The Life of Wolfgang Amadeus Mozart: Child Prodigy to Musical Genius

  What if a three-year-old could pick up a keyboard book and start playing tunes? That's how Wolfgang Amadeus Mozart began his extraordi...

 

What if a three-year-old could pick up a keyboard book and start playing tunes? That's how Wolfgang Amadeus Mozart began his extraordinary journey. Born in 1756, he became one of history's most celebrated composers, dazzling Europe as a child and creating timeless works like operas and symphonies. This post traces his full story, from humble Salzburg roots to Vienna triumphs and a tragic end at age 35. You'll discover the family pressures, daring tours, romantic heartbreaks, and masterpieces that define his legacy.

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Early Years in Salzburg: A Musical Family Awakens a Prodigy

Mozart entered the world on January 27, 1756, in Salzburg, Austria. His full name was Joannes Chrysostomus Wolfgang Theophilus Mozart. By age 14, he shortened it to Wolfgang Amadeus Mozart. "Amadeus" came from the Latin for his middle name, Theophilus, meaning "lover of God."

His father, Leopold Mozart, hailed from Augsburg in southern Germany. Leopold moved to Salzburg as a teen and rose to become a violinist and composer at the court of the Prince-Archbishop. His mother, Anna Maria Pertl, grew up in a poor rural family. She married Leopold in 1747 at age 27. They had seven children, but only two lived past infancy: daughter Maria Anna, called Nannerl, born in 1751, and Wolfgang, the baby of the family.

Salzburg formed part of the Holy Roman Empire, a patchwork of states including modern Germany and Austria. The Habsburgs ruled much of it, with their lands stretching to Hungary and Bohemia, now the Czech Republic. As both an archbishopric and principality, Salzburg's Prince-Archbishop held spiritual and political control. At Wolfgang's birth, Sigmund Schrattenbach occupied the role. He loved music and aimed to make Salzburg a key musical hub.

The family occupied a third-floor apartment at No. 9 Getreidegasse in the old town, near the Salzach River and the towering Hohensalzburg Fortress. Music filled the air. Leopold often hosted friends for jam sessions and earned extra as a violin tutor. In 1756, he published a violin textbook that guided young players for years. By 1763, he earned promotion to deputy kapellmeister at the archbishop's court.

Around 1759, Leopold spotted seven-year-old Nannerl's interest in music. He taught her the clavier, a catch-all for keyboard instruments like the harpsichord. Three-year-old Wolfgang watched closely. When Leopold made a keyboard exercise book for Nannerl, Wolfgang played from it too. Leopold took notice. His son showed rare talent for his age. He started lessons on organ and violin when Wolfgang turned four.

At six, two of Leopold's friends visited to play string trios. Wolfgang begged to join on second violin. After Leopold refused at first, violinist Johann Andreas Schachtner let the boy follow along. Wolfgang sight-read perfectly on his own. He then tackled the first violin part. His small hands forced an odd grip, but he nailed all six trios with few mistakes.

On another day, the men found Wolfgang scribbling with an ink pen. He claimed he wrote a clavier concerto's first movement. Leopold checked the messy page and praised the notation. But he said it looked too hard. Wolfgang replied, "You must practice very hard to play it." He sat at the clavier and proved it.

These early works carry K numbers from Ludwig von Köchel's 1862 catalog.

• K. 1a: The clavier concerto movement.
• K. 1b and 1c: Other beginner pieces.

First Steps to Fame: Tours Across Europe

In January 1762, just before Wolfgang's sixth birthday, Leopold took the kids to Munich. They wowed Elector Maximilian III and played in city salons. This success sparked plans for Vienna, seat of Empress Maria Theresa. Leopold got paid leave and expense help from Archbishop Schrattenbach.

On September 18, 1762, the family left Salzburg. They reached Vienna three weeks later. En route, Wolfgang and Nannerl gave their first public concert in Linz. Word spread to the palace. On October 13, they performed at Schönbrunn Palace. Wolfgang shone on clavier. Legend says he ran to the empress, climbed her lap, and kissed her.

The Viennese elite buzzed. Nobles hosted the boy wonder. But during a second palace visit, Wolfgang fell gravely ill, maybe with smallpox or scarlet fever. The empress worried Leopold pushed too hard. He recovered fast.

With the Seven Years' War ending in February 1763, peace allowed a grand European tour. The archbishop funded it, along with others. In June, they hit Munich again. The kids impressed the elector once more. After ten days, they visited Leopold's Augsburg home. He bought a portable clavier for travel.

