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To thee, my God! my days are known

Meter: 8.6.8.6 Appears in 54 hymnals Topics: Character and Perfections of God Lyrics: 1 To thee, my god! my days are known; My soul enjoys the thought. My actions all before thee lie, Nor are my wants forget. 2 Each secret wish devotion breathes, Is vocal to thine ear; And all my walks of daily life Before thine eye appear. 3 The vacant hour, the active scene, Thy mercy shall approve; And ev'ry pang of sympathy, And ev'ry care of love. 4 Each golden hour of beaming light Is gilded by thy rays; And dark affliction's midnight gloom A present God surveys. 5 Full in thy view thro' life I pass, And in thy view I die. Lord! when all mortal bonds shall break, May I still find thee nigh
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Great God, how infinite art thou!

Meter: 8.6.8.6 Appears in 322 hymnals Topics: Character and Perfections of God Lyrics: 1. Great God, how infinite art thou! What worthless worms are we! Let the whole race of creatures bow, And pay their praise to thee. 2. Thy throne eternal ages stood, Ere seas or stars were made; Thou art the ever-living God, Were all the nations dead. 3. Nature and time all open lie To thine immense survey, From the formation of the sky To the last awful day. 4. Eternity, with all its years, Stands present to thy view; To thee there’s nothing old appears; Great God! there’s nothing new. 5. Our lives thro' various scenes are drawn, And vexed with trifling cares; While thine eternal thought moves on Thine undisturbed'd affairs. 6. Great God, how infinite art thou! How frail and weak we are! Let the whole race of creatures bow, And pay their praise to thee.
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My heart and ways, O God!

Meter: 6.6.8.6 Appears in 4 hymnals Topics: Character and Perfections of God Lyrics: 1 My heart and ways, O God! By thee are search'd and seen; My outward acts thine eye observes, My secret thoughts within. 2 No spot the realms of space, Whence thou art absent, know. In heav'n thou reign'st a glorious King. A righteous Judge below. 3 Lord! if within my heart Thou aught should'st disapprove: The secret evil bring to light, And by thy grace remove. 4 If e'er I've been perverse Or foolish in thy view: Recall my steps to thy commands, And form my life anew.

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BELIEF

Meter: 8.6.8.6 Appears in 332 hymnals Topics: Aspirations For Church Priveleges; Aspirations For Holiness; Character Good and Bad Contrasted; Christians Fellowship of; Church Beloved of Saints; Companions Evil; Faith Confession of; Faith Confidence of; Fidelity; God the judge; God Omniscience of; Gospel Gracious Fruit of; Gospel Preaching of; Gospel Privileges of; Heart Good, Perfect, Pure and Upright; Heart Searching of; House of God Longed for and Loved; Perseverance; Praise Part of Public Worship; Prayer For Deliverance from Enemies; Prayer Sincerity in; The Righteous Honor and Safety of; Salvation Prayers for; Self-Examination; Sin Washed away; Sincerity; Steadfastness; Thanksgiving In Public Worship; Walking with God; Worship Acts of; Worship Grace Needed for; Worship public; Worship Sincerity in Tune Key: F Major Incipit: 17222 13332 34653 Used With Text: The Petitions of a Good Conscience
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[Lord, to me compassion show]

Appears in 1,150 hymnals Composer and/or Arranger: Dr. T. Hastings Topics: Aspirations For Grace; Aspirations For Holiness; Character Depraved from Birth; Character New Birth Essential go Good; Christians Graces of; Christians Saved by Grace; Deliverance From Sin; Faith Act of; God Loving and Merciful; Heart Claimed of God; Heart Good, Perfect, Pure, and Upright; Holiness; Humility; Joy Prayer for; Man Sinful; Mercy of God Prayer for the; Pardon; Parents and Children; Prayer Confession in; Prayer For Grace and Salvation; Prayer For Pardon; Regeneration; Repentance; Sin Confessed; Sin Conviction of; Sin Hatred of; Sin Original; Sin Salvation from; Sin Washed away; Truth; Worship Sincerity required in Incipit: 56531 65123 21717 Used With Text: The penitent's prayer and confession
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ALEXANDRIA

