Wolfgang Amadeus Mozart, whose full name was Johannes Chrysostomus Wolfgangus Theophilus Mozart, was born on 27 January 1756 in the city of Salzburg, which was then part of the Archduchy of Austria. At the time, Salzburg held the status of an independent prince-archduchy within the Holy Roman Empire.

Mozart’s father, Leopold Mozart (1719–1787), was a musician from Augsburg in Germany. He served in the court orchestra of Salzburg and was renowned for his expertise in music education. His work Violinschule (1756) is a foundational treatise on violin instruction. As a composer, violinist, and music theorist, Leopold Mozart took an active role in his son’s musical training.

Mozart’s mother, Anna Maria Pertl (1720–1778), was the daughter of a Salzburg family. Wolfgang Amadeus Mozart was the second of seven children to survive infancy. Their first child, Maria Anna Walburga Ignatia Mozart (1751–1829), known within the family as “Nannerl,” was a skilled keyboard player. The Mozart family belonged to a musical bourgeois household adhering to Catholic traditions. The house in which they lived is now open to the public as a museum in Salzburg under the name “Mozart’s Birthplace” (Mozarts Geburtshaus).

Musical Education

Mozart’s interest and talent in music became evident at the age of three. His father Leopold was then teaching his daughter Maria Anna (“Nannerl”) to play the keyboard. Wolfgang observed his sister’s lessons and began composing his own melodies on the instrument. In 1761, at the age of five, Mozart started composing short musical pieces and performed small theatrical plays and dances. In 1762, at the age of six, he gave his first public concert in Munich.

To further develop his son’s talent, Leopold Mozart organized European tours beginning in 1762, which included Wolfgang and Maria Anna. These tours covered major musical centers such as Munich, Vienna, Paris, London, The Hague, Mannheim, and Zurich. During these journeys, Wolfgang performed for aristocratic circles, was hosted at royal courts, and met leading musicians of the era.

This concert tour, lasting from 1763 to 1766, profoundly influenced Mozart’s observational and learning abilities in music. In London, he performed before the British Royal Family and met Johann Christian Bach (son of Johann Sebastian Bach), from whom he absorbed significant musical influences. He began composing his first symphonies during this period. Mozart also studied academic subjects such as languages, history, and mathematics alongside his musical training. His father Leopold personally supervised these studies to support his son’s development. It is documented that Mozart could speak French, Italian, and Latin in addition to German.

While in London between 1764 and 1765, Mozart composed his first large-scale symphony, known as Symphony No. 1 in E-flat major, K. 16, which is recorded as his first complete symphony written at the age of eight. The minuets, sonatas, and variations he composed during this period demonstrate his early mastery of structural coherence in music.

European Tours and Early Works

1762 – Munich and Vienna: Mozart embarked on his first European tour with his father Leopold Mozart and sister Maria Anna. In Munich, he performed before Maximilian III Joseph, Elector of Bavaria. Later that year, he gave a performance at the Austrian Imperial Court in Vienna and was received by Empress Maria Theresa. During this period, he composed several dance pieces and small keyboard works.

1763–1766 – Western European Tour: Beginning in Salzburg, this extended tour took the Mozart family through Germany, France, Belgium, the Netherlands, England, and Switzerland. Cities visited included Augsburg, Mannheim, Paris, London, The Hague, Brussels, Lyon, Geneva, and Zurich.

1763–1764 – Paris: Mozart performed keyboard works for the French aristocracy. During this time, his Keyboard Sonatas (K. 6–9) were published.

1764–1765 – London: Mozart performed at the Royal Palace before King George III and Queen Charlotte. He met Johann Christian Bach and composed his Symphony No. 1 in E-flat major, K. 16, in London.

1765–1766 – Netherlands and The Hague: Despite falling ill in the Netherlands, Mozart continued composing. He wrote various sacred works and symphonies, including Symphony No. 5 in B-flat major, K. 22. In The Hague, he composed special music for the birthday of the Prince of Orange.

1766–1769 – Salzburg: Back in Salzburg, Mozart composed instrumental works and music for German and Latin school plays. In 1768, he composed the Singspiel Bastien und Bastienne in Vienna. The same year, he wrote the opera buffa La finta semplice, which was not staged.

