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  Wolfgang Amadeus Mozart
  

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  Wolfgang Amadeus Mozart Born in Salzburg, he 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.
  

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  Early life
  Wolfgang Amadeus Mozart was born on 27 January 1756 to Leopold Mozart (1719–1787) and Anna Maria, née Pertl (1720–1778), at 9 Getreidegasse in Salzburg. This was the capital of the Archbishopric of Salzburg, an ecclesiastic principality in what is now Austria, then part of the Holy Roman Empire. He was the youngest of seven children, five of whom died in infancy. His elder sister was Maria Anna Mozart (1751–1829), nicknamed "Nannerl".
  

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  In his early years, Wolfgang's father was his only teacher. Along with music, he taught his children languages and academic subjects. 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. His first ink-spattered composition and his precocious efforts with the violin were of his own initiative, and came as a surprise to Leopold, who eventually gave up composing when his son's musical talents became evident.
  

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  Nannerl Mozart
  
  Maria Anna Walburga Ignatia Mozart (July 30, 1751–October 29, 1829), nicknamed Nannerl. She was born five years before her brother and lived on for thirty-eight years after his death. For many years she existed as a minor character in the fabled life of Wolfgang, a girl who accompanied her brother musically (on the harpsichord and fortepiano) and emotionally and then receded from view while he went on to realize the potential of his genius. We read in the New Grove Dictionary of Music and Musicians that "from 1769 onwards she was no longer permitted to show her artistic talent on travels with her brother, as she had reached a marriageable age.”
  

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  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 the clavier, 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.
  
  

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  1762–73: Travel  Mozart family grand tour and Mozart in Italy
  
  While 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 of Prince-elector Maximilian IIIof Bavaria in 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, The Hague, again to Paris, and back home via Zurich, Donaueschingen, and Munich. During this trip, Wolfgang met a number of musicians and acquainted himself with the works of other composers. A particularly important influence was Johann 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.
  

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  Mozart wrote his first symphony when he was eight years old. It is probable that his father transcribed most of it for him
  
  The family trips were often difficult, and travel conditions were primitive. 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), then both children (The Hague, autumn 1765).
  

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  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 met Josef Mysliveček and Giovanni Battista Martiniin Bologna, and was accepted as a member of the famous Accademia Filarmonica. In Rome, he heard Gregorio Allegri's Miserere twice in performance, in the Sistine Chapel, and wrote it out from memory, thus producing the first unauthorized copy of this closely guarded property of the Vatican.
  

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  In Milan, Mozart wrote the opera Mitridate, re di Ponto(1770), which was performed with success. This led to further opera commissions. He returned with his father twice to Milan (August – December 1771; October 1772 – March 1773) for the composition and premieres of Ascanio in Alba (1771) and Lucio Silla (1772). Leopold hoped that these visits would result in a professional appointment for his son, and indeed ruling Archduke Ferdinand contemplated hiring Mozart but owing to his mother Empress Maria Theresa's reluctance to employ "useless people", the matter was dropped and Leopold's hopes were never realized
  

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  1773–77: Employment at the Salzburg court
  
  
  After 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[ and had the opportunity to work in many genres, including symphonies, sonatas, string quartets, masses, serenades, and a few minor operas
  

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  1777–78: Journey to Paris
  
  In August 1777, Mozart resigned his position at Salzburg and on 23 September ventured out once more in search of employment, with visits to Augsburg, Mannheim, Paris, and Munich.
  Mozart became acquainted with members of the famous orchestra in Mannheim, the best in Europe at the time. He also fell in love with Aloysia Weber, one of four daughters of a musical family. There were prospects of employment in Mannheim, but they came to nothing,  and Mozart left for Paris on 14 March 1778  to continue his search. One of his letters from Paris hints at a possible post as an organist at Versailles, but Mozart was not interested in such an appointment.  He fell into debt and took to pawning valuables. The nadir of the visit occurred when Mozart's mother was taken ill and died on 3 July 1778. There had been delays in calling a doctor—probably, according to Halliwell, because of a lack of funds.  Mozart stayed with Melchior Grimm, who, as personal secretary of the Duke d'Orléans, lived in his mansion
  

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  While Mozart was in Paris, his father was pursuing opportunities of employment for him in Salzburg.  With the support of the local nobility, Mozart was offered a post as court organist and concertmaster. The annual salary was 450 florins,  but he was reluctant to accept.  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.  Mozart finally returned to Salzburg on 15 January 1779 and took up his new appointment, but his discontentment with Salzburg remained undiminished.
  Among the better known works which Mozart wrote on the Paris journey are the A minor piano sonata, K. 310/300d and the "Paris" Symphony (No. 31), which were performed in Paris on 12 and 18 June 1778
  
  

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  Vienna 1781: Departure
  
  
  In January 1781, Mozart's opera Idomeneo premiered with "considerable success" in Munich. The following March, Mozart was summoned to Vienna, where his employer, Archbishop Colloredo, was attending the celebrations for the accession of Joseph II to 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.) But Mozart was planning a bigger career even as he continued in the archbishop's service;  for example, to his father he wrote:
  

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  My main goal right now is to meet the emperor in some agreeable fashion, I am absolutely determined he should 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.
  
  Mozart did indeed soon meet the Emperor, who eventually was to support his career substantially with commissions and a part-time position.
  
  

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  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 at Countess 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
  
  

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  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
  

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  Early years
  
  Mozart's new career in Vienna began well. He performed often as a pianist, notably in a competition before the Emperor with Muzio Clementi  on 24 December 1781, and he soon "had established himself as the finest keyboard player in Vienna". He also prospered as a composer, and in 1782 completed the opera Die 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", and fully established Mozart's reputation as a composer.
  

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  Marriage and children
  
   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.  Mozart faced a very difficult task in getting his father's permission for the marriage. The couple were finally married on 4 August 1782 in St. Stephen's Cathedral, the day before his father's consent arrived in the mail.
  

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  1782–1786
  
  In the course of 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 personal musical language, for example in fugal passages in Die Zauberflöte ("The Magic Flute") and the finale of Symphony No. 41
  

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  1786–87: Return to opera
  
  Despite the great success of Die Entführung aus dem Serail, Mozart did little operatic writing for the next four years, producing only two unfinished works and the one-act Der 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 and began his famous operatic collaboration with the librettist  Lorenzo Da Ponte. 1786 saw the successful premiere of The Marriage of Figaro  in Vienna. Its reception in Prague  later in the year was even warmer, and this led to a second collaboration with Da Ponte: the opera Don Giovanni, which premiered in October 1787 to acclaim in Prague, but less success in Vienna in 1788.
  

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  Later years 1788–90
  
  
  Toward the end of the decade, Mozart's circumstances worsened. Around 1786 he had ceased to appear frequently in public concerts, and his income shrank. his was a difficult time for musicians in Vienna because of the Austro-Turkish War: both the general level of prosperity and the ability of the aristocracy to support music had declined
  

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  By mid-1788, Mozart and his family had moved from central Vienna to the suburb of Alsergrund . 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 to Puchberg), but merely increased the housing space at his disposal. Mozart began to borrow money, most often from his friend and fellow Mason Michael Puchberg; "a pitiful sequence of letters pleading for loans" survives. Maynard Solomon and others have suggested that Mozart was suffering from depression, and it seems that his output slowed.  Major works of the period include the last three symphonies (Nos. 39, 40, and 41, all from 1788), and the last of the three Da Ponte operas, Così fan tutte, premiered in 1790.
  

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  1791
  
  Mozart's last year was, until his final illness struck, a time of great productivity—and by some accounts, one of personal recovery.He composed a great deal, including some of his most admired works: the opera The Magic Flute ; the final piano concerto (K. 595 in B-flat ); the Clarinet Concerto K. 622; the last in his great series of string quintets (K. 614 in E-flat); the motet Ave verum corpus  K. 618; and the unfinished Requiem K. 626.
  

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  Mozart's financial situation, a source of anxiety in 1790, finally began to improve. Although the evidence is inconclusive, 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. Mozart no longer borrowed large sums from Puchberg, and made a start on paying off his debts.
  He experienced great satisfaction in the public success of some of his works, notably The Magic Flute (which was performed several times in the short period between its premiere and Mozart's death) and the Little Masonic Cantata K. 623, premiered on 17 November 1791
  
  

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  Final illness and death
  
  Mozart fell ill while in Prague for the 6 September 1791 premiere of his opera La clemenza di Tito , written in that same year on commission for the Emperor's coronation festivities. He continued his professional functions for some time and conducted the premiere of The Magic Flute  on 30 September. His health deteriorated on 20 November, at which point he became bedridden, suffering from swelling, pain, and vomiting
  

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  Mozart 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 his Requiem , but the evidence that he actually dictated passages to his student Franz Xaver Süssmayris minimal
  

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  Mozart died in his home on 5 December 1791 (aged 35) at 1:00 am. The New Grove describes his funeral:
  Mozart was interred in a common grave, in accordance with contemporary Viennese custom, at the St. Marx Cemetery outside 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 that Salieri, Süssmayr, van Swieten and two other musicians were present. The tale of a storm and snow is false; the day was calm and mild
  
  

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  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
  

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  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“ for his work; biographies were written (first by Schlichtegroll, Niemetschek, and Nissen); and publishers vied to produce complete editions of his work
  

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  Источники
  https://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart