Born on January 27, 1756, in Salzburg, Austria (during the Holy Roman Empire), to a family of court musicians, his father, Leopold, was a violinist in the city's court Catholic orchestra and a composer. His mother also loved music and played the cello and violin. Mozart had many siblings, and he was the seventh child in his family; he died in Vienna on December 5, 1791, at the age of 35 years. Among the most famous operas are The Marriage of Figaro and Don Giovanni and The Magic Flute. Mozart was an Austrian composer, one of the representative figures of the Viennese Classical School in Europe, who played a great role in the development of European music as a model of classical music. During his lifetime, Mozart composed 549 works, including 22 operas, 41 symphonies, 42 concertos, a requiem, as well as sonatas, chamber music, religious music and songs. Mozart is the founder of the piano concerto, composed 29 plus K.107 three piano concertos, he for the development of European instrumental concerto also made outstanding contributions. Opera is the mainstream of Mozart's creation, he and Gluck (Gluck), Wagner (Wagner) and Verdi (Verdi), as the same, is one of the four giants in the history of European opera. He also wrote a glorious page for the European symphony together with Haydn and Beethoven. In addition, his Requiem has become a rare masterpiece in religious music. As a European composer at the end of the 18th century, Mozart's music profoundly reflected the spirit of the era, especially the ideas of the civic class embodied in his operatic works, which undoubtedly had a progressive significance at that time. Mozart gave the music a singing and beautiful joyfulness, however, it also contains deep sadness, which reflects the fate of the intellectuals in Mozart's time. Mozart's short life wrote a large number of musical works, genre forms involved in various fields, leaving many immortal masterpieces.
Opera
Mozart's main field of creation is opera. Of the 36 years of his life, 25 were engaged in the creation of opera, **** wrote 22. Among them, The Marriage of Figaro, Don Juan and The Magic Flute are the most representative. The Marriage of Figaro was taken from a play by P.A.C .d e Beaumarchais, which was banned in Austria at the time, and the operatic script was adapted by the Italian poet L. da Ponte and premiered in 1786. Although the adapted script weakened the original attack on the feudal society and added lyrical descriptions, it still did not lose the original's critical spirit and exposed and satirized the hypocrisy and extravagant life of the feudal aristocrats represented by the Count, and glorified the integrity, resourcefulness, and bravery of the people of "the third class" represented by Figaro and Susanna, and expressed the qualities of the "third class" people, who were in harmony with feudalism. The opera celebrates the integrity, wit and courage of the "third class" people, represented by Figaro and Susanna, and expresses the optimism that the struggle against feudalism will be won. The main contribution of Mozart's opera is that he did not follow the comical exaggeration and vaudeville style of the popular Italian operas at that time, but emphasized on depicting the characters' personalities, psychological delineation, enhancing the lyricism of the opera, and giving play to the skills and expressive power of repetition singing in the opera. The script of Don Giovanni was also adapted from Da Pontet's. It was premiered in 1787. It is based on a famous Spanish folk legend. At that time, there were various versions of the legend widely circulated in European countries, and there were already plays, operas, ballets and other forms of art, Mozart and da Ponteaux chose G. Bertati's operatic script, "The Story of the Stone Passenger" (composed by the Italian composer, G. Gazzaniga), and made major changes in the plot and characters. Through the contradictory character of the aristocrat Don Juan and his despicable end of cheating and damaging women's behavior, it exposes the rotten life of the feudal aristocrats, and at the same time affirms the master's defiance of feudal rites and the pursuit of happiness. It is an opera of ethical and moral significance, reflecting the interest and concern of the German and Austrian intelligentsia for moral and ethical issues that began in the late 1880s. It is an important work in Mozart's development of operatic theater based on the interesting Italian operas. In dealing with the music of this opera, Mozart enhanced the psychological portrayal of the characters to make them more complex and realistic, while using dramatic reprise to enhance the conflict of the opera. The music of The Magic Flute was the last opera Mozart wrote and performed a few months before his death in 1791. Its script was proposed and written by E. Schikaneder, the manager of a small theater who was an old friend of Mozart's and a passionate advocate of German national opera. The opera is based on the myth of Lulu by Wieland. Through the story of the protagonist's arduous struggle in pursuit of his ideal and his final victory, it celebrates the idea that light will surely triumph over darkness. The ideas reflected in this opera are closely related to Mozart's pursuit of Enlightenment