Meter: 8.6.8.6 Appears in 33 hymnals Composer and/or Arranger: William Arnold Topics: Adoption; Afflictions Deliverance from; Afflictions Promises for; Assurance Declared; Blessedness Of Those Fearing God; Cares; Character Good and Bad Contrasted; Children Instruction of; Christians Christ the Life of; Christians Conscious of Safety; Christians Duties of; Christians Evangelists; Deliverance from trouble; Glory of God In Providence; God Our Guardian; God Hearer of Prayer; God Love and Mercy; God Source of All Good; Gospel Gracious Fruit of; Gospel Preaching of; Gospel Privileges of; Gospel Sanctifying and Saving; Heart Good, Perfect, Pure and Upright; Holiness Of Christians; Judgments On the Wicked; Parents and Children; Prayer Answers to; Prayer confidence in; Prayer Promise to; Preservation; Protection Only from God; The Christian's Reward; The Righteous Deliverances of; The Righteous Honor and Safety of; The Righteous Troubles of; Safety Assured; Salvation God's Gift; Sin Salvation from; Trust in God Blessedness of; The Wicked Fate of Tune Key: G Major Incipit: 33235 34321 32354 Used With Text: The Secret of a Happy Life

Instances

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Ye sons of men in sacred lays

Hymnal: A Collection of Hymns and A Liturgy #31 (1814) Meter: 8.8.8.8 Topics: Character and Perfections of God Lyrics: 1 Ye sons of men, in sacred lays, Attempt the great Creator's praise: But who an equal song can frame? What verse can reach the lofty theme? 2 He sits enthron'd amidst the spheres, And glory like a garment wears; While boundless wisdom, pow'r, and grace, Command our awe, transcend our praise. 3 Before his throne a shining band Of cherubs and of seraphs stand; Ethereal spirits, who in flight Outstrip the rapid speed of light. 4 To God all nature owes its birth, He form'd this pond'rous globe of earth, He raised the glorious arch on high, And measur'd out the azure sky. 5 In all our Maker's grand designs, Omnipotence with wisdom shines. His works, through all this wondrous frame, Bear the great impress of his name. 6 Rais'd on devotion's lofty wing, Let us his high perfections sing: O let his praise employ our tongue, Whilst list'ning worlds applaud the song! Languages: English
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Ye weak inhabitants of clay

Hymnal: A Collection of Hymns and A Liturgy #30 (1814) Meter: 8.8.8.8 Topics: Character and Perfections of God Lyrics: 1 Ye weak inhabitants of clay, Ye trifling insects of a day, Low in your native dust bow down Before th' Eternal's awful throne. 2 Let Lebanon her cedars bring, To blaze before the sov'reign King; And all the beasts, that on it feed, As victims at his altar bleed. 3 Loud let ten thousand trumpets sound, And call remotest nations round, Assembled on the crowded plains, Princes and people, kings and swains. 4 Join'd with the living, let the dead, Rising, the face of earth o'erspread; And, while his praise unites their tongues, Let angels echo back the songs. 5. The drop that from the bucket falls, The dust that hangs upon the scales, Is more to sky and earth and sea, Than all this pomp, great God! to thee. Languages: English
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Thy ceaseless, unexhausted love

Hymnal: A Collection of Hymns and A Liturgy #51 (1814) Meter: 8.6.8.6 Topics: Character and Perfections of God Lyrics: 1 Thy ceaseless, unexhausted love, Unmerited and free, Delights our evil to remove, And help our misery. 2 Thou waitest to be gracious still; Thou dost with sinners bear, That, sav'd, we may thy goodness feel, And all thy grace declare. 3 Thy goodness and thy truth to me To ev'ry soul, abound, A vast, unfathomable sea, Where all our thoughts are drown'd. 4 Its streams the whole creation reach, So plenteous is the store; Enough for all, enough for each, Enough for evermore. 5 Faithful, O Lord, thy mercies are! A rock that cannot move: A thousand promises declare Thy constancy of love. 6 Throughout the universe it reigns, Unalterably sure; And, while the truth of God remains, His goodness must endure. Languages: English

People

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Authors, composers, editors, etc.

