Leopold Mozart During Mozart’s time—and some would say it is still true today—Salzburg was a small provincial town. Mozart was working for the Archbishop Hieronymus von Colloredo as a musical servant, and he had nothing good to say about his hometown. “I hate Salzburg,” he writes, “there isn’t a penny’s worth of stimulation in this town. It’s as if the audience consisted of nothing but tables and chairs.” The Archbishop was well aware of Mozart’s distaste for Salzburg and for his terms of employment …

Wolfgang Amadeus Mozart and his mother arrived in Paris in April 1778. As he quickly reports to his father, he wasn’t particularly impressed by the city of lights. In fact, he considered Paris to be a real dump! He complains about the muddy and dirty streets, and even more damning, he considered Parisians to be “rude and obnoxious, filled with arrogance and obsessed with self-importance.” And what is more, Mozart’s letter gives us terrific insight of how musicians were treated by royalty at that particular time; they were considered simply servants. With a …

… performed his symphony but also played a concerto. When the Archbishop announced that his musicians had to return home to Salzburg in two week’s time, Mozart was decidedly unhappy as he felt that he was just beginning to make an impression in Vienna. Leopold was deeply alarmed at Mozart’s plan of staying in Vienna at his own expense, and in a series of stern letters implored his son not to risk his job in a frivolous way. A heated exchange of letters culminated in the 28 April correspondence, and Mozart continues: Wolfgang Amadeus Mozart “But …

Mozart writes to his sister in April 1782: “My darling Constanze has at last summoned up courage to follow the impulse of her kind heart, and to write to you. If you are so good, dear sister, as to answer her, (which I hope you will, that I may see the joy in this dear creature's face,) I beg you will enclose your letter to me. I mention this as a precaution, to warn you that her mother and sisters are not aware that she has written to you. I enclose a prelude and a three-part …

… eventually reached Rome. They would stay for a total of four weeks, taking in the famous sights, and gave performances before the nobility and clergy. Leopold was decidedly unimpressed with the snotty behavior of the clergy, who really weren’t much interested in a couple of traveling musicians. The Mozart’s also visited the Sistine Chapel where they heard Gregorio Allegri’s famous “Miserere.” According to legend, Mozart wrote down the complex score from memory after a single hearing. Leopold continues: Sistine Chapel “You have often heard of the famous Miserere in Rome, which …

Paris, ca. 1778 Wolfgang writes to his father from Paris on 5 April 1778. “I MUST now explain more, clearly what mamma alludes to, as she has written rather obscurely. Capellmeister Holzbauer has sent a “Miserere” here, but as the choruses at Mannheim are weak and poor, whereas here they are strong and good, his choruses would make no effect. The Director of the Concert Spirituel requested me therefore to compose others, with Holzbauer's introductory chorus being retained… I have added a short recitative with hautboy and bassoon, for here recitative is much liked. I …

As always, Mozart provides his father Leopold with a detailed report of his concert activities at the Vienna Augarten. He writes on 29 March 1783: “I need not tell you much about the success of my concert, for no doubt you have already heard of it. Suffice it to say that the theatre could not have been more crowded, and every box was full. The best thing about it was that his Majesty the Emperor was there—how pleased he was and how he applauded me! He normally sends the money to the box office before going to the …

… ” Wolfgang Amadeus Mozart: Piano Concerto No. 14, K. 449 Mozart premiered his piano concerto No. 14, K. 449 on that occasion, and the famous list of subscribers contains 174 people, yielding Mozart a gross profit of at least 1,044 gulden. The majority of concerts given in Vienna during Mozart’s life were private events, given in the great houses of the upper nobility. However, these events also spread to the lesser nobility and the bourgeoisie, creating semi-public musical salons. In addition, individual artists, who would rent a theatre or other venue and engage other musicians as …