1769–1773 – Italian Travels and Returns to Salzburg: In 1769, Mozart traveled to Italy. He received a commission for an opera in Milan. In Rome, he was awarded an honorary knighthood by the Pope. He was admitted to the Accademia Filarmonica in Bologna. During this period, he composed operas seria: Mitridate (1770), Ascanio in Alba (1771), and Lucio Silla (1772). He also wrote his first string quartets. In late 1771, he continued composing symphonies, including Nos. 14 to 21, while in Salzburg.

1778–1779 – Paris: Mozart remained in Paris from March 1778 to January 1779. During this time, his mother died. He did not secure an opera commission but composed the Sinfonia Concertante for wind instruments, a concerto for flute and harp, several chamber works, and the ballet music Les Petits Riens. He also gave private lessons.

1781–1791 – Vienna: Mozart moved to Vienna in 1781 and lived there until his death. During this period, he composed a vast number of works across many genres.

Musical Style and the Classical Period

Wolfgang Amadeus Mozart is regarded as one of the principal representatives of the Classical period in European music during the second half of the 18th century. His musical output reflects the stylistic characteristics of the era while expanding its boundaries. The Classical Period, spanning approximately 1750 to 1820 in Western music history, is defined by balance, clarity, symmetry, formal structure, simplicity, and natural expression.

Structural Usage: Structural forms are central to Mozart’s music. He employed sonata form, rondo, theme and variations, and fugue. In his works, he developed thematic material while preserving formal integrity. Melody,

Harmony and Rhythm: Mozart maintained melodies that were fluid, balanced, and memorable. His harmonic structures adhered to Classical conventions but occasionally incorporated modulations, surprising cadences, and unexpected transitions to extend harmonic boundaries.

Development of the Concerto Form: Mozart played a pivotal role in the evolution of the piano concerto. Many of his 27 piano concertos have become staples of the concerto repertoire.

Contributions to Opera: Mozart made significant contributions to opera. He composed works in the opera seria, opera buffa, and Singspiel genres. His operas advanced the evolution of Classical opera through character development, dramatic structure, and orchestral richness. His skill in creating multi-voiced ensembles and dramatic contrasts became defining features of his operatic works.

Transition from Baroque to Classical: Some of Mozart’s works, particularly those containing fugues and contrapuntal passages, reflect Baroque influences. He studied the music of J.S. Bach and Handel and integrated their techniques to enrich Classical forms. In his late works, such as the Requiem and the Jupiter Symphony, elements of both periods are clearly evident.

Opera and Stage Works

Wolfgang Amadeus Mozart was an active composer in the field of opera during the second half of the 18th century. His output in stage works contributed significantly to the operatic understanding of the era through its musical structure, dramatic construction, and character development. Throughout his life, Mozart composed both serious and comic operas, as well as works in the Singspiel (sung dialogue) genre.

Dramatic Structure: Scene transitions maintain musical continuity, ensuring narrative coherence.

Orchestration: The orchestra is not merely an accompaniment but an active dramatic element.

Ensemble Sections: Duets, trios, quartets, and other ensemble passages are used to advance dramatic development.

Major Opera Genres

Opera Seria (Serious Opera): Typically based on historical or mythological subjects, it features themes of royalty, heroism, and virtue. Mozart adhered to the conventions of this genre but grounded his characters in human and dramatic realism.

Opera Buffa (Comic Opera): Draws on everyday life, class differences, and social satire. Mozart combined humorous elements with sophisticated musical techniques in this genre.

Singspiel (Sung Play): A German-language opera genre that alternates spoken dialogue with musical numbers.

Major Works

Idomeneo, K. 366 (1781): Mozart’s first major opera seria. It draws on ancient mythology and exemplifies the operatic conventions of its time in both musical and staging terms.

Le nozze di Figaro (The Marriage of Figaro), K. 492 (1786): An example of opera buffa. The libretto by Lorenzo Da Ponte centers on class conflict, individual rights, and love. It draws attention for its political subtext and melodic richness.

Don Giovanni, K. 527 (1787): A synthesis of opera buffa and opera seria elements with strong dramatic weight. Its treatment of the Don Juan myth and musical narrative holds a significant place in classical music history.

Così fan tutte, K. 588 (1790): The final installment of the Da Ponte trilogy. It explores themes of relationships, fidelity, and identity. Despite its subject matter, it exemplifies Mozart’s mastery of counterpoint and complex vocal structures.

Die Zauberflöte (The Magic Flute), K. 620 (1791): Premiered shortly before Mozart’s death. Written in the Singspiel form, its plot is shaped by symbolic, allegorical, and Masonic elements. Though presented as a folk tale, it carries profound philosophical content.