Richard Redhead

1820 - 1901 Topics: Aspirations For Grace; Aspirations For Holiness; Aspirations For the Holy Spirit; Assurance Desired; Baptism; Cares; Character Depraved from Birth; Character New Birth Essential to Good; Christians Duties of; Christians Graces of; Christians Saved by Grace; Deliverance From Sin; Faith Act of; Faith Walking by; God Love and Mercy; Gospel Freeness of ; Gospel Sanctifying and Saving; Grace Abounding; Grace Justifying; Grace Redeeming; Grace Restoring; Heart Broken and Contrite; Heart Claimed of God; Heart Good, Perfect, Pure and Upright; Holiness Of Christians; Humility; Joy Prayer for; Man Sinful and Lost Condition; Mercy of God Prayer for; Pardon Sought; Parents and Children; Penitence; Prayer Confession in; Prayer For Grace and Salvation; Prayer For Pardon; Prayer Promise to; Regeneration; Repentance; Revival; Sin Confession of; Sin Conviction of; Sin Hatred of; Sin Original; Sin Salvation from; Sin Washed away; Truth; Worship Sincerity in Composer of "AJALON" in The Psalter Richard Redhead (b. Harrow, Middlesex, England, 1820; d. Hellingley, Sussex, England, 1901) was a chorister at Magdalen College, Oxford. At age nineteen he was invited to become organist at Margaret Chapel (later All Saints Church), London. Greatly influencing the musical tradition of the church, he remained in that position for twenty-five years as organist and an excellent trainer of the boys' choirs. Redhead and the church's rector, Frederick Oakeley, were strongly committed to the Oxford Movement, which favored the introduction of Roman elements into Anglican worship. Together they produced the first Anglican plainsong psalter, Laudes Diurnae (1843). Redhead spent the latter part of his career as organist at St. Mary Magdalene Church in Paddington (1864-1894). Bert Polman

