He composed more than 600 works, many of which are acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is considered among the greatest classical composers of all time, and his influence on Western music is profound. Ludwig van Beethoven composed his early works in the shadow of Mozart, and Joseph Haydn wrote: “posterity will not see such a talent again in 100 years”.
In 1782 and 1783, Mozart became intimately acquainted with the work of Johann Sebastian Bach and George Frideric Handel as a result of the influence of Gottfried van Swieten, who owned many manuscripts of the Baroque masters. Mozart’s study of these scores inspired compositions in Baroque style and later influenced his musical language, for example in fugal passages in Die Zauberflöte (“The Magic Flute“) and the finale of Symphony No. 41.
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, the Mass in C minor. Though not completed, it was premiered in Salzburg, with Constanze singing a solo part.
The Symphony No. 36 in C major, K. 425, (known as the Linz Symphony) was written by Wolfgang Amadeus Mozart during a stopover in the Austrian town of Linz on his and his wife’s way back home to Vienna from Salzburg in late 1783. The entire symphony was written in four days to accommodate the local count’s announcement, upon hearing of the Mozarts’ arrival in Linz, of a concert. The première in Linz took place on 4 November 1783. The composition was also premièred in Vienna on 1 April 1784. The autograph score of the “Linz Symphony” was not preserved, but a set of parts sold by Mozart to the Fürstenberg court at Donaueschingen in 1786 does survive.
Mozart met Joseph Haydn in Vienna around 1784, and the two composers became friends. When Haydn visited Vienna, they sometimes played together in an impromptu string quartet. Mozart’s six 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’s Opus 33 set from 1781. 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.”
From 1782 to 1785 Mozart mounted concerts with himself as a soloist, presenting three or four new piano concertos in each season. Since space in the theatres was scarce, he booked unconventional venues: a large room in the Trattnerhof (an apartment building), and the ballroom of the Mehlgrube (a restaurant). The concerts were very popular, and the concertos he premiered at them are 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”.
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