They missed Duke Karl Eugen in Stuttgart. Instead, they sailed up the Rhineland. On August 18, Frankfurt hosted a concert. Crowds loved it, so they added four more. Wolfgang's trick: playing blindfolded, keys under cloth. Teen Johann Wolfgang von Goethe attended the last one. He later became a top thinker.

Late September brought them to the Austrian Netherlands, today's Belgium. Prince Charles Alexander of Lorraine, Emperor Franz's brother and governor, hosted shows. In early November, they reached Brussels, then Paris. There, they played for King Louis XV, Queen Marie, and Madame de Pompadour at Versailles. Wolfgang charmed them.

Before leaving Paris on April 10, 1764, publishers issued his first works: violin and keyboard sonatas K. 6-7 and K. 8-9.

London followed. The city thrived on concerts, thanks to George Frideric Handel's long stay until 1759. On April 27, King George III and Queen Charlotte welcomed them at Buckingham House. June 5 saw a public show packed with lords and leaders. Wolfgang composed steadily. He wrote six piano-violin sonatas, dedicating one to the queen.

After 15 months in England, they left in July 1765. Leopold eyed Salzburg, but the Dutch ambassador lured them to The Hague. Nannerl fell ill days before September 30. Wolfgang performed solo. As she mended, he got sick too and took longer to heal. On January 22, 1766, they played together. He likely debuted Symphony No. 4 in D major (London) and No. 5 in B-flat major (The Hague).

They toured the Low Countries, grabbed left luggage in Paris, then hit Switzerland. By November 1766, they reached Salzburg via southern Germany. The three-plus years away skipped normal school. Leopold taught math, languages, philosophy, history, and geography at home.

Nannerl, now 15, faced marriage talks. Wolfgang, nearing 11, enjoyed global fame. But whispers grew: Leopold faked his son's composing. Archbishop Schrattenbach tested him with a sacred drama libretto. Locked in a room a week, Wolfgang wrote 18 arias and recitatives for Die Schuldigkeit des ersten Gebots (The Obligation of the First Commandment). Later that year, he penned his first opera: three-act Apollo et Hyacinthus, drawn from Ovid's myths.

Trials in Vienna and a Brush with Death

Autumn 1767 took the family to Vienna for Archduchess Maria Josepha's wedding to King Ferdinand IV of Naples. She died of smallpox in October. The plague hit the city. The Mozarts fled but caught it anyway. Wolfgang suffered badly: pox covered his skin, even eyelids, blinding him nine days. He pulled through fully. Back then, one in four died, and survivors often scarred.

By July 1768, they returned to Vienna. They met the royals. Emperor Joseph, co-ruling with his mother, let Wolfgang compose and lead an opera. In early 1769, he finished three-act La finta semplice (The Fake Innocent). Musicians balked at a kid conductor. Doubts lingered about Leopold's role.

Italian Adventures: Building an Operatic Career

Leopold prepped Wolfgang alone for Italy in December 1769. Northern Italy fell under Habsburgs, centered in Milan under Archduke Ferdinand Karl. They arrived January 23, 1770, after Alps crossing.

Count Karl Joseph von Firmian, a Milan official, sponsored him. A March concert earned a 100-ducat opera commission. Wolfgang, 14, flirted with ballet girls in letters to Nannerl, hinting at his future charm.

En route to Florence, he composed his first string quartet, K. 80, in Lodi. In April, he met English violinist Thomas Linley, three months younger. Linley succeeded young but drowned at 22.

Spring led to Rome. They viewed Michelangelo's Sistine Chapel and met Pope Clement XIV. The pope gave Wolfgang the Order of the Golden Spur. South to Naples, they stayed with British ambassador Sir William Hamilton.

By late June, north via Rome and Rimini to Bologna on July 20. There, Wolfgang shaped the libretto for his Milan opera: Mitridate, re di Ponto (Mithridates, King of Pontus). It drew from Racine's play on the Roman foe's fall. Premiered December 26, 1770, at Milan's Teatro Regio Ducal, with Wolfgang at harpsichord. It ran 22 sold-out shows.

They relaxed in Venice, then headed home spring 1771. News arrived: Empress Maria Theresa wanted an opera for Milan's royal theater, marking Archduke Ferdinand Karl's October wedding to an Italian princess. The theme: Ascanio in Alba, where Venus arranges marriage for Aeneas's son, Rome's mythical founder.

Eager to start, they reached Salzburg March 28. August brought Milan for the libretto. By late September, the two-act work was ready. October 17 premiere thrilled the couple and guests.