Isaac Watts

1674 - 1748 Person Name: Watts Topics: Character, Attributes, and Providence of God; God His perfections; The Perfections of God Author of "How shall I praise the eternal God" in Hymns for Christian Devotion Isaac Watts was the son of a schoolmaster, and was born in Southampton, July 17, 1674. He is said to have shown remarkable precocity in childhood, beginning the study of Latin, in his fourth year, and writing respectable verses at the age of seven. At the age of sixteen, he went to London to study in the Academy of the Rev. Thomas Rowe, an Independent minister. In 1698, he became assistant minister of the Independent Church, Berry St., London. In 1702, he became pastor. In 1712, he accepted an invitation to visit Sir Thomas Abney, at his residence of Abney Park, and at Sir Thomas' pressing request, made it his home for the remainder of his life. It was a residence most favourable for his health, and for the prosecution of his literary labours. He did not retire from ministerial duties, but preached as often as his delicate health would permit. The number of Watts' publications is very large. His collected works, first published in 1720, embrace sermons, treatises, poems and hymns. His "Horae Lyricae" was published in December, 1705. His "Hymns" appeared in July, 1707. The first hymn he is said to have composed for religious worship, is "Behold the glories of the Lamb," written at the age of twenty. It is as a writer of psalms and hymns that he is everywhere known. Some of his hymns were written to be sung after his sermons, giving expression to the meaning of the text upon which he had preached. Montgomery calls Watts "the greatest name among hymn-writers," and the honour can hardly be disputed. His published hymns number more than eight hundred. Watts died November 25, 1748, and was buried at Bunhill Fields. A monumental statue was erected in Southampton, his native place, and there is also a monument to his memory in the South Choir of Westminster Abbey. "Happy," says the great contemporary champion of Anglican orthodoxy, "will be that reader whose mind is disposed, by his verses or his prose, to imitate him in all but his non-conformity, to copy his benevolence to men, and his reverence to God." ("Memorials of Westminster Abbey," p. 325.) --Annotations of the Hymnal, Charles Hutchins, M.A., 1872. ================================= Watts, Isaac, D.D. The father of Dr. Watts was a respected Nonconformist, and at the birth of the child, and during its infancy, twice suffered imprisonment for his religious convictions. In his later years he kept a flourishing boarding school at Southampton. Isaac, the eldest of his nine children, was born in that town July 17, 1674. His taste for verse showed itself in early childhood. He was taught Greek, Latin, and Hebrew by Mr. Pinhorn, rector of All Saints, and headmaster of the Grammar School, in Southampton. The splendid promise of the boy induced a physician of the town and other friends to offer him an education at one of the Universities for eventual ordination in the Church of England: but this he refused; and entered a Nonconformist Academy at Stoke Newington in 1690, under the care of Mr. Thomas Rowe, the pastor of the Independent congregation at Girdlers' Hall. Of this congregation he became a member in 1693. Leaving the Academy at the age of twenty, he spent two years at home; and it was then that the bulk of the Hymns and Spiritual Songs (published 1707-9) were written, and sung from manuscripts in the Southampton Chapel. The hymn "Behold the glories of the Lamb" is said to have been the first he composed, and written as an attempt to raise the standard of praise. In answer to requests, others succeeded. The hymn "There is a land of pure delight" is said to have been suggested by the view across Southampton Water. The next six years of Watts's life were again spent at Stoke Newington, in the post of tutor to the son of an eminent Puritan, Sir John Hartopp; and to the intense study of these years must be traced the accumulation of the theological and philosophical materials which he published subsequently, and also the life-long enfeeblement of his constitution. Watts preached his first sermon when he was twenty-four years old. In the next three years he preached frequently; and in 1702 was ordained pastor of the eminent Independent congregation in Mark Lane, over which Caryl and Dr. John Owen had presided, and which numbered Mrs. Bendish, Cromwell's granddaughter, Charles Fleetwood, Charles Desborough, Sir John Hartopp, Lady Haversham, and other distinguished Independents among its members. In this year he removed to the house of Mr. Hollis in the Minories. His health began to fail in the following year, and Mr. Samuel Price was appointed as his assistant in the ministry. In 1712 a fever shattered his constitution, and Mr. Price was then appointed co-pastor of the congregation which had in the meantime removed to a new chapel in Bury Street. It was at this period that he became the guest of Sir Thomas Abney, under whose roof, and after his death (1722) that of his widow, he remained for the rest of his suffering life; residing for the longer portion of these thirty-six years principally at the beautiful country seat of Theobalds in Herts, and for the last thirteen years at Stoke Newington. His degree of D.D. was bestowed on him in 1728, unsolicited, by the University of Edinburgh. His infirmities increased on him up to the peaceful close of his sufferings, Nov. 25, 1748. He was buried in the Puritan restingplace at Bunhill Fields, but a monument was erected to him in Westminster