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librarian of St Peter's Abbey, Salzburg, thought that the gifts ("gewgaws") alone which they brought back were worth about 12,000 florins, but estimated the total costs of the enterprise at 20,000 florins. The expenses were certainly high; in a letter to
Hagenauer sent in September 1763, after ten weeks on the road, Leopold reported expenses to date as 1,068 florins, an amount covered by their concert earnings without, however, any significant surplus. Leopold stated that "there was nothing to be saved, because we have to travel in noble or courtly style for the preservation of our health and the reputation of my court." He later recorded that on arrival in Paris in November 1763 that they had "very little money".
572:
987:
in
November of that year, after his illness and with uncertain earning prospects, he was worrying about the high costs of living in London—he informed Hagenauer that he had spent 1,870 florins in the four-month period since July. The following summer, after little concert activity, Leopold resorted to increasingly desperate measures to raise funds, including the children's daily circus performances at the Swan and Harp Inn at prices described by Jane Glover as humiliating. The insecurity of travelling life led Leopold to believe, later, that Wolfgang was not worldly-wise enough to attempt such journeys alone, and needed to be anchored to an assured salary.
162:
1023:—"a nearly ideal introduction to the genre", according to Zaslaw. The earliest symphonies, Zaslaw points out, while not in the same class as the later Mozart masterpieces, are comparable in length, complexity and originality to those written at the same time by the acknowledged symphonic masters of the day. Indeed, Abel's Symphony No. 6 in E Flat was similar enough in style and technique to be mistaken as Mozart's, and is listed as such (Symphony No. 3, K. 18) in the original Köchel catalogue. Sadie observes that the K. 22 symphony composed in The Hague is a good deal more sophisticated than the earlier ones which were written in London.
957:
309:
247:, Paris, Switzerland and possibly northern Italy. The London leg was only added after urgings during the Paris visit, and the eventual Dutch trip was an unplanned detour. The plan was to take in as many princely European courts as possible, as well as the great cultural capitals—Leopold was relying on his professional musical network and on his more recent social contacts to obtain invitations from the royal courts. Practical assistance came from Hagenauer, whose trading connections in the major cities would supply the Mozarts with what were effectively banking facilities. These would enable them to obtain money
1777:'For the Benefit of Miss Mozart of Thirteen, and Master Mozart of Eight Years of Age, Prodigies of Nature. Hickford's Great Room in Brewer Street, 'This Day, May 13, wille A Concert of Vocal and Instrumental Music, with all the Overtures of this little Boy's own Composition...(13th May, 1765)'... 'Mr. Mozart, the Father of the celebrated young Musical Family...takes the time to inform the public that he has taken the great Room in the Swan and Hoop Tavern in Cornhill, where he will give an Opportunity to all the Curious to hear these two young Prodigies perform every day from Twelve to Three. (8th July, 1765)'
1000:
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of both prodigies at a concert to be given at the hall of the Oude Doelen on 30 September. The notice for this concert gives
Wolfgang's age as eight (he was nine), but correctly gives Nannerl's as fourteen. The advertisement concentrates on Wolfgang: "All the overtures will be from the hands of this young composer Music-lovers may confront him with any music at will, and he will play it at sight". It is not certain whether this concert in fact took place—Sadie believes it may have been postponed. If it did happen, Wolfgang appeared alone, for by this time Nannerl's cold had turned into
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nobility, the children could converse in several languages; the tour represented, for them, an outstanding education. However, these advantages had been gained at a price; Grimm, in Paris, noting the stress and strain on
Wolfgang in particular, had feared that "so premature a fruit might fall before maturing". However, Hildesheimer, while also expressing concerns, concludes that if Mozart's death at the age of 35 was caused by the exertions of his childhood, the intervening decades would not have been so productive, and obvious symptoms of decline would have manifested themselves.
33:
456:(about 550 florins) and a gold snuff-box by the royal entertainments office, presumably for entertaining the royal family privately, but no more details are available. Further concerts were given in Paris on 10 March and on 9 April, at a private theatre in the rue et Porte St Honoré. At the same time Wolfgang's first published works were printed: two pairs of sonatas for harpsichord and violin, K. 6 and 7, and K. 8 and 9. These pairs became Opus 1 and Opus 2 in Leopold's private catalogue of his son's work. The first pair was dedicated to the king's daughter,
264:
118:
335:, who would many years later recall "the little fellow with his wig and his sword". An advertisement for these concerts announced that "the girl" would play "the most difficult pieces by the greatest masters", while "the boy" would play a concerto on the violin and also repeat his Vienna trick of playing with the keyboard completely covered by a cloth. Finally, "he will improvise out of his head, not only on the fortepiano but also on the organ...in all the keys, even the most difficult, that he may be asked".