Archduke Ferdinand sought to hire Wolfgang, with or without Leopold's nudge. Maria Theresa replied, "I do not know, nor do I believe, you need a composer." Post-war debts strained Habsburg finances from 1701-1763 conflicts.

Frustrated, they left Milan December 5, 1771. Next day in Salzburg, Archbishop Schrattenbach died suddenly. He backed Wolfgang early. Successor Count Hieronymus Colloredo, imperial vice-chancellor's son, kept support. July 1772, he named Wolfgang konzertmeister at 150 florins yearly, leading from first violin.

Before a third Italy trip, Wolfgang wrote eight symphonies in 1772. October Milan: Lucio Silla, on Roman dictator Lucius Cornelius Sulla. He finished in weeks for December 26 premiere. It got 26 shows. Remember, he was 15.

Leopold hoped for better pay abroad. Disappointed again. Back briefly, then Vienna. The court kapellmeister sickened; Leopold angled for Wolfgang. Maria Theresa rebuffed. No salon invites came. The child prodigy phase faded. After two empty months, they returned. They moved to a bigger apartment north of the river, with Wolfgang's composing room.

In 1773, seven symphonies flowed, including No. 25 in G minor. One of two minor-key ones, it features bold melodic jumps and off-beat rhythms. A crowd favorite. That year, six string quartets nodded to Joseph Haydn, Austria's top composer.

Summer 1774, Bavaria's elector commissioned comic La finta giardiniera (The Pretend Garden Girl). December Munich trip eyed a court spot. January 13, 1775 premiere flopped. Wolfgang's first operatic miss.

Tough times followed. No invites from big courts for two years. No job offers. Yet growth happened. Early, he adapted others' sonatas to piano concertos. Mid-1770s, he crafted originals. This pattern stuck into his twenties.

Disaster struck 1777. Budget cuts cost their Salzburg posts. Wolfgang, 21, traveled for cash without Leopold. Mother Anna Maria joined. September 23 departure: Munich first, chasing Elector Maximilian Joseph's court. Wolfgang listed credits, like three Milan operas. No luck: "No vacancy." Fans pledged 60 florins each, totaling 600 yearly.

Leopold doubted their reliability. Press on to Augsburg. Wolfgang stayed near uncle Franz Alois, meeting cousin Maria Anna Thekla, 19. Post-visit letters brimmed with crude jokes. Scholars debate if romance sparked.

Mannheim next, for Elector Karl Theodor's music scene. Hopes dashed. Winter neared; Leopold pushed Paris. Wolfgang dallied, smitten with 16-year-old soprano Aloysia Weber, daughter of bass singer Fridolin. He eyed an Italy tour with the Webers. They left March 1778. Anna Maria headed home; Wolfgang pushed solo to Paris. Leopold forbade it, fearing elopement. She stayed; they arrived.

Paris proved grim. Nobles ignored him. Damp rooms worsened Anna Maria's health. She died July 3, 1778, at 57. Wolfgang delayed telling Leopold, first saying serious illness. Truth came July 9, post-burial. Leopold blamed him for delay and Weber dreams.

Yet August 31, Leopold got Colloredo to restore konzertmeister at 500 florins, with biennial travel okay. Wolfgang agreed.

Return to Salzburg: Losses and New Works

He dawdled back, hitting Munich December 1778. Elector Maximilian III died childless; cousin Karl Theodor merged courts, moving music to Bavaria. Aloysia starred there. Wolfgang wrote her an aria but got cold-shouldered: "Who are you?" Sister Constanze said he quipped at the piano, "Let the wench who doesn't want me kiss my ass," then left.

Heartbroken, he wrote Leopold of stalled composing but cousin comfort. January 15, 1779, home at nearly 23. Salary dipped to 450 florins. Prodigy days gone; no Italy return. Mother lost, love rejected, trip goals missed. Back to Salzburg duty.

Next two years brought hits. Coronation Mass in C major, often at Habsburg crowning. Sinfonia concertante in E-flat for violin and viola. It nears a viola concerto; Mozart loved the instrument's violin melody and cello depth.

In 1780, Karl Theodor commissioned Idomeneo, re de Creta, set post-Trojan War at King Idomeneus's court. Glad to escape, Mozart reached Munich November. Weeks of writing and rehearsing led to January 29, 1781 premiere. Leopold and Nannerl attended. Unlike past Munich, success. It's his earliest opera in today's repertoire.

Vienna Breakthrough: Freedom, Love, and Masterpieces

Empress Maria Theresa died late 1780. Colloredo headed to Vienna for Emperor Joseph's full rise. Mozart followed March 16, 1781. His best decade started; his last too.