Abbey. His learning and piety, gentleness and largeness of heart have earned him the title of the Melanchthon of his day. Among his friends, churchmen like Bishop Gibson are ranked with Nonconformists such as Doddridge. His theological as well as philosophical fame was considerable. His Speculations on the Human Nature of the Logos, as a contribution to the great controversy on the Holy Trinity, brought on him a charge of Arian opinions. His work on The Improvement of the Mind, published in 1741, is eulogised by Johnson. His Logic was still a valued textbook at Oxford within living memory. The World to Come, published in 1745, was once a favourite devotional work, parts of it being translated into several languages. His Catechisms, Scripture History (1732), as well as The Divine and Moral Songs (1715), were the most popular text-books for religious education fifty years ago. The Hymns and Spiritual Songs were published in 1707-9, though written earlier. The Horae Lyricae, which contains hymns interspersed among the poems, appeared in 1706-9. Some hymns were also appended at the close of the several Sermons preached in London, published in 1721-24. The Psalms were published in 1719. The earliest life of Watts is that by his friend Dr. Gibbons. Johnson has included him in his Lives of the Poets; and Southey has echoed Johnson's warm eulogy. The most interesting modern life is Isaac Watts: his Life and Writings, by E. Paxton Hood. [Rev. H. Leigh Bennett, M.A.] A large mass of Dr. Watts's hymns and paraphrases of the Psalms have no personal history beyond the date of their publication. These we have grouped together here and shall preface the list with the books from which they are taken. (l) Horae Lyricae. Poems chiefly of the Lyric kind. In Three Books Sacred: i.To Devotion and Piety; ii. To Virtue, Honour, and Friendship; iii. To the Memory of the Dead. By I. Watts, 1706. Second edition, 1709. (2) Hymns and Spiritual Songs. In Three Books: i. Collected from the Scriptures; ii. Composed on Divine Subjects; iii. Prepared for the Lord's Supper. By I. Watts, 1707. This contained in Bk i. 78 hymns; Bk. ii. 110; Bk. iii. 22, and 12 doxologies. In the 2nd edition published in 1709, Bk. i. was increased to 150; Bk. ii. to 170; Bk. iii. to 25 and 15 doxologies. (3) Divine and Moral Songs for the Use of Children. By I. Watts, London, 1715. (4) The Psalms of David Imitated in the Language of the New Testament, And apply'd to the Christian State and Worship. By I. Watts. London: Printed by J. Clark, at the Bible and Crown in the Poultry, &c, 1719. (5) Sermons with hymns appended thereto, vol. i., 1721; ii., 1723; iii. 1727. In the 5th ed. of the Sermons the three volumes, in duodecimo, were reduced to two, in octavo. (6) Reliquiae Juveniles: Miscellaneous Thoughts in Prose and Verse, on Natural, Moral, and Divine Subjects; Written chiefly in Younger Years. By I. Watts, D.D., London, 1734. (7) Remnants of Time. London, 1736. 454 Hymns and Versions of the Psalms, in addition to the centos are all in common use at the present time. --Excerpts from John Julian, Dictionary of Hymnology (1907) ================================== Watts, I. , p. 1241, ii. Nearly 100 hymns, additional to those already annotated, are given in some minor hymn-books. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) ================= Watts, I. , p. 1236, i. At the time of the publication of this Dictionary in 1892, every copy of the 1707 edition of Watts's Hymns and Spiritual Songs was supposed to have perished, and all notes thereon were based upon references which were found in magazines and old collections of hymns and versions of the Psalms. Recently three copies have been recovered, and by a careful examination of one of these we have been able to give some of the results in the revision of pp. 1-1597, and the rest we now subjoin. i. Hymns in the 1709 ed. of Hymns and Spiritual Songs which previously appeared in the 1707 edition of the same book, but are not so noted in the 1st ed. of this Dictionary:— On pp. 1237, L-1239, ii., Nos. 18, 33, 42, 43, 47, 48, 60, 56, 58, 59, 63, 75, 82, 83, 84, 85, 93, 96, 99, 102, 104, 105, 113, 115, 116, 123, 124, 134, 137, 139, 146, 147, 148, 149, 162, 166, 174, 180, 181, 182, 188, 190, 192, 193, 194, 195, 197, 200, 202. ii. Versions of the Psalms in his Psalms of David, 1719, which previously appeared in his Hymns and Spiritual Songs, 1707:— On pp. 1239, U.-1241, i., Nos. 241, 288, 304, 313, 314, 317, 410, 441. iii. Additional not noted in the revision:— 1. My soul, how lovely is the place; p. 1240, ii. 332. This version of Ps. lxiv. first appeared in the 1707 edition of Hymns & Spiritual Songs, as "Ye saints, how lovely is the place." 2. Shine, mighty God, on Britain shine; p. 1055, ii. In the 1707 edition of Hymns & Spiritual Songs, Bk. i., No. 35, and again in his Psalms of David, 1719. 3. Sing to the Lord with [cheerful] joyful voice, p. 1059, ii. This version of Ps. c. is No. 43 in the Hymns & Spiritual Songs, 1707, Bk. i., from which it passed into the Ps. of David, 1719. A careful collation of the earliest editions of Watts's Horae Lyricae shows that Nos. 1, 7, 9, 10, 11, 12, 14, 16, p. 1237, i., are in the 1706 ed., and that the rest were added in 1709. Of the remaining hymns, Nos. 91 appeared in his Sermons, vol. ii., 1723, and No. 196 in Sermons, vol. i., 1721. No. 199 was added after Watts's death. It must be noted also that the original title of what is usually known as Divine and Moral Songs was Divine Songs only. --John Julian, Dictionary of Hymnology, New Supplement (1907) =========== See also in: Hymn Writers of the Church

