* Don Alfonso, character in Mozart's opera Così fan tutte

Salieri's Chimney Sweep and Mozart's work for the same company in 1782, Die Entführung aus dem Serail ( The Abduction from the Seraglio ) would be the only two major successes to emerge from the German singspiel experiment, and only Mozart's opera would survive on the stage beyond the close of the 18th century.

Mozart's opera Don Giovanni was originally intended to be performed in honor of Anton and his wife for a visit to Prague on 14 October 1787, as they traveled between Dresden and Vienna, and librettos were printed with dedication to them.

* Despina, a character in Mozart's opera Così fan tutte

In 1768, when court intrigue prevented the performance of La Finta Semplice ( K. 51 ) for which a twelve-year-old Wolfgang Amadeus Mozart had composed 500 pages of music, Mesmer is said to have arranged a performance in his garden of Mozart's Bastien und Bastienne ( K. 50 ), a one-act opera, though Mozart's biographer Nissen has stated that there is no proof that this performance actually took place.

And Wolfgang Amadeus Mozart's opera " Apollo et Hyacinthus " was performed by males only, although the libretto differed from the original text of Ovidius to reduce homosexual relations among Apollon, Hyacinthus, and Zephyrus.

* 1782 – First performance of Wolfgang Amadeus Mozart's opera Die Entführung aus dem Serail.

But Mozart's contribution to opera seria was more mixed ; by his time it was dying away, and in spite of such fine works as Idomeneo and La clemenza di Tito, he would not succeed in bringing the art form back to life again.

Mozart's Singspiele, Die Entführung aus dem Serail ( 1782 ) and Die Zauberflöte ( 1791 ) were an important breakthrough in achieving international recognition for German opera.

* 1766 – Nancy Storace, the first soprano to sing Susanna in Mozart's opera Le nozze di Figaro ( d. 1817 )

* 1787 – Mozart's opera Don Giovanni receives its first performance in Prague.

* October 29 – Wolfgang Amadeus Mozart's opera Don Giovanni ( libretto by Lorenzo da Ponte ) premieres in the Estates Theatre in Prague.

* January 26 – Mozart's opera " Cosi Fan Tutte " premiered in Vienna.

* May 1 – Mozart's opera The Marriage of Figaro premieres in Vienna.

Mozart's participation increased with his contributions to the 1790 collaborative opera Der Stein der Weisen ( The Philosopher's Stone ), including the duet (" Nun liebes Weibchen ", K. 625 / 592a ) and perhaps other passages.

Rossini's opera recounts the first of the plays from the Figaro trilogy, by French playwright Pierre Beaumarchais, while Mozart's opera Le nozze di Figaro, composed 30 years earlier in 1786, is based on the second part of the Beaumarchais trilogy.

Mozart's opera emerged as its outstanding original success.

Mozart also made a strong impression on the manager of the theater, Count Franz Xaver Rosenberg-Orsini, when in the home of Mozart's friend and patroness Maria Wilhelmine Thun the Count heard him play excerpts from his opera Idomeneo, premiered with great success the previous year in Munich.

Although the opera greatly raised Mozart's standing with the public as a composer, it did not make him rich: he was paid a flat fee of 100 Imperial ducats ( about 450 florins ) for his work, and made no profits from the many subsequent performances.

The complexity of Mozart's work, noted early on by Goethe, also plays a role in a well-known tale about the opera.

* Wolfgang Amadeus Mozart's opera La finta giardiniera

As noted by Hermann Abert in his " W. A. Mozart ," the set of variations K. 500 of 1786 " includes a handful of novel pianistic effects that are foreign to Mozart's earlier style and that clearly reflect the influence of Clementi.

This symphony is an extremely compressed contrapuntal unfolding of ideas that owes as much to Bach as to Romanticism, and includes the classical four movements – the finale is reminiscent of the last movement of Mozart's Symphony No. 41.

His output varies from the sublime to the ridiculous, and he showed a sense of humor not often associated with sacred music: for example, one of his motets satirizes poor singers ( his setting of Super flumina Babylonis, for five voices ) which includes stuttering, stopping and starting, and general confusion ; it is related in concept if not in style to Mozart's A Musical Joke.

Johann Sebastian Bach and Franz Liszt were key influences, though late in his career much of his music has a neo-classical bent, and includes melodies resembling Mozart's.

* 1843: Søren Kierkegaard's Either / or in which he discusses Mozart's musical interpretation of Don Giovanni, and includes another text which develops a similar character called Johannes (" Diary of a seducer ").

* Haydn's opera L ' incontro improvviso (" The Unforeseen Encounter ", 1775 ) is somewhat similar in its subject to Mozart's later " Abduction from the Seraglio " and also includes Alla turca music, for instance the overture.

* Die Lieder Sineds des Barden, Wien 1772 ( which includes the text to Mozart's Gibraltar ).

Mozart's early correspondence with Marianne is affectionate, and includes some of the scatological and sexual word play in which Mozart indulged with intimates.

His short film work includes Sound Engine, an early study made for onedotzero2 set to an Autechre song ; 3space, again specially made for onedotzero and set to the overture of Mozart's The Marriage of Figaro ; and Monocodes.