He chafed living near Colloredo, eating below valets. Letters griped; Leopold warned silence. Mozart dined out sans permission. May 9 clash: he quit. Leopold fumed. In Vienna, steward Count Karl von Arco said, "Viennese will tire of you soon." Mozart persisted. June, Arco blocked resignation delivery, kicked him out.

He crashed with the Webers. Fridolin dead, family in Vienna. Aloysia, now soprano, wed actor Joseph Lange. Mozart eyed 19-year-old Constanze Weber.

Court commissioned opera for Russian Grand Duke Paul's expected visit: Die Entführung aus dem Serail (Abduction from the Seraglio). Hero rescues soprano from Turkish pasha's harem. Postponed visit delayed to July 16, 1782 Burgtheater premiere. It boosted his fame across Europe, netting 1,200 florins.

Marriage proved harder. Weber guardian demanded 300-florin penalty contract if broken. Leopold raged on hearing. Wolfgang said Constanze tore it, showing trust. Truth: breaks happened, but they mended. Summer 1782, mother yanked consent; Constanze stayed with friend. Frau Weber threatened police. They wed August 4 at St. Stephen's Cathedral. Leopold relented but suspected gold-digging. Wolfgang defended them, promised Salzburg visit with her.

Post-wedding, Symphony No. 35 in D major emerged. It reworked a Haffner family serenade. Fiery opener marks it as top work. March 23, 1783 Burgtheater debut, Mozart conducting. Same bill: Piano Concerto No. 13, from three winter ones. He drew crowds by playing concertos and leading orchestra.

Salzburg trip lagged. Excuses piled: pregnancy, winter, busyness, Colloredo arrest fear. June 17, 1783, son Raimund Leopold born. Fears persisted till surrender. Left baby with nurse; arrived July 29. No marriage blessings from Leopold or Nannerl. Constanze stung.

August 19, baby died. Still no family thaw. October 26 highlight: Great Mass in C minor premiere, Constanze on soprano. Unfinished at death, its four movements awed.

Next day, south to Vienna. Linz stop: November 4 concert. Forgot symphony; wrote No. 36 in C major in four days. The "Linz" stays beloved for energy.

Peak Success: Concertos, Family, and Influences

Early 1784, they settled in Trattnerhof on Graben Square, with built-in hall. Cheaper than theaters, Mozart hosted there. For freshness, new piano concerto per show. 1784-1786: Nos. 14-25. Acclaimed set. No. 25 in C major boasts grand opener, echoing future Symphony No. 41. No. 21 in C major crowns mid-1780s output.

1784 soared. 4,000 florins yearly. September, second son Karl Thomas born; he reached adulthood. Moved near St. Stephen's, today's Mozarthaus. High rent, 460 florins monthly, plus fashion splurges bred debt.

To network elites, he joined Freemasons in late 1784. Beneficence Lodge; rose to Master Mason fast. Common for ambitious men then.

He urged Leopold to visit, show his life. Leopold skipped till February 1785, post-Nannerl's marriage leaving him alone. Busy schedule, but Constanze pampered him with food and grandson time. They warmed.

Leopold marveled. Post-concert aristocrats praised; Emperor Joseph yelled "Bravo, Mozart!" Joseph Haydn visited. At 53, Haydn led as symphony and quartet master at Prince Nicolaus Esterházy's Hungarian estate. Brother Michael held Salzburg post since 1762. Mozart and Joseph met around 1784.

Haydn admired him. They played quartets. Mozart's 1782-1785 six, Nos. 14-19, echoed Haydn's Opus 33 for Grand Duke Paul. Mozart dedicated his to Haydn. After last three, Haydn told Leopold, "Your son is the greatest composer I know, by person or name."

Leopold left April 25, proud of Wolfgang's match and promise fulfilled.

Operatic Triumphs with Lorenzo da Ponte

Soon, Mozart met Lorenzo da Ponte, mid-30s Italian. Ex-priest, brothel-goer, banished from Venice for antics. In Vienna since 1784, he wrote for Antonio Salieri unsuccessfully. Turned to Mozart.

Librettist penned words; composer set music. Mozart requested one from Pierre de Beaumarchais' 1784 comedy The Marriage of Figaro. Set in Count Almaviva's Spanish palace on Figaro and Susanna's wedding day.