Wolfgang Amadeus Mozart

1756 - 1791 Person Name: Mozart Topics: Aspirations For Grace; Aspirations For Holiness; Character Depraved from Birth; Character New Birth Essential go Good; Christians Graces of; Christians Saved by Grace; Faith Act of; God Loving and Merciful; Heart Broken and Contrite; Heart Good, Perfect, Pure, and Upright; Holiness; Humility; Mercy of God Prayer for the; Pardon; Penitence; Prayer Confession in; Prayer For Grace and Salvation; Prayer For Pardon; Regeneration; Repentance; Revival; Sin Confessed; Sin Conviction of; Sin Hatred of; Sin Salvation from; Sin Washed away; Truth; Worship Sincerity required in Composer of "[In thy great loving kindness, Lord]" in Bible Songs Wolfgang Amadeus Mozart Austria 1756-1791. Born at Salzburg, Austria, the son of Leopold Mozart, a minor composer and violinist, and youngest of seven children, he showed amazing ability on violin and keyboard from earliest childhood, even starting to compose music at age four when his father would play a piece and Mozart would play it exactly as did his father. At five, he composed some of his own music, which he played to his father, who wrote it down. When Mozart was eight, he wrote his first symphony, probably transcribed by his father. In his early years his father was his only teacher, teaching his children languages and academic subjects, as well as fundamentals of their strict Catholic faith. Some of his early compositions came as a surprise to his father, who eventually gave up composing himself when he realized how talented his son was. His family made several European journeys and he and his sister, Nanneri, performed as child prodigies, at the court of Prince-elector Maximillian II of Bavaria in Munich, and at the Imperial Courts in Vienna and Prague. A long concert tour followed, for 3.5 years, taking the family to courts in Munich, Mannheim, Paris, London, Dover, The Hague, Amsterdam, Utrecht, Mechelen, and again to Paris, and back home via Zurich, Donaueschingen, and Munich. During these trips Mozart met many musicians, acquainting himself with the works of other composers. He met Johann Christian Bach in London in 1764. Family trips were challenging, and travel conditions were primitive. They had to wait for invitations and reimbursements from nobility, and they endured long, near-fatal illnesses far from home. First Leopold (1764) got sick, then both children (1765). They traveled again to Vienna in 1767 and stayed there over a year. After a year back in Salzburg, Leopold and Wolfgang went to Italy (1769-1771), Leopold wished to display his son’s abilities as a performer and maturing composer. In Bologna, Italy, Wolfgang was accepted as a member of the famous Academia Filamonica. In Rome he heard Gregorio Allegri’s Miserere twice in performance. Back in the Sistine Chapel, Mozart wrote the whole performance out from memory, thus producing the first unauthorized copy of this closely guarded property of the Vatican. In the next few years Mozart wrote several operas performed with success in Italy, but his father’s hopes of securing a professional appointment for his son were not realized. At age 17 he was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. After returning to Salzburg, Mozart was employed as a court musician by the ruler of Salzburg, Prince Archbishop Hieronymus Colloredo. This gave Mozart ample opportunity to develop relationships with other musicians and his admirers, resulting in his development of new symphonies, sonatas, string quartets, masses, serenades, and some minor operas. In 1775 he wrote his only violin concertos, five in all. Again, he was discontent with work in Salzburg and traveled to find more opportunity to write operas. He and his father again visited Munich and Vienna, but neither visit was successful with the exception of his opera ‘La finta giardiniera’ in Munich. In 1777 he resigned his Salzburg position and went to Augsburg, Mannheim, Paris, and Munich again. In Mannheim he met and fell in love with Aloysia Weber, one of four daughters of a musical family. He could find no real employment there and left for Paris in 1778. He might have had a position as organist at Versailles, but he was not interested in that. He fell into debt and started pawning valuables. During these events his mother died. Meanwhile his father was still trying to find him a position in Salzburg. After checking out several other European cities and Munich, he again encountered Aloysia, but she was no longer interested in him, so he returned to Salzburg, having written another symphony, concerto, and piano sonata, and took the new appointment his father had found. However, he was still in discontent. Visiting Vienna in 1781, he was dismissed from his Salzburg position. He wrote another