La finta giardiniera, K. 196 (1775): Composed in the opera buffa style, it revolves around romantic confusion and mistaken identities. It is one of Mozart’s early stage works.

La clemenza di Tito, K. 621 (1791): Mozart’s final opera seria. Centered on the clemency of the Roman Emperor Titus, it reflects classical forms despite being composed rapidly.

Influence of Turkish Music and the Alla Turca Style

The Eastern influences found in some of Wolfgang Amadeus Mozart’s works are linked to the widespread 18th-century European musical trend known as “Alla Turca” (in the Turkish style). This movement emerged during a period when Ottoman cultural influences were reflected in Europe, particularly in Austria, Germany, and France, impacting music, fashion, and stage arts.

“Alla Turca” means “in the Turkish style” in Italian. The term was used to describe a stylized interpretation of Ottoman Mehter music. Mehter music, performed by the Ottoman military band (Mehterhâne), attracted Western attention due to its rhythmic structure, use of percussion instruments, and high volume. Instruments such as cymbals, bass drums, large horns, and zurna-like instruments were considered “exotic” by European musical circles.

Throughout the 17th and 18th centuries, relations between the Ottoman Empire and European states included both warfare and diplomatic exchanges. Interest in the Ottomans intensified after the Second Siege of Vienna in 1683, triggering a cultural wave known as “Turquerie.” This fascination extended beyond music to Ottoman clothing, coffee, tulips, ceramic patterns, harem themes, and other elements that appeared in painting, stage arts, decorative arts, and architecture. Ottoman ambassadors’ visits to European courts, during which Mehter performances were showcased, further promoted the spread of “Turkish-style” music in Europe.

Musical Characteristics of the Alla Turca Style

The musical practices of the European “Alla Turca” movement were generally based on the rhythmic and sonic patterns of Mehter music. These features include: strong use of percussion instruments (cymbals, bass drums); prominent use of binary or ternary rhythmic structures; syncopations and accented beats; martial melodies created through arpeggios and repeated notes; ornamental melodic lines; and characteristic dynamic intensity.

Mozart did not treat this style as superficial decoration but as an integral part of musical expression. In works influenced by “Alla Turca,” he integrated Mehter elements into Western orchestral forms through melodic structure, rhythmic organization, and dynamic contrast. The “Alla Turca” style was not unique to Mozart; it also appeared in the works of contemporaries such as Beethoven, Haydn, and Gluck.

This music influenced the development of Western military bands, particularly expanding the use of percussion instruments. “Alla Turca” compositions were also used in stage works featuring Ottoman figures and Eastern themes. In this sense, it functioned as a form of cultural communication across time.

Turkish-Themed Works

In the final quarter of the 18th century, Wolfgang Amadeus Mozart composed several stage and instrumental works influenced by Ottoman-Turkish culture. These works reflect the musical manifestations of the rising “Turquerie” trend in Europe. Mozart treated this theme as both exotic and dramatic, integrating Turkish characters or Ottoman palace settings into diverse musical structures.

Piano Sonata No. 11 in A major, K. 331 – Rondo Alla Turca (“Turkish March”): The third movement, “Rondo Alla Turca,” is one of Mozart’s most famous and frequently performed pieces. This section features a march rhythm reminiscent of Mehter music, emphasized accompaniments, repetitive motifs, and percussive textures. The title “Alla Turca” highlights the Turkish musical influence. The “Turkish character” is created on the piano without actual percussion instruments.

Violin Concerto No. 5 in A major, K. 219 – “Turkish Concerto”: Composed in 1775, this concerto exhibits Turkish musical influences, especially in its final movement. Rapid, sharp rhythmic shifts, percussive-like accompaniments, and irregular melodic lines evoke the sound of a Turkish march. For this reason, the work became popularly known as the “Turkish Concerto.”

Die Entführung aus dem Serail (The Abduction from the Seraglio), K. 384: Completed in 1782, this Singspiel centers on a rescue story set in an Ottoman palace. Characters include Pasha Selim, Konstanze, Belmonte, and Osmin. Mozart employed orchestral techniques resembling Mehter music, notably the prominent use of percussion instruments (cymbals, bass drum, triangle), to evoke a “Turkish” atmosphere. The musical language combines dramatic expression with folk-like melodies. The plot reflects the contemporary European image of the Ottoman Empire through the figure of the “merciful pasha.”