1. Act 1: Count eyes "droit de seigneur" with Susanna. Figaro plots revenge in "Se vuol ballare." Countess mourns in "Porgi, amor," joins schemes.
2. Count delays wedding via Dr. Bartolo and Marcellina's claim on Figaro. Twist: Figaro is Marcellina's abducted son.
3. Susanna feigns as Countess; Count begs pardon. His schemes fail; lovers wed.

May 1, 1786 Burgtheater premiere. Da Ponte swayed Joseph despite aristocracy jabs. Vienna elite laughed; nearly 40 shows in five years. Prague adored it too. Mozart visited early 1787 for Symphony No. 38 premiere, K. 504, the "Prague." A masterpiece.

Prague's Estates Theatre commissioned more. Da Ponte picked Don Giovanni's seductions. Dark comic two-acter.

• Giovanni woos Donna Anna; kills her father, the Commendatore.
• Ex-lover Donna Elvira curses him. Servant Leporello lists conquests: 640 Italy, 231 Germany, 100 France, 91 Turkey, 1,003 Spain.
• Act 2: Statue warns; Giovanni dines with ghost. Struck down, unrepentant, hell drags him.

October 29, 1787 Prague debut. Overture rushed; orchestra sight-read. Triumph for team. Vienna April 1788 mixed: great music, tough arias, too somber. Still, more cash than Figaro.

1787 shone else. April, 16-year-old Ludwig van Beethoven sought Mozart study. Unclear if they met; Beethoven left after two weeks for sick mom. Summer: Serenade for Strings No. 13, Eine kleine Nachtmusik. Iconic. December: Post-Christoph Willibald von Gluck's death, imperial composer role. Part-time dances for 800 florins.

May shadowed: Leopold died at 67. Pushy father shaped him but scarred psyche. Mid-1788, six-month-old daughter died. Wolfgang pushed on. Wrote Symphonies Nos. 39-41, symphonic peaks. No. 40 in G minor hooks with famous theme (later phone ringtones). No. 41 grandest yet, dubbed "Jupiter."

Austria's February 1788 Ottoman war cut noble spending. Earnings fell. Spring 1789 Berlin tour with pregnant Constanze home. June 4 return: slim gains. She fell ill, spa-treated in Baden often. November birth: daughter lived one hour.

Late 1789, third da Ponte: Così fan tutte ("So Do They All"). January 1790 premiere. Liked then, less now than peers. Joseph's February 20 death halted run.

Later 1790, Frankfurt for Leopold II coronation. Played Piano Concerto No. 26, "Coronation," October. No court keep. Constanze cut costs: low-interest loan, smaller flat.

Haydn and Mozart eyed London tour. Haydn went; Mozart stayed, Constanze pregnant again. Last Haydn sight.

1791 opened with Piano Concerto No. 27, March premiere. May 9: assistant kapellmeister at St. Stephen's, eyeing full 2,000 florins on death.

Freemason pal Emanuel Schikaneder sought music for his Die Zauberflöte (The Magic Flute), Masonic-themed German opera. While at it, masked stranger commissioned Requiem anonymously. Mozart guessed Count Franz Walsegg, who ghosted works as his. For dead wife, generous pay.

July, Prague opera for Leopold's Bohemia king install: La clemenza di Tito. Titus forgives plotters. Constanze birthed sixth child July 26: Franz Xaver Wolfgang, who lived.

Prague trip with Constanze. September 6 premiere, coronation day. Royals attended. Gained fans later, not instant hit.

Vienna's Magic Flute September 30: packed weeks. Enduring favorite.

Final Days, Death, and Timeless Legacy

Intense 1780s work exhausted Mozart. Autumn 1791, health crashed. He suspected poison, citing Aqua Tofana, old Italian toxin with arsenic, belladonna. Sparked Salieri rumors, fueling Pushkin's play, then 1979 Amadeus film.

November worsened; bedbound, he dictated to aide. Critical by early December. December 5, 1791, past midnight, death at 35. Buried December 7 at St. Marx Cemetery, simple rite.

Cause debated: lifelong tonsillitis maybe caused kidney failure, brain bleed, pneumonia combo.

Leopold tutored from babyhood. Tours made child star. Italy operas succeeded, but jobs eluded; Salzburg trapped him. 1781 Vienna freed genius. Figaro, Magic Flute, concertos, symphonies sealed fame. Second to Beethoven often. Tragedies: most kids died young; adult struggles, though lavish spending worsened debts. Died entering prime; imagine more works.

Mozart captivates with joy and depth. Was he history's top composer, or does Beethoven's emotion top him? Could longer life top Beethoven? Share thoughts below. Thanks for reading his story.