an \"unprecedented wave of enthusiasm\"[92]for his work;biographies were written(first bySchlichtegroll,Niemetschek, andNissen); and publishers vied to produce complete editions of his works.[92]Honours1777: Knight of theOrder of the Golden Spur, by Pontifical Decree ofPope Clement XIV.[93]Appearance and characterDetail of portrait of Mozart by his brother-in-law Joseph Lange; for discussion of the portrait seeJoseph LangeMozart\'s physical appearance was described by tenorMichael Kelly, in hisReminiscences: \"a remarkably small man, very thin and pale, with a profusion of fine, fair hair of which he was rather vain\". His early biographer Niemetschek wrote, \"there was nothing special about [his] physique. [...] He was small and his countenance, except for his large intense eyes, gave no signs of his genius.\" His facial complexion was pitted, a reminder of hischildhood case of smallpox. He loved elegant clothing. Kelly remembered him at a rehearsal:\"[He]was on the stage with his crimsonpelisseand gold-lacedcocked hat, giving the time of the music to the orchestra.\" Of his voice his wife later wrote that it \"was a tenor, rather soft in speaking and delicate in singing, but when anything excited him, or it became necessary to exert it, it was both powerful and energetic\".[94]Mozart usually worked long and hard, finishing compositions at a tremendous pace as deadlines approached. He often made sketches and drafts; unlike Beethoven\'s these are mostly not preserved, as his wife sought to destroy them after his death.[95]Mozart lived at the center of the Viennese musical world, and knew a great number and variety of people: fellow musicians, theatrical performers, fellow Salzburgers, and aristocrats, including some acquaintance with the EmperorJoseph II. Solomon considers his three closest friends to have been Gottfried von Jacquin, Count August Hatzfeld, and Sigmund Barisani; others included his older colleagueJoseph Haydn, singersFranz Xaver GerlandBenedikt Schack, and the horn playerJoseph Leutgeb. Leutgeb and Mozart carried on a curious kind of friendly mockery, often with Leutgeb as the butt of Mozart\'spractical jokes.[96]He enjoyedbilliardsand dancing, and kept pets: a canary, astarling, a dog, and a horse for recreational riding.[97]He had a startling fondness forscatological humor, which is preserved in his surviving letters, notably those written to his cousinMaria Anna Thekla Mozartaround 1777–1778, and in his correspondence with his sister and parents.[98]Mozart also wrote scatological music, a series ofcanonsthat he sang with his friends.[99]Religious viewsMain article:Mozart and CatholicismMozart was raised aRoman Catholicand remained a devout member of the church throughout his life.[100][101]Works, musical style, and innovationsSee also:List of compositions by Wolfgang Amadeus MozartandMozart\'s compositional methodStyleSymphonie Nr. 40 g-moll, K. 550. Movement: 1. Molto allegroMENU0:00Overture toDon GiovanniMENU0:00Both performed by the Fulda Symphonic Orchestra, Conductor: Simon SchindlerProblems playing these files? Seemedia help.Mozart\'s music, likeHaydn\'s, stands as an archetype of theClassical style. At the time he began composing, European music was dominated by thestyle galant, a reaction against the highly evolved intricacy of theBaroque. Progressively, and in large part at the hands of Mozart himself, thecontrapuntalcomplexities of the late Baroque emerged once more, moderated and disciplined by newforms, and adapted to a new aesthetic and social milieu. Mozart was a versatile composer, and wrote in every major genre, includingsymphony, opera, the solo concerto, chamber music includingstring quartetandstring quintet, and the pianosonata. These forms were not new, but Mozart advanced their technical sophistication and emotional reach. He almost single-handedly developed and popularized the Classicalpiano concerto. He wrote a great deal ofreligious music, including large-scalemasses, as well as dances,divertimenti,serenades, and other forms of light entertainment.[citation needed]The central traits of the Classical style are all present in Mozart\'s music. Clarity, balance, and transparency are the hallmarks of his work, but simplistic notions of its delicacy mask the exceptional power of his finest masterpieces, such as thePiano Concerto No. 24in C minor, K.491; theSymphony No.40in G minor, K.550; and the operaDon Giovanni.Charles Rosenmakes the point forcefully: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 theG minor Symphonycan 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.[102]During his last decade, Mozart frequently exploitedchromaticharmony. A notable instance is hisString Quartet in C major, K.465(1785), whose introduction abounds in chromatic suspensions, giving rise to the work\'s nickname, the \"Dissonance\" quartet.Mozart always had a gift for absorbing and adapting valuable features of others\' music. His travels helped in the forging of a unique compositional language.