opera, ‘Idomeneo’, in 1781, that was successful in Munich. Two months later he was summoned to Vienna, where his employer, Archbishop Colloredo, wanted him around due to his notoriety. Mozart wished to meet the emperor and perform for him, and finally got that opportunity. It resulted in a part-time position and substantial commissions. Colloredo became a nemesis to Mozart’s career, finally releasing Mozart from his employ with a literal kick in the pants, much against his father’s wishes. However, he was now independent. Mozart then decided to settle in Vienna as a free lance performer and composer. He lived with the Fridolin Weber family, who had moved from Mannheim to Vienna. Fridolin, the father, had died, and they were taking in lodgers to make ends meet. His career there went well, and he performed as a pianist before the Emperor, establishing himself as the finest keyboard player in Vienna. He wrote another opera in 1782, again achieving success. Mozart had now become a prolific and influential composer of the Classical period and was known throughout Europe. Aloysia was now married to actor, Joseph Lange, and Mozart’s interest shifted to her sister, Constanze. In 1782 he married Constanze Weber Mozart Nissen. The marriage started out with a brief separation, and there was a problem getting Mozart’s father’s permission, which finally came. They had six children, but only two survived infancy: Carl and Franz. He lived in Vienna and achieved some notoriety, composing many of his best-known symphonies, concertos, and operas. In 1782-83 he became intimately acquainted with Johann Sebastian Bach and George Friederic Handel, as his friend, Gottfried van Swieten, owned many manuscripts of the Baroque masters, which Mozart studied intently. He altered his style of composition as a result. That year Mozart and his wife visited his father and sister, and he composed a liturgical piece, a Mass, with a singing part for his wife. He also met Joseph Hadyn in Vienna in 1784 and they became friends. They even played together in a string quartet from time to time. Mozart wrote six quartets dedicated to Hadyn. In 1785 Hadyn told Leopold Mozart, “Your son is the greatest composer known to me by person and repute, he has taste, and what is more, the greatest skill in composition”. Over the next several years Mozart booked several piano concertos in various places as a sole performer to delighted audiences, making substantial remuneration for his work. He and his wife then adopted a more luxurious lifestyle. They moved to an expensive apartment and he bought a fine fortepiano and billiard table. They sent their son, Karl, to an expensive boarding school and also kept servants. In 1784 Mozart became a Freemason and even composed Masonic music. Over the next several years he did little operatic writing and focused on his career as a piano soloist and writer of concertos. He again began operatic collaboration in 1785, creating ‘The marriage of Figaro’, then ‘Don Giovanni’ in 1787. That year his father died. Also that year he obtained a steady post under Emperor Joseph II as his chamber composer. This was part-time employment that was important when hard times arrived. However, Joseph aimed at keeping Mozart from leaving Vienna for better work. The Austrio-Turkish War made life difficult for musicians, and his aristocracy support had declined. He moved to save on expenses, but that did not help much, and he was reduced to borrowing funds from his friends, and pleading for loans. During this period he produced his last three symphonies. In 1789 he then set up on a journey to Leipzig, Dresden, and Berlin hoping to improve his fortunes. In 1790 he was highly productive, producing concertos, an opera, ‘The magic flute’, a series of string quintets, a motet, and an (unfinished) Requiem. Finances began to improve and he begin paying back his debts. Public reaction to his works also brought him great satisfaction. In 1791, while in Prague for the premiere of his opera, ‘La clemenza di Tito’, he fell ill. He continued professional functions for a short time, but had to go home and be nursed by his wife over the next couple of months. He died at Vienna, Austria, at the age of 35, a small thin man with undistinguishing characteristics. He was buried in a modest grave, having had a small funeral. Beethoven composed his early works in the shadow of Mozart, and Joseph Hadyn wrote “posterity will not see such a talent (as Mozart) again in 100 years”. 600+ works. Side note: Mozart enjoyed billiards, dancing, and had a pet canary, a starling, a dog, and a horse for recreational riding. He liked off-color humor. He wore elegant clothing when performing and had a modest tenor voice. John Perry
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