and his ideals of liberty, equality and fraternity. Several of the main characters may be metaphors for the social realities of the time. For example, the High Priest Sarastro is reminiscent of Mozart's friend Born, the recently deceased head of the ****Jewish Society. Mozart's use of typical Protestant congregational hymn-like musical shaping gives his music a solemn, sublime nature; the antagonist, the Queen of the Night, may be alluding to Maria Theresia (who suppressed the ****Jekyllines during her reign), a role that needs to be played by a more skillful florid soprano from a more difficult musical performance without intrinsic emotion, and the hero of the play, Prince Tamino, may be a metaphor for the sympathetic **** **Joseph II of the Franciscans, his music is beautiful and moving, using the lyrical arias in the positive opera, Pamina is a symbol of the people's noble spirit, the music is very beautiful, half-man, half-bird, phantasmagorical characters by trial and error, and his wife is the embodiment of the working people, and their music is with a distinctive German-Austrian folk style. This opera is Mozart in Germany and Austria on the basis of singing and mythological opera, the development of German national fairy tale opera masterpiece, it marks the 18th century German and Austrian small opera development came to an end, and for the later German Romantic Opera production laid the foundation for the latter's forerunner.
Concertos
Concertos are one of the genres, other than opera, to which Mozart made the most outstanding contribution in musical composition. During his lifetime, he wrote more than 50 concertos for various solo instruments and orchestra. These works, based on the Baroque concerto, established the structural principles of the 18th century classical concerto: the suite structure of three movements in contrasting juxtaposition (the first movement sonata style, the second movement is a lyrical movement similar to an aria, and the third movement has a choreographed or popular character); the double presentation section, the solo instrument has a virtuosic flamboyant section, and so on. At the same time, the position of the solo instrument was strengthened, emphasizing its musical character as distinct from that of the concert band. As a result of Mozart's achievements, the concerto is no longer a one-sided performance of technique, but has the same profound significance as the symphony. Mozart became the founder of the modern concerto form. Among Mozart's concertos, the piano concerto occupies a prominent place. ***Wrote 29 of them (and three adapted from J.C. Bach's K.107), of which the masterpieces are in d minor, c minor, and A major. In addition, there are seven violin concertos, of which three in G major, A major and D major stand out. For wind concertos, the Clarinet Concerto in A major also stands out. Others are the 4 Horn Concertos, 1 Flute Harp Concerto, and others.
Symphonies
Mozart I*** wrote about 50 symphonies, 41 of which are numbered and can be divided into groups like other instrumental works. Most of the symphonies were written in his early years under the influence of different musical styles, and thus bear traces of imitation of different styles. The influence of J.C. Bach, G.C. Wagenser, M.G. Moen, and especially Haydn, as well as the Mannheim School represented by J. Stamitz, can be seen in these styles. There are seven of Mozart's most representative symphonies. The Symphony No. 31 ("Paris") was composed for the Paris Symphony Orchestra, one of the most outstanding orchestras in Europe at that time, and has the musical style and rich sound of Paris, the Symphony No. 35 ("Haffner") is actually a serenade, and the Symphony No. 38 ("Prague") has often been referred to as the "Symphony without Minuet", and it is often said to be "Symphony without Minuet", and it is the first symphony in the world to be composed by Mozart. The Symphony No. 38 ("Prague"), often called "a symphony without a minuet", has only three movements and is no longer a stylistic imitation of an Italian symphony, but an authentic Viennese symphony, and the Symphony No. 36 ("Linz") reflects Mozart's influence on the composition of Haydn's symphonies. Mozart's last three symphonies--E-flat major, g minor and C major symphonies are his finest symphonic works. They were all written in a six-week period from June to August 1788, and are often categorized as a single work. They are usually categorized into one group, but each of them has its own characteristics: Symphony No. 39 in E-flat major is bright, cheerful and full of poetry; Symphony No. 40 in g minor is dramatic, with Haydn-style optimism, but it is completely different from Haydn in terms of technique, and it is known as Mozart's "heroic" symphony; Symphony No. 41 in C major is a symphony in E-flat major, and C major is the most beautiful symphony in the world. The Symphony No. 41 in C major (often called "Jupiter") is grand and optimistic, heralding the emergence of L. van Beethoven's heroic symphonies. Mozart's symphonies (especially the last 3) are the crowning achievement of all symphonic writing before Beethoven. His outstanding contribution is the emphasis he places on the contrasts between movements and between themes within movements.