Robert Mann's solo discography includes Béla Bartók's Solo Violin Sonata, the Sonata No. 1 for violin and piano, and Contrasts ; Beethoven's complete violin sonatas ( with pianist Stephen Hough ); many of Mozart's violin sonatas, with pianist Yefim Bronfman ; and Elliott Carter's Duo for Violin and Piano, with Christopher Oldfather.

Although Beaumarchais's Marriage of Figaro was at first banned in Vienna because of its licentiousness, Mozart's librettist managed to get official approval for an operatic version which eventually achieved great success.

Though Clementi noted in subsequent publications of his sonata that it had been written ten years before Mozart's opera — presumably to make clear who was borrowing from whom — Clementi retained an admiration for Mozart, as reflected in the large number of transcriptions he made of Mozart's music, among which is a piano solo version of the " Zauberflöte " overture.

The other exceptions include a boy's choir " Christmas Medley " played while the characters drive through Los Angeles, the Molto allegro from Mozart's Jupiter Symphony ( heard as Annie and Alvy drive through the countryside ), Tommy Dorsey's performance of " Sleepy Lagoon ", and the muzak version of the Savoy Brown song " A Hard Way to Go ", playing over a party in the mansion of Paul Simon's character.

Schonberg focused primarily on Strauss's recordings of Mozart's Symphony No. 40 and Beethoven's Symphony No. 7, as well as noting that Strauss played a breakneck version of Beethoven's 9th Symphony in about 45 minutes.

Präparierter Text 1 is adapted from the second movement of Brahms ' Symphony No. 1, and is for violin and magnetic tape ; Präparierter Text 2 is adapted from the first movement of Mozart's Jupiter Symphony ( No. 41 ), and is for flute, trumpet, timpani, violin, cello and double bass ; Präparierter Text 3 is adapted from the fourth movement of Beethoven's Symphony No. 9, and is for cymbal, bass drum and magnetic tape ; and Präparierter Text 4 is adapted from the Ricercar a 6 from Johann Sebastian Bach's Musical Offering and is for chamber orchestra ( a version for full orchestra followed in 1970 ).

In 1973 David Willcocks conducted a set for HMV in which all the soprano arias were sung in unison by the boys of the Choir of King's College, Cambridge, and in 1974, for DG, Mackerras conducted a set of Mozart's reorchestrated version, sung in German.

Additional releases included a number of Beethoven symphonies recorded with the New York Philharmonic during the 1930s, a performance of Mozart's Piano Concerto No. 27 on February 20, 1936, at which Rudolf Serkin made his New York debut, and one of the most celebrated underground Toscanini recordings of all, the legendary 1940 broadcast version of Beethoven's Missa Solemnis, which has better soloists ( Zinka Milanov, Jussi Bjoerling, both in their prime ) and a more powerful style than the 1953 RCA studio recording, although the microphone placement was kinder to the soloists in 1953.

Ingmar Bergman, who famously made a film version in Swedish of Mozart's Die Zauberflöte, turned down an invitation to direct the festival.

( His Clarinet Concerto in A Major, KV 622, however, appears originally to have been written for a clarinet with an extended lower range, a basset clarinet in A, though there is an earlier version of part of the first movement, KV 621b in the Köchel catalogue of Mozart's works, scored for G basset horn and pitched a major second lower, in the key of G major.

Zaslaw adds: " The version without clarinets must also have been performed, for the reorchestrated version of two passages in the slow movement, which exists in Mozart's hand, must have resulted from his having heard the work and discovered an aspect needing improvement.

" is mostly in-tact with a few changes to the long recitativo before hand, but when Idamante ( specifically written to be sung by a Tenor in this version ) enters, he sings Mozart's " Non temer amato bene " K490 ( which was added to Mozart's original revision of Idomeneo ) instead of " Non ho colpa ".

A comparison between Mozart's draft and Süssmayr's version reveals that Süssmayr used very little of Mozart's material.

Liszt also composed a fantasy on Mozart's work, preceded by a version of Allegri's celebrated ' Miserere ', under the title ' À la Chapelle Sixtine ' 461 – two versions.

Mozart's version, with instruments only, was adapted by Pyotr Ilyich Tchaikovsky as one of the sections of his Mozartiana, a tribute to Mozart.

The libretto was picked up when Mozart ( just 19 at the time ) and his father saw a performance of it set to music composed by Felice Giardini – Mozart's version, however was two acts rather than Giardini's three, and has a few substantial changes.

* Program notes on Mozart's version of Handel's Messiah, from the Los Angeles Chamber Orchestra

* Program notes on the Proms 2006 performance of Mozart's version of Handel's Alexander ’ s Feast, from The English Concert written by the conductor Andrew Manze

Conlon has also conducted the orchestra for Kenneth Branagh's The Magic Flute ( 2006 ), a film version in English of Mozart's opera, reset during World War I, but otherwise very faithful to the original plot.

The only relic of this concerto written in Mozart's hand is an excerpt of an earlier rendition of the concerto written for basset horn in G. This excerpt is nearly identical to the corresponding section in the published version for A clarinet.

Even in Mozart's day, the basset clarinet was a rare, custom made instrument, so when the piece was published posthumously, a new version was arranged with the low notes transposed to regular range.