[103]In London as a child, he metJ.C. Bachand heard his music. In Paris, Mannheim, and Vienna he met with other compositional influences, as well as the avant-garde capabilities of theMannheim orchestra. In Italy he encountered theItalian overtureandopera buffa, both of which deeply affected the evolution of his own practice. In London and Italy, the galant style was in the ascendent: simple, light music with a mania forcadencing; an emphasis on tonic, dominant, and subdominant to the exclusion of other harmonies; symmetrical phrases; and clearly articulated partitions in the overall form of movements.[104]Some of Mozart\'s early symphonies areItalian overtures, with three movements running into each other; many arehomotonal(all three movements having the same key signature, with the slow middle movement being in therelative minor). Others mimic the works of J.C. Bach, and others show the simplerounded binary formsturned out by Viennese composers.A facsimile sheet of music from the Dies Irae movement of theRequiem Mass in D minor(K.626) in Mozart\'s own handwriting. It is located at theMozarthausin Vienna.As Mozart matured, he progressively incorporated more features adapted from the Baroque. For example, theSymphony No.29 in A majorK.201 has 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 included three such finales in his recently published Opus20 set. The influence of theSturm und Drang(\"Storm and Stress\") period in music, with its brief foreshadowing of theRomantic era, is evident in the music of both composers at that time. Mozart\'sSymphony No.25 in G minorK.183 is another excellent example.Mozart would sometimes switch his focus between operas and instrumental music. He produced operas in each of the prevailing styles:opera buffa, such asThe Marriage of Figaro,Don Giovanni, andCosì fan tutte;opera seria, such asIdomeneo; andSingspiel, of whichDie Zauberflöteis the most famous example by any composer. In his later operas he employed subtle changes in instrumentation, orchestral texture, andtone color, for emotional depth and to mark dramatic shifts. Here his advances in opera and instrumental composing interacted: his increasingly sophisticated use of the orchestra in the symphonies and concertos influenced his operatic orchestration, and his developing subtlety in using the orchestra to psychological effect in his operas was in turn reflected in his later non-operatic compositions.[105]InfluenceMozart\'s most famous pupil, whom the Mozarts took into their Vienna home for two years as a child, was probablyJohann Nepomuk Hummel, a transitional figure between Classical and Romantic eras.[106]More important is the influence Mozart had on composers of later generations. Ever since the surge in his reputation after his death, studying his scores has been a standard part of classical musicians\' training.[citation needed]Ludwig van Beethoven, Mozart\'s junior by fifteen years, was deeply influenced by his work, with which he was acquainted as a teenager.[107]He is thought to have performed Mozart\'s operas while playing in the court orchestra atBonn,[108]and traveled to Vienna in 1787 hoping to study with the older composer. Some ofBeethoven\'s workshave direct models in comparable works by Mozart, and he wrotecadenzas(WoO58) to Mozart\'s D minor piano concertoK.466. For further details seeMozart and Beethoven.Composers have paid homage to Mozart by writing sets ofvariationson his themes. Beethoven wrote four such sets (Op.66, WoO28, WoO40, WoO46). Others includeFernando Sor\'sIntroduction and Variations on a Theme by Mozart(1821),Mikhail Glinka\'s Variations on a Theme from Mozart\'s Opera \"Die Zauberflöte\" (1822),Frédéric Chopin\'sVariations on \"Là ci darem la mano\"fromDon Giovanni(1827), andMax Reger\'sVariations and Fugue on a Theme by Mozart(1914), based on the variation theme in the piano sonataK.331;[109]Pyotr Ilyich Tchaikovskywrote his Orchestral Suite No.4 in G,Mozartiana(1887), as a tribute to Mozart.Köchel catalogueMain article:Köchel catalogueFor unambiguous identification of works by Mozart, aKöchel catalogue numberis used. This is a unique number assigned, in regular chronological order, to every one of his known works. A work is referenced by the abbreviation \"K.\" or \"KV\" followed by this number. The first edition of the catalogue was completed in 1862 byLudwig von Köchel. It has since been repeatedly updated, as scholarly research improves knowledge of the dates and authenticity of individual works. 4228
1940 Palestine MOZART BUST STATUE Jewish ISRAEL SCULPTURE Plaster BRONZE Hebrew:
$175.00