494:
925:. Many years later Grétry wrote of this encounter: "I wrote for him an Allegro in E flat, difficult but without pretension; he played it, and everyone, except myself, thought it was a miracle. The child had never broken off, but following the modulations, he had substituted a number of passages for those I had written." This claim, that Wolfgang improvised when faced with passages he could not play, appears to be the only adverse comment from all those called upon to test him.
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they would fit in their daily practice, appearing to thrive on the hectic schedule. Before the journey could begin, Leopold needed the consent of his employer, the prince-archbishop. Leopold had only been appointed deputy
Kapellmeister in January 1763; nevertheless the archbishop's consent to an extended leave of absence was granted, on the grounds that the Mozarts' successes would bring glory to Salzburg, its ruler, and to God.
644:, soon became a family friend; Nannerl later recalled Bach and the eight-year-old Wolfgang playing a sonata together, taking turns to play a few bars individually, and that "anyone not watching would have thought it was played by one person alone". There is no record that the Mozarts met Abel, but Wolfgang knew his symphonies, perhaps through the medium of the annual Bach-Abel concert series, and was much influenced by them.
429:, whose journal records Wolfgang's feats in glowing terms: "the most consummate Kapellmeister could not be more profound in the science of harmony and modulation". Leopold's own assessment, written a few months later, was similarly effusive: "My little girl, although only 12 years old, is one of the most skilful players in Europe and, in a word, my boy knows more in his eighth year than one would expect for a man of forty".
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552:. Leopold apparently saw this effort to support charitable works as "a way to earn the love of this very special nation". Wolfgang was advertised as "the celebrated and astonishing Master Mozart, a Child of Seven Years of Age..." (he was in fact eight), "justly esteemed the most extraordinary Prodigy, and most amazing Genius, that has appeared in any Age". On 8 July there was a private performance at the
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150:, with Wolfgang looking on; according to Nannerl's own account "the boy immediately showed his extraordinary, God-given talent. He often spent long periods at the clavier, picking out thirds, and his pleasure showed that they sounded good to him... When he was five years old he was composing little pieces which he would play to his father who would write them down". A family friend, the poet
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harpsichord", and: "no-one but her brother can rob her of supremacy". Of
Wolfgang he quoted a Prince of Brunswick as saying that many Kapellmeisters at the peak of their art would die without knowing what the boy knew at the age of nine. "If these children live," wrote Grimm, "they will not remain in Salzburg. Monarchs will soon be disputing about who should have them."
560:, from which Leopold returned with an inflammation of the throat and other worrying symptoms. "Prepare your heart to hear one of the saddest events", he wrote to Hagenauer in anticipation of his own imminent demise. He was ill for several weeks, and for the sake of his health the family moved from their Cecil Court lodgings to a house in the countryside, at
234:, who after hearing the children play had said: "Now for once in my life I have seen a miracle: this is the first". Leopold believed that it was his duty to proclaim this miracle to the world, otherwise he would be "the most ungrateful creature". He was said to have described Wolfgang as "The miracle which God let be born in Salzburg." Mozart biographer
1031:, K. 73b, once thought to have been composed much later, as its higher K number indicates. The tour thus saw Wolfgang's transformation from a composer of simple keyboard pieces to one with increasing mastery over a range of genres. This was evidenced in his home city, on 8 December, when one of his symphonies (it is uncertain which) was performed at
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178:. Leopold then took the entire family to Vienna, on a trip that lasted for three months. He had secured invitations from several noble patrons, and within three days of arriving the children were playing at the palace of Count Collalto. Among those present was the Viennese Treasury councillor and future prime minister
202:, and their former momentum was not regained. Nevertheless, the visit left Leopold eager to pursue further opportunities for social and financial success. On their return to Salzburg, Wolfgang played the harpsichord and violin at a birthday concert for the archbishop, to the evident astonishment of those present.
