Mozart in Salzburg

A Musical Milestone
MCG 2 - Essay

MOZART IN SALZBURG

Background Information
Wolfang Amadeus Mozart (born Johann Chrysostom Mozart, 27 January 1756,
Salzburg) is the son of a German composer, conductor, teacher, and violinist Leopold
Mozart. It was his very father that educated young Mozart, not only in music, but also in
other fields (mathematics, reading, writing, literature, and even dancing and religious
trainings). Mozart musical genius was shown at early age, at the age of four he managed
to learn and play works by Wagenseil, CPE Bach, and a number of anonymous minuets.
He composed as early at the age of five (a miniature Andante and Allegro, minuets in F
major and Allegro in B-flat major). This was in particular amazing, given the fact that at
the time Mozarts fingers could hardly reach a fifth on the keyboard1 .
During the years 1763 - 1773, Mozart and his family travelled across the Europe,
ranging from Munich, Frankfurt, Paris, London, Brussels, and even The Hague (for the
Princess of Nassau-Weilburg, to whom later Mozart wrote the keyboard and violin
sonatas K26-31)2. With these travels in Mozarts early years, he reaped rich musical
rewards : he acquired music that wasnt available (at the time) in Salzburg, or met
composers and performers who doesnt travel to South Germany or Austria, and even
absorb opinions (from his father) about various national styles and how to conduct
himself in public. Bitterly enough, Mozart also took heart to his fathers negative opinions
of Salzburg3 .
And this brings me to the point of the next chapter : although Mozart detested
Salzburg (evident from his letter to his father) : one of my chief reasons for detesting Salzburg
is the coarse, slovenly, dissolute court musicians4; and mainly because there is not a lot
opportunities for Opera pieces; it is during his stay in Salzburg (years 1773-1780) that
Mozart composed his only 5 violin concertos, most of his symphonies (the Salzburg
symphonies, counting 17), and of course, his first fully original piano concerto, the
Piano Concerto No. 5 in D Major, K175. This essay analyses the profound musical
developments of Mozart during his time in Salzburg (both religious and secular works),
and possibly, the use of his composition as incidental music on tragedies. Also at the same
time, uncovering the reason why Mozart withdrew himself from his hometown, Salzburg,
in 1780.
1

Barrington, Daines. Philosophical Transactions. 1771. p54 - 64.

https://oxfordmusiconline.apps.ahk.nl/subscriber/article/grove/music/40258pg3#S40258.3.2

Mozart, Leopold. Letter from Schwetzingen. 1763.

Mozart, Wolfgang Amadeus. Letter to Leopold Mozart. 9 July 1778.

MOZART IN SALZBURG

Early Salzburg Years (1772 - 1774)

Archbishop Schrattenbach, who died on 16 December 1771, the day after Wolfgang's
return from the second Italian tour, was succeeded in March 1772 by Hieronymus
Colloredo. Colloredo modernised the archdiocese on the Viennese model. The court music
in particular suffered, and many traditional opportunities for music-making were
eliminated: the university theatre, where school dramas (the nearest Salzburg equivalent
to opera) had been performed regularly since the 17th century, was closed in 1778; the
Mass was generally shortened; restrictions were placed on the performance of purely
instrumental music as well as some instrumentally accompanied sacred vocal music at the
cathedral and other churches; and numerous local traditions, including the firing of
cannons and the carrying of pictures and statues during church processions as well as the
famous pilgrimage to Pinzgau, were abolished. Despite the changes Colloredo brought,
private orchestras were established (first of them by Colloredos nephew, Count Johann
Rudolf Czernin).
Certainly these changes profoundly influenced traditional composition and
performance in Salzburg. Yet they also encouraged other kinds of musical activity. In 1775
Colloredo ordered that the Ballhaus in the Hannibalgarten be rebuilt, at the city's expense,
as a theatre for both spoken drama and opera. The first troupe to play there performed
Der Zerstreute (J.F. Regnard), with incidental music by Joseph Haydn (Symphony no. 60, Il
Distratto)5 . Geblers tragedy Thamos, Knig in gypten (maybe) performed with incidental
music by Mozart (later in 1780, Schikaneders troupe visited and Mozart composed the
aria kAnh. 11a for his production of Die zwei schlaftlosen Nchte.
Despite the evident musical difficulties (promotion of Italians at the expense of local
German talents), the Mozart family prospered financially : mostly because Mozart
composed prolifically during the early years of Colloredo's rule. He wrote the masses
k167, 192 and 194, the litanies k125 and 195, the Regina coeli k127, more than a dozen
symphonies (from k124 to k202), the Keyboard Concerto k175 (possibly for organ) and the
Concertone for two solo violins k190, the serenade k203, the divertimentos k131, 166 and
205 and the Quintet k174. Mozarts serenata Il song di Scipione, originally composed for
the 50th anniversary of Schrattenbachs ordination, was reworked in 1772 and performed
during Colloredos enthronement. Mozart was then formally taken into the paid
employment of the court, as Konzertmeister. As a result, in late 1773, they moved from
5

