orn at Salzburg,
in 1756, his was a short life, for he died in 1791. We know
of his great precocity; his first compositions were published
when he was six years old, at which age he was already playing
in concerts with his eleven-year old sister, and was made much
of by the titled people before whom he played. The rest of
his life is one continual chronicle of concerts given all over
Europe, interrupted at intervals by scarlet fever, smallpox,
and other illnesses, until the last one, typhoid fever, caused
his death. During his stay in Italy he wrote many operas in
the flowery Italian style which, luckily, have never been
revived to tarnish his name.

His first works worthy of mention are the clavier concertos and
several symphonies and quartets, which date from about 1777. His
first important opera is "Idomeneo, King of Crete," written for
the Munich opera. In this he adopts the principles of Gluck,
thus breaking away from the wretched style of the Italian
opera of the period, although the work itself was written in
Italian. His next opera was in German, "Die Entfuehrung aus
dem Serail," and was given with great success at Vienna, in
1782. It was followed by "The Marriage of Figaro," "Don Juan,"
and the "Magic Flute."

The story of his death is well known. A stranger, who turned
out to be the steward of Count Walsegg, came to him and
ordered a requiem, which was played in 1793 as Walsegg's own
composition. Mozart thought the man a messenger from the other
world. He died before he completed the work. So great was his
poverty that it was difficult to get a priest to attend him,
and a physician who was summoned would come only after the play
he was attending was ended. He had a "third class" funeral,
and as a fierce storm was raging, no one accompanied the body
to the grave. His widow gave a concert, and with the help of the
Emperor money enough was raised to pay the outstanding debts.

It is difficult to give an adequate idea of Mozart's works. He
possessed a certain simple charm of expression which,
in its directness, has an element of pathos lacking in the
comparatively jolly light-heartedness of Haydn. German opera
profited much from his practically adopting the art principles
of Gluck, although it must be confessed that this change in
style may have been simply a phase of his own individual art
development. His later symphonies and operas show us the man
at his best. His piano works and early operas show the ef