Mozart’s daily schedule

“…at 6 o’clock in the morning I’m already done with my hair; at 7 I’m fully dressed; – then I compose until 9 o’clock; from 9 to 1 o’clock I give lessons. – Then I Eat, unless I’m invited by someone who doesn’t eat lunch until 2 or 3 o’clock as, for instance, today and tomorrow at the Countess Zizi and Countess Thun.- I can’t get back to work before 5 or 6 o’clock – and quite often I can’t get back at all, because I have to be at a performance; if I can, I write until 9 o’clock. After that I go and visit my dear Konstanze; – however, our pleasure of seeing each other is often ruined by the galling remarks of her mother … but this is the reason why I want to liberate and rescue her as soon as possible. – I get home about half past 10 or at 11 o’clock at night; – it all depends on her mother’s darts or my ability to endure them. – Since I can’t depend on being able to compose in the evening, because of the concerts that are taking place, but also because of the uncertainty whether I might be summoned somewhere, it has become my habit to compose a little before going to bed, especially when I get home a bit earlier. – Often enough I go on writing until 1 o’clock – and then, of course, up again at 6 o’clock.”

– Wolfgang Amadeus Mozart, in a letter to his sister, Maria, 13 February 1782.

Cited in: Spaethling, Robert (2000) Mozart’s Letters; Mozart’s Life. London: Faber and Faber, p.304.


Posted

in

by

Tags:


Featured Content

Hogarth on Chopin
“He accomplishes enormous difficulties, but so quietly, so smoothly and with such constant delicacy and refinement that the listener is not sensible of their real magnitude.  It is the exquisite delicacy, with the liquid mellowness of his tone, and the pearly roundness of his passages of rapid articulation which are the peculiar features of his […]
Mozart on aesthetics
Mozart’s musical aesthetics are revealed in a letter to his father about Osmin’s first aria in The Abduction of the Seraglio (Die Entführung aus dem Serail).  The Eighteenth century classical ideals of balance and refinement are evident: I have sent you only the beginning and the end of the aria.  I think it will prove […]
Schumann as a student
Schumann studied with Dorn, the conductor at the civic theatre. Dorn recalled: Having completed exercises in figured-bass realization, chorale harmonization, and canon, teacher and student moved on to double counterpoint. Intrigued by the mysteries of this discipline, and reluctant to tear himself away from his desk, Schumann once requested that his lesson take place in […]
Copland on film music
American composer Aaron Copland on the role of film music: I was very fascinated by the medium because a composer can be a real help in the making of a film. The way you can prove that, of course, is to see a film before the public has seen it, in the studio room, and […]
Vaughan Williams on an authentic performance of Bach
Vaughan Williams gave a broadcast talk on Bach entitled “Bach the Great Bourgeois.” It was later published in The Listener. Vaughan Williams, who was involved in performances of works such as Bach’s St. Matthew’s Passion as part of the Leith Hill Festival, offered some insight in contemporary approaches to Bach performance: WHEN I was a […]
Brass
Brass ensemble Trombone
Satie on La Mer
At the 1905 premiere of La Mer, one of whose movements is called “From Dawn to Midday on the Sea”, Debussy received the usual post-performance congratulations. Satie’s deflating comment was, “Ah, my dear friend, there’s one particular moment between half past ten and a quarter to eleven that I found especially stunning.” Levison, B. (2015). […]
A new take on the harpsichord sound
Harpsichordist  Jane Chapman performs both early music and Avante music, including using techniques to use distortion on the harpsichord! “Many early music people are interested in contemporary music, too, and many composers are also interested in early music instruments because they don’t have the baggage of the [classical and romantic periods]. Increasingly, younger generation composers […]
The illiterate of the future
“The illiterate of the future are not those that cannot read or write. They are those that can not learn, unlearn, relearn.” -Alvin Toffler, American writer and futurist Cited at QuotationsBook
An author’s perogative to be critical
“A writer is unfair to himself when he is unable to be hard on himself.”— Marianne Moore, American poet Donoghue, Denis (1988) Reading America.  University of California Press, p. 244