* Salieri's supposed hatred for Mozart is also alluded to in a spoof opera entitled A Little Nightmare Music, by P. D. Q.

This was " Entered according to act of Congress, in the year 1835, by C. Bradlee, in the clerk's office of the District Court of Massachusetts ", according to the Newberry Library, which also says, " The theme is that used by Mozart for his piano variations, Ah, vous dirai-je, maman.

Moreover, Mozart also had a taste for more chromatic chords ( and greater contrasts in harmonic language generally ), a greater love for creating a welter of melodies in a single work, and a more Italianate sensibility in music as a whole.

Computers have also been used in an attempt to imitate the music of great composers of the past, such as Mozart.

He has used this program to great effect with composers such as Bach and Mozart ( his program Experiments in Musical Intelligence is famous for creating " Mozart's 42nd Symphony "), and also within his own pieces, combining his own creations with that of the computer.

The fifth finger may also have been used on earlier, more lightly strung modern harps: Madame de Genlis, for example, in her Méthode, published in Paris in the early nineteenth century, promotes the use of all five fingers, while Roslyn Rensch suggests that Mlle de Guînes, the harpist for whom Mozart wrote his Concerto for Flute and Harp, might occasionally have used all five fingers when playing the harp.

Mozart also wrote for the viola in his Sinfonia Concertante in which the solo viola and violin are equally important, a set of two duets for violin and viola, and the Kegelstatt Trio for viola, clarinet, and piano.

( See also: Mozart and Roman Catholicism )

He had a startling fondness for scatological humor, which is preserved in his surviving letters, notably those written to his cousin Maria Anna Thekla Mozart around 1777 – 1778, but also in his correspondence with his sister and parents.

( See also: Mozart and scatology )

Die Entführung aus dem Serail ( K. 384 ; The Abduction from the Seraglio ; also known as Il Seraglio ) is an opera Singspiel in three acts by Wolfgang Amadeus Mozart.

Mozart also supervised the Vienna premiere of the work, which took place on May 7, 1788.

Mozart also made a shortened version of the operatic score.

First performed in 1979, Amadeus was inspired by a short 1830 play by Alexander Pushkin called Mozart and Salieri ( which was also used as the libretto for an opera of the same name by Nikolai Rimsky-Korsakov in 1897 ).

While historically there may have been actual rivalry and tension between Mozart and Salieri, there is also evidence that they enjoyed a relationship marked by mutual respect.

Cairns also rejects the " romantic legend " that Mozart always wrote out perfect manuscripts of works already completely composed in his head, citing major and prolonged revisions to several manuscripts ( see: Mozart's compositional method ).

* Schmidt is also a talented pianist, and has recorded piano concertos of both Mozart and Bach with the well-known German pianist and conductor, Christoph Eschenbach.

Composers also wrote concert arias, which are not part of any larger work, such as " Ah perfido " by Beethoven, and a number of concert arias by Mozart, such as " Conservati fedele ".

Its lighter tone follows the models of Mozart and Saint-Saëns, and also makes use of jazz-like themes.

He was also invited to conduct the Hammersmith Socialist Choir, teaching them Madrigals by Thomas Morley, choruses by Purcell, extracts from Wagner as well as works by Mozart and himself.

But cultural life was also soon back on track: in 1947 Mozart festival weeks were held in the Opera House, from which the Franconian Festival Weeks developed.

Proper nouns can also occur in secondary applications, for example modifying nouns ( the Mozart experience ; his Azores adventure ), or in the role of common nouns ( he's no Pavarotti ; a few would-be Napoleons ).

With a text translated and adapted by Léon Battu and Ludovic Halévy, he presented it during the Mozart centenary celebrations in May 1856 as L ' impresario ; it was popular with the public and also greatly enhanced the critical and social standing of the Bouffes-Parisiens.

)" Schonberg also complained that the Mozart symphony had " no force, no charm, no inflection, with a metronomic rigidity.

The analogy he made was to contrast the compositional approaches of Mozart and Beethoven.

At first Mozart thought he needed to finish his opera in only two months, because tentative plans were made to perform it at the September visit of the Russian Grand Duke Paul ( son of Catherine the Great and heir to the Russian throne ).

In the play, significant use is made of the music of Mozart, Salieri and other composers of the period.

Mozart, as a boy, made arrangements for harpsichord and orchestra of three sonata movements by Johann Christian Bach.

Ravel stated, " If I were called upon to do so, I would ask to be allowed to identify myself with the simple pronouncements made by Mozart ...

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.

Critics have found it unremarkable, but the Symphony in C of the same year has been warmly praised by later commentators who have made favourable comparisons with Mozart and Schubert.

He made his premiere at Glyndebourne in 1990 and went on to build an international career as Falstaff and, more generally, in the operas of Mozart and Wagner.

Walter made many highly acclaimed recordings of other great Germanic composers, such as Mozart, Haydn, Beethoven, Schubert, Johannes Brahms, Johann Strauss Jr., and Anton Bruckner, as well as of Bach, Wagner, Schumann, Dvorak, Richard Strauss, Tchaikovsky, Smetana, and others.

His last stage appearance was in a 1983 production of The Prince of Homburg, and he made his last public appearance at the Mozart Hall in Salzburg ten days prior to his death.

In 1951 he had been invited by the BBC to conduct the BBC Symphony Orchestra in a concert of Mozart, Beethoven and Bartók in the new Royal Festival Hall, and had made a few guest appearances with London orchestras during the rest of the 1950s.

He also made a number of recordings of a wide range of repertory, including music by Mozart, Richard Strauss, and Bela Bartók.

He made his first film appearance, as Schikaneder, in Amadeus in 1984 ( having played Mozart in the original stage production at the Royal National Theatre in 1979 ).

In 1880, at the age of 17, he made ​​ his first public appearance at the Mozart Club.

Noted for its smooth, sophisticated style, its seamless ensemble playing, and its sensitive interpretation, the quartet made some 200 recordings, among them the complete quartets of Ludwig van Beethoven, Johannes Brahms, and Wolfgang Amadeus Mozart.

Hummel was taught and housed by Mozart for two years free of charge and made his first concert appearance at the age of nine, at one of Mozart's concerts.

On December 17, 1948, István Kertész made his debut as a conductor with an all Mozart program.

Pianists Clifford Curzon, Hans Richter-Haaser, Vladimir Ashkenazy and Julius Katchen each made fine records with Kertész, among which the Mozart concertos are particularly inspired.

The traditionally used name of the work comes from the entry Mozart made for it in his personal catalog, which begins, " Eine kleine Nacht-Musik.

After several recordings of Mozart, Haydn and Beethoven with the Gürzenich for a French subscription collection in the mid 1950s, he made no studio recordings for nearly two decades with the exception of an appearance with the Vienna Philharmonic Orchestra on Decca Records, accompanying Wilhelm Backhaus in Robert Schumann's Piano Concerto ( his only recording with that orchestra ).

Suzuki pointed out that great artists ( such as Mozart ) were surrounded with excellent performances from birth, and that the advent of recording technology made this aspect of their environment possible to achieve for large numbers of " ordinary " people whose parents were not themselves great musicians & music teachers like Mozart's father was.

Days after the Stavisky riots in February 1934, and in the midst of the general strike, Boulanger resumed conducting and made her Paris debut with the orchestra of the École normale in a programme of Mozart, Bach and Jean Françaix.

The former New Irish Chamber Orchestra made commercial recordings for the Pickwick label, a recording of the two Mozart flute concerti with James Galway, and for the Onyx label, piano concertos of John Field with John O ' Conor.