Zaide, K. 344 – Unfinished Turkish-Themed Opera: Zaide tells a love and escape story set during the reign of Sultan Suleiman. The libretto is in German and follows the Singspiel form with spoken dialogue. Although unfinished, the work contains themes of the Ottoman palace, harem, and slavery. Some arias feature rhythmic patterns reminiscent of Mehter tempos.

Le gelosie del seraglio (The Jealousies of the Seraglio), KV Anh. 109/135a (1772): This ballet is based on a stage scenario of intrigue and jealousy set in an Ottoman palace. Its eighth dance features a rhythmic structure inspired by Janissary music. As a whole, it exemplifies European stage representations of the “Turkish palace.”

In these works, Mozart juxtaposed Eastern and Western characters to create dramatic contrasts. In most cases, Turkish figures or Turkish musical elements were used not as political commentary but as artistic and cultural subjects of fascination.

Final Years and Death

Wolfgang Amadeus Mozart spent the last decade of his life (1781–1791) in Vienna, the capital of Austria. This period was marked by both high productivity and financial hardship. He faced economic difficulties and sought to support himself through commissions and performances.

Vienna Years (1781–1791): In 1781, Mozart left his position at the Salzburg court and settled in Vienna as a freelance composer. During this time, he composed numerous symphonies, piano concertos, operas, and chamber works. He organized public concerts and taught students. In 1782, he premiered the opera The Abduction from the Seraglio. He wrote the operas The Marriage of Figaro (1786), Don Giovanni (1787), and Così fan tutte (1790). He also produced symphonic masterpieces such as Piano Concerto No. 23 (K. 488), Symphony No. 40 (K. 550), and the Jupiter Symphony (K. 551). During these years, Mozart became a member of a Masonic lodge and incorporated Masonic symbols and values into some of his works. The opera The Magic Flute (1791), composed in the year of his death, is interpreted within this context.

Final Work: Requiem (KV 626): Mozart’s final work, left incomplete at his death, was the Requiem (KV 626), a mass for the dead. It was commissioned anonymously by a messenger (later identified as Count Franz von Walsegg). Mozart died before completing the work. The remaining sections were finished by his student Franz Xaver Süssmayr.

Death

Mozart died on 5 December 1791 at the age of 35 in his home in Vienna. Contemporary records list the cause of death as “acute miliary fever,” but modern researchers have proposed various medical explanations, including chronic kidney failure, rheumatic fever, and infectious diseases. Some claims suggest he was poisoned, but these lack scientific evidence.

Funeral

In accordance with the common practice of the time, Mozart was buried in a “third-class” funeral at the St. Marx Cemetery (Sankt Marxer Friedhof). Such graves did not include individual tombstones; therefore, the exact location of Mozart’s grave is unknown today. However, a memorial stone was later erected at the cemetery, and another monumental tomb was constructed at the Vienna Central Cemetery (Zentralfriedhof).

Mozart’s death made a significant impact on the European musical world of the 18th century. Despite his young age, his more than 600 compositions demonstrate his enduring place in music history. Although he faced financial hardship in his final years, his artistic output remained intense.

Mozart’s Legacy

There is a substantial body of academic publications, articles, and analytical studies on Mozart. These works provide data not only on his musical content but also on the social, political, and cultural structures of his era. His life and works have also inspired numerous literary works, theatrical plays, and films. One well-known example is the 1984 film “Amadeus.”

Mozart’s compositions are now foundational texts in music education at nearly all levels. In particular: Piano sonatas and concertos serve as essential resources for technical development and expressive skill.

Chamber music works are used as models for ensemble discipline and cohesion. Symphonies and operas are primary sources in musicology education for the study of analysis, form, orchestration, and dramatic structure.

Many physical sites associated with Mozart now function as museums: his birthplace in Salzburg (Mozarts Geburtshaus) and his residence in Vienna (Mozarthaus Vienna). These venues are equipped with musical documents, manuscripts, personal belongings, and period instruments. Visitors each year explore these museums to gain firsthand historical insights into Mozart’s life.

Mozart’s name has been given to numerous musical institutions, orchestras, competitions, and festivals around the world: The Salzburg Mozarteum University and the International Mozart Foundation conduct educational and archival activities. The annual Salzburg Mozart Festival presents live performances of his works. International competitions also encourage young musicians to develop their skills within Mozart’s repertoire.