101:. The family then moved on to the Netherlands, where the schedule of performances was interrupted by the illnesses of both children, although Wolfgang continued to compose prolifically. The homeward phase incorporated a second stop in Paris and a trip through Switzerland, before the family's return to
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epidemic) until
January 1769. In December of the same year Leopold and Wolfgang left for Italy—without Nannerl who, now 18, was no longer exhibitable as a child wonder. They were away for sixteen months, and returned to Milan in August 1771 for five months, to attend rehearsals and the performance of
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Of
Wolfgang's music composed during the tour, around thirty pieces survive. A number of works are lost, including the ZĂĽrich cello pieces and several symphonies. The surviving works include the keyboard sonatas written in Paris, London and The Hague, four symphonies, various arias, the assorted music
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The party had survived major setbacks, including several prolonged illnesses which had curtailed their earning powers. Although
Leopold did not reveal the full extent of the tour's earnings, or its expenses, the material benefits from the tour had evidently been considerable—but so had the costs. The
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After arriving in The Hague, Nannerl developed a severe cold and was unable to participate in the initial concerts before the
Princess during their first week, nor in a performance before the Prince a few days later. Leopold was sufficiently confident of Nannerl's recovery to announce the appearances
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Many of the nobility and gentry were leaving town for the summer, but Leopold reckoned that most would return for the king's birthday celebrations on 4 June, and accordingly organised a concert for the 5th. This was deemed a success, and Leopold hastened to arrange for Wolfgang to appear at a benefit
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who in 1778, at the age of three, was giving organ recitals. British scholar Jane O'Connor explains the 18th century fascination with prodigies as "the realisation of the potential entertainment and fiscal value of an individual child who was in some way extraordinary". Other childhood contemporaries
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At times, the coffers were full; in April 1764, near the end of the Paris sojourn and after two successful concerts, Leopold announced he would shortly be depositing 2,200 florins with his bankers. Two months later, after the initial London successes, Leopold banked a further 1,100 florins. However,
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The family remained in Paris for two months. No concerts were given by them in this period although, according to Grimm, there were performances of Wolfgang's symphonies. Grimm was effusive about the development of both children; Nannerl, he wrote, "had the finest and most brilliant execution on the
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The full baptismal names of these children were Maria Anna Walburgia Ignatia and Joannes Chrysostomus Wolfgangus Theophilus. Maria Anna was always known by the diminutive "Nannerl", while the boy's name was in his usage later Wolfgang Amadé (or Amadè). The form "Wolfgang Amadeus", occasionally used
586:, Wolfgang was inspired to write symphonies after meeting Johann Christian Bach. It is not clear when this meeting occurred, or when Wolfgang first heard J. C. Bach's symphonies, although he had played the older composer's harpsichord works in his May 1764 royal recital. Wolfgang soon completed his
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Of seven children born to Leopold and Anna Maria Mozart, only the fourth, Maria Anna (Nannerl), born 31 July 1751, and the youngest, Wolfgang, born 27 January 1756, survived infancy. The children were educated at home, under Leopold's guidance, learning basic skills in reading, writing, drawing and
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has, in Hildesheimer's words, "an originality of melody and modulation which goes beyond the routine methods of his contemporaries". These are Wolfgang's first orchestral writings, although Zaslaw hypothesises a theoretical "Symphony No. 0" from sketches in Wolfgang's musical notebook. Three lost
366:, but Leopold resisted. "She has no money", he wrote to Hagenauer, recounting that she had repaid the performance with kisses. "Howbeit, neither mine host nor the postmaster are to be contented with kisses." They proceeded into the Austrian Netherlands, an area corresponding roughly to present-day
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Wolfgang prepared for the tour by perfecting himself on the violin, which he had learned to play apparently without any tutelage whatsoever. As for more general preparation, the children delighted in making music together, something they never lost. On tour, even during the busiest travelling days
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As the Mozarts began to be noticed by the Viennese aristocracy, they were often required to give several performances during a single day. They were well rewarded for this activity—at the end of their first hectic week in Vienna, Leopold was able to send home the equivalent of more than two years'
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Mozart's creative progress is likewise reflected in the sonatas composed for the Princess of Orange, which, according to Sadie, mark a considerable advance in technique and ideas over the earlier Paris and London sets. The arias composed in the Netherlands include Mozart's first attempts at "aria
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has suggested that, at least in the case of Wolfgang, this venture was premature: "Too soon, father dragged son all over Western Europe for years. This continual change of scene would have worn out even a robust child..." However, there is little evidence to suggest that Wolfgang was physically
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In terms of musical development, while both children had advanced, Wolfgang's progress had been extraordinary, beyond all expectation. The Mozarts were now known throughout the musical establishments and royal courts of Northern Europe. As well as the encounters in palaces with kings, queens and
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on the German border, for a stay of some 12 days. Resuming their journey, they reached Munich on 8 November. They were delayed here for nearly two weeks after Wolfgang fell ill, but he was well enough to perform before the Elector, with Nannerl, on 22 November. A few days later they set out for
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On 25 October, at King George's invitation, the children played at the celebrations marking the fourth anniversary of the king's accession. Their next public appearance was a concert on 21 February 1765, before a moderate audience—the date clashed with a Bach-Abel concert. Only one more London
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The material rewards of the tour, though reportedly substantial, did not transform the family's lifestyle, and Leopold continued in the Prince-Archbishop's service. However, the journey enabled the children to experience to the full the cosmopolitan musical world, and gave them an outstanding
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Whatever the true extent of their financial rewards from the tour, the Mozart family continued to live in their cramped apartment on the Getreidegasse, while Leopold resumed his duties as a court musician. However, travel and public display dominated the next six years of Wolfgang's life. In
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On 24 December the family moved to Versailles for two weeks during which, through a court connection, they were able to attend a royal dinner, where Wolfgang was reportedly allowed to kiss the hand of the Queen. At Versailles they also visited the famous courtesan
437:, then in the last months of her life—"an extremely haughty woman who still ruled over everything", according to Leopold. In Nannerl's later recollections, Wolfgang was made to stand on a chair to be examined by the Madame, who would not allow him to kiss her.