Sonata suites
Mozart wrote 17 piano sonatas, 6 violin sonatas, and 35 piano and violin sonatas, etc., which contributed to the development of the classical sonata suite, and established the form of the 3-movement sonata suite of the Viennese classical school. In the piano sonatas, he completed the transition from the Hapsikode style to the piano style. In his piano sonatas of the 80's, the effect and range of the piano have been brought into play, such as the Piano Sonata in A major (1783) and the Sonata in c minor (1785). The former embodies the customary nature of his life, and the latter shows a sharp juxtaposition of contrasts and dramatic power that foreshadowed the birth of Beethoven's piano sonatas. Mozart's piano and violin sonatas, gradually liberated from the influence of Italian A. Corelli G.B. Sammartini and others, formed their own independent style. Since 1778, Mozart has placed the two instruments, piano and violin, on an equal footing, such as E-flat major (1781), B-flat major (1784), E-flat major (1785), A major (1787) and several other more successful.
Chamber music
Of the 23 string quartets written by Mozart, the best are the six dedicated to Haydn (1773), which reflect Mozart's thoughts and style from different sides - sincere and affectionate, bright and cheerful character and optimistic state of mind. Unlike Haydn and Beethoven, Mozart's genius was not in the quartets, but in the quintets. The most prominent of them are the String Quintet in C major (1787) and the String Quintet in g minor (1787). The former is innovative in terms of compositional structure and thematic treatment, while the latter is a tragic work reflecting the author's worries and reflections on social reality. In addition, the Clarinet Quintet in A major and several viola quintets are also regarded as his masterpieces.
Religious Music
Because of his office, religious music occupies a large part of Mozart's works. Among them, the Requiem composed before his death is the most representative. This work is infused with the author's deep feelings about the whole life, showing his life as a citizen musician suffered from exploitation, humiliation and cold treatment, the pain of poverty and his pursuit of light and joy unswerving and yearning. Mozart wrote most of the music, and the rest was faithfully completed by his pupil F.X. Süssmayr according to his plan and style, and was performed in December 1793 under the name of Count Walzig's Composition. This Mozart Requiem uses the traditional Requiem form with Latin lyrics and is very sincere and moving. Throughout Mozart's life, up to the point of destitution, there was no pain in his music, but only pure joy. This deathbed work remains so, with only that sense of being in the light of heaven shining down on him.
Other
In addition to the various genres mentioned above, Mozart wrote a large number of frolicsome serenades, dances, and so on. In these genre-based works, Mozart employed elements of folk music. Reflecting his connection with folk music, most of them are characterized by lightheartedness and liveliness. Among them, the Serenade for Strings in G Major is more influential, which contains both fresh, vivid and lively moods and a broad, pure lyricism. Overall, Mozart's creative achievements span all areas of music. They reflect the end of the 18th century, in the oppressed position of the German and Austrian intellectuals to get rid of the feudal absolutism, the pursuit of a better society and bright, righteous human dignity. His musical style is characterized by sincerity, finesse, popular elegance, lightness and flow, mostly full of optimism, reflecting the optimistic state of mind of the German-Austrian bourgeoisie during the period of upward mobility; in the later years of Vienna's creations, tragic and dramatic styles also appeared, and the reflections of social contradictions became more profound.