https://oxfordmusiconline.apps.ahk.nl/subscriber/article/grove/music/40258pg3#S40258.3.3.
oxfordmusiconline.com. 2nd Paragraph.

MOZART IN SALZBURG

their apartment where they lodged with the Hagenauers to a larger one, the so called
Tanzmeistaerhaus, in the Hannibalplatz. This move reflected Leopolds consciousness of
their status in Salzburg society : the family was socially active, taking part in shooting
parties and in constant music-making and often receiving visitors6.
Despite being socially concious, Mozarts rejection of court musical life was
transparent : it was about 1774 when he started to withdraw from the Salzburg court
music. Although the root cause was unclear, the family letters documented that they
frequently complain of longstanding troubles with Colloredo, who is described rude and
insensitive. The fact that Italian musicians were better paid than local musicians was also
a point7. Colloredos attempts to reform music-making in Salzburg and the conditions of
Mozarts employment drove them further away from the court music, thus although he
continued to compose church music (which was then the primary duty), it was with little
enthusiasm. Instead, Mozart established himself as the chief composer in Salzburg of
instrumental and secular music. It is very likely that this was encouraged by Leopold,
who during his heyday was a successful local composer of symphonies and serenades.
Mozart wrote many of his secular works for private patrons rather than the court.

Later Years (1774 - 1781)

His early secular works (and also church music) was heavily influenced with the
Italian style, e.g. La finta giardiniera (composed in Munich, 1774-1775); Il re pastore; litanies
k195 & k243. Several symphonies are also on the pattern of the Italian overture (e.g.
Symphony in g minor, k181 and Symphony in E flat major, k184). It was not until his trip
in 1773 to Vienna, that Mozart cultivated interest in counterpoint (as well as a general
deepening of his style at the time). During the trip, he composed six string quartets
(because of the unpopularity of string quartet in Salzburg, where the chief forms of
chamber music were trio for two violins and bass, and divertimento for string quartet and
two horns). His first original piano concerto, the Piano Concerto No. 5 k175, exploits
counterpoint in ways not previously found in his orchestral music. The finale starts with
an imitative gesture that returns in various appearance throughout the movement8 .

Solomon, Maynard. Mozart: A life. 1995. p106.

Solomon, Maynard. Mozart: A life. 1995. p98.

Eisley, I.R. Mozart and Counterpoint: Development and Synthesis. 1963. p23.

MOZART IN SALZBURG

From the year 1775 on, his church music compositions (masses k220, 257 - 259, 262
and 275, the litany k243 and the offertory k277) was labelled meagre, compared to those of
Michael Haydns. On the other hand, his output for secular works increased9 : Four violin
concertos (k211, 216, 218 and 219) and four piano (keyboard) concertos (k238, k242, k246,
and the Piano Concerto in E-flat major, k271 - which was deemed a breakthrough work by
critics10 ). k271 in particular far exceeded his earlier orchestral music, with is virtuosity,
elements of surprise, and exploitation of effects. In many ways, it represents a new, more
elaborate style that defined Mozarts style in the late 1770s.
In August 1777, Mozart wrote a petition asking Archbishop Colloredo for his release
from employment, and in response, he and his father got dismissed. However, Leopold
felt he could not afford to leave Salzburg, and so Mozart set out with his mother on
September, to secure a well-paid employment. It is worth noting that during these travels,
his mother passed away while in Paris in 1778. During this tragic time (in which, not only
losing his mother, his father also blamed him for her death), Mozart composed his Piano
Sonata No. 8 in a minor, k310. Mozart was (at the time) devastated, and as a result, this
becomes one of his darkest sonatas.
It was not only until 1779 that he arrived back in Salzburg. Immediately after
arriving, Mozart was reinstated as a court organist under favourable conditions. During
1779 - 1780, he carried his duties with determination, as he composed, among other things
(Missa solemnis k337, vespers settings k321 and 339), the Coronation Mass k317 (1779).
Despite this, Colloredo was not satisfied, evidently shown in the document appointing
Michael Haydn court and cathedral organist in 1782 : We accordingly appoint [J.M.
Haydn] as our court and cathedral organist, in the same fashion as young Mozart was
obligated, with the additional stipulation that he show more diligence and compose
more often for our cathedral and chamber music11.
But this dissatisfaction might have been because of Mozarts other works at the time
(mostly secular works); namely the Concerto for two pianos k365, the Sonata for piano
and violin k378, the symphonies k318, k319, and k338, the incidental music for Thamos,
Knig in gypten and Zaide. Few of these music would have been performed at court.
Thus, it is clear that Colloredo expected Mozart to take a more active role and
participation in the court music. During his final years in Salzburg, then, Mozart reverted
to the pattern of 1774 - 1777, in which he fulfils his duties in court (he shall as far as possible
9https://oxfordmusiconline.apps.ahk.nl/subscriber/article/grove/music/40258pg3#S40258.3.3.
10

6th Paragraph

Solomon, Maynard. Mozart: A life. 1995. p103.

11

As quoted from https://oxfordmusiconline.apps.ahk.nl/subscriber/article/grove/music/

40258pg3#S40258.3.3, penultimate paragraph.

MOZART IN SALZBURG

serve the court and the church with new compositions made by him), but half-heartedly. His
music-making was intended instead for a small circle of friends and the local nobility. This
mark the end of his time in Salzburg - as in the summer of 1780, he began travelling again
to Munich to compose a serious opera for the city (Idomeneo), and afterwards summoned
to Vienna in 1781 by Colloredo (while in temporary residence for the celebrations of the
accession of Emperor Joseph II). While in Vienna, Mozart asked for his discharge, and on 8
June, he was finally and decisively released from Salzburg service, with a kick on my arse
by order of our worthy Prince Archbishop12.

Conclusion
To conclude, I would like to point out a several things : interestingly enough, Mozart
didnt write any piano sonatas during his stay in Salzburg (1772 - 1781). Instead, most of
them were written during the travel periods (to Munich, around 1774 - 1775; and Paris,
1778). Mozart was thoroughly discontent of his position in the music court of Salzburg
(salary, work restrain and pressure problems); and the restrictions for him to compose
other works did make matters worse (although, he cultivated to the adulthood during his
period in Salzburg, and thus maturing his musical style - as evident in his secular works).
His resignation at 1781 was regarded as many as a revolutionary step, that greatly
altered the course of his life13.
Sources used are mentioned at the footnote of each pages, direct or indirect quotes
are marked throughout the essay.

12

Letter of 9 June 1781.

13

Solomon, Maynard. Mozart: A life. 1995. p103.

MOZART IN SALZBURG