97:, to Brussels and then on to Paris where they stayed for five months. They then departed for London, where during a stay of more than a year Wolfgang made the acquaintance of some of the leading musicians of the day, heard much music, and composed his first
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written for the Prince of Orange, a Kyrie, and other minor pieces. Mozart's career as a symphonist began in London where, in addition to the direct influences of Abel and J.C. Bach, he would have heard symphonies from leading London composers including
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arithmetic, together with some history and geography. Their musical education was aided by exposure to the constant rehearsing and playing of Leopold and his fellow musicians. When Nannerl was seven her father began to teach her to play the
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The journey's beginning, on 9 July 1763, was inauspicious; on the first day a carriage wheel broke, requiring a 24-hour pause while repairs were carried out. Leopold turned this delay to advantage by taking Wolfgang to the nearby church at
182:, who noted in his diary that "a little boy, said to be only five-and-a-half years old , played the harpsichord". After an appearance before the Imperial Vice-Chancellor, the Mozarts were invited to the royal court, where the Empress
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Nannerl herself was an apt pupil, no less quick to learn than her brother, and was playing the keyboard with striking virtuosity by the time she was eleven. In that year, 1762, Leopold brought the children to Munich to play before
68:(Wolferl) from 1763 to 1766. At the start of the tour the children were aged eleven and seven respectively. Their extraordinary skills had been demonstrated during a visit to Vienna in 1762, when they had played before the Empress
917:. "Our own interest and love of travel should have induced us to follow our noses", he wrote, but added: "...I have said I shall go home and I shall keep my word." The family took a shorter route through Switzerland, arriving in
378:, to summon them ("His highness the prince does nothing but hunt, gobble and swill", wrote Leopold to Hagenauer), the Mozarts gave a grand concert in the prince's presence on 7 November. On the 15th the family departed for Paris.
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comments that some aspects of these pieces are rather childish and naĂŻve, but that nevertheless their technique is "astonishingly sure, their line of thinking is clear and smooth, and their formal balance is beyond reproach".
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On 18 November 1763 the Mozart family arrived in Paris, one of the most important musical centres of Europe, and also a city of great power, wealth, and intellectual activity. Leopold hoped to be received by the court of
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Both children were able to appear at the Oude Doelen on 22 January 1766, in a concert which may have included the first public performance of one of Wolfgang's London symphonies, K. 19, and possibly of a new symphony in
76:. Sensing the social and pecuniary opportunities that might accrue from a prolonged trip embracing the capitals and main cultural centres of Europe, Leopold obtained an extended leave of absence from his post as deputy
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as if he had been studying it for months. In Munich, on successive evenings, the children played before Elector Maximilian III, earning from these engagements the equivalent of half of Leopold's annual salary of 354
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Leopold wanted to begin the tour as soon as possible—the younger the children were, the more spectacular would be the demonstration of their gifts. The route he intended to take included southern Germany, the
756:. A visit from the royal physician turned the tide; he changed the treatment, and by the end of the month she was recovering. Then Wolfgang fell ill, and it was mid-December before he was on his feet again.
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A decision was taken in Paris to go to London, perhaps on the advice of Leopold's musical and court acquaintances, who would probably have advised him that England was, in the words of the Mozart scholar
778:, K. 32, which was played at a special concert to honour the Prince on 11 March. This was one of several pieces composed for the occasion; Wolfgang also wrote arias for the Princess using words from
1039:. Leopold's employer, the Prince-Archbishop, was frankly sceptical about Wolfgang's compositions, believing them to be Leopold's because they were "not nearly bad enough to be the work of a child".
425:. However, a recent death in the royal family prevented any immediate invitation, so Leopold arranged other engagements. One person who took particular note of the children was the German diplomat
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Mozart did play some instruments at Versailles for the royal family, although there is no record of him or the children giving a formal concert at Versailles. In February 1764 they were given 50
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before returning to The Hague early in March. The main reason for their return was the forthcoming public celebrations of the Prince of Orange's coming of age. Wolfgang had composed a
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education. In Wolfgang's case this would continue through further journeys in the following six years, prior to his appointment by the Prince-Archbishop as a court musician.
1063:, had distinct views about the roles of his court musicians, which precluded the freedoms that Leopold—and now Wolfgang, himself employed by the court—had formerly enjoyed.
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invited Wolfgang to play on the church's organ, one of the largest in the country. From there they traveled east and south, giving concerts along the way at Amsterdam and
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327:. The Archbishop-Elