Wolfgang Amadeus Mozart (1756-1791) - Lytaniae de Venerabili (1776)

⭐ Family, friends, and contemporaries of Johann Michael Haydn ⭐

Composer: Wolfgang Amadeus Mozart (1756-1791)
Work: Lytaniae de Venerabili (1776), KV 243
Performers: Angela Maria Blаsi (soprano); Elisabeth von Mаgnus (alto); Deon van der Wаlt (tenor); Alastair Mіles (bass); Arnold Schoenberg Chor; Concеntus musicus Wien; Nikolaus Harnoncourt (1929-2016, conductor)

Lytaniae de Venerabili (1776)
1. Kyrie 0:00
2. Panis vivus 3:03
3. Verbum caro factum 8:19
4. Dulcissimum convivium 16:49
5. Viaticum 20:59
6. Pignus futurae gloriae 23:09
7. Agnus Dei 28:08

Painting: Charles-Édouard Chaise (1759-1799) - Les Filles de Pélias demandant à Médée le rajeunissement de leur père (1791)
HD image: https://flic.kr/p/2rwCVzb
Painting: Attributed to Giambettino Cignaroli (1706-1770) - Portrait of Wolfgang Amadeus Mozart at the age of 13 in Verona (1770)
Image in high resolution: https://flic.kr/p/2iRTCbu

Further info: https://rism.online/sources/1001020586
Listen free: No available

---

(Joannes Chrysostomus Wolfgangus Theophilus) Wolfgang Amadeus Mozart [Mozzart, Mozartus]
(Salzburg, 27 January 1756 - Wien, 5 December 1791)

Austrian composer and keyboardist. Probably the best-known and most-studied composer of the Classical period, he was the son of Leopold Mozart (1719-1787). He received virtually all of his musical (and other) education from his father, beginning to compose music with short keyboard pieces in 1761 at the age of about 5. During this time he made his first public appearance as a dancer in a University of Salzburg student production. In 1762 he was taken on tour along with his sister, Maria Anna Mozart (1751-1829), to Munich and then to Vienna, where he performed before Empress Maria Theresia. The success of this journey provided an excuse for a grand tour that began a year later and was to last for almost two years, taking the family to Germany, Belgium, the Netherlands, France, England, and Switzerland. In 1765 he composed his first opera, a Latin play for the University of Salzburg titled 'Apollo et Hyacinthus'. By 1767 he was taken again to Vienna in the hopes of producing his first opera buffa, 'La finta semplice', and upon his return he was given a largely honorary post of Konzertmeister at the Salzburg court. In 1770 his father took him on the first of three journeys to Italy, where he was elected a member of the Accademia filarmonica in Bologna and celebrated in Milan, Rome, and Naples. The result was several opera commissions that were fulfilled over the next three years; these include 'Mithridate' and 'Lucio Silla'. He also devoted considerable time to instrumental composition, writing his first string quartets. In 1774 he was commissioned by the Elector of Bavaria to compose 'La finta giardiniera', but his increasing duties in Salzburg became onerous.

In 1777 he received his dismissal and permission to seek his fortune in Mannheim and Paris. The failure of this venture forced him to return to Salzburg, where he was given the position of court organist. In 1780 he wrote the first of his mature operas, 'Idomeneo', for Munich and a year later was set adrift from his official employment during a visit to the city of Vienna. For the remainder of his life he made his living as a teacher, composer, impresario (of his own subscription concerts or academies), and keyboardist in the Imperial capital. Although an abortive attempt by Emperor Joseph II to establish a German national theatre resulted in a Singspiel, 'Die Entführung aus dem Serail', he established himself with a trio of Italian works with texts by Lorenzo da Ponte: 'Le nozze di Figaro', 'Don Giovanni', and 'Cosí fan tutte'. In 1787 he was appointed as the successor of Christoph Willibald von Gluck as chamber musician to the Imperial court, a position that was mostly without obligation. He also had a number of opportunities to tour abroad, such as a trip in 1788 to Germany and numerous trips to Prague to oversee performances of his own operas. Toward the end of his life, his economic circumstances were often troublesome, and although he received commissions such as the coronation opera for Leopold II in Prague, 'La clemenza di Tito', and a Singpiel, 'Die Zauberflöte', for the theatre run by Emanuel Schickaneder, he suffered from financial distress. His last application as the successor to Leopold Hofmann at St. Stephen’s Cathedral was approved but the news only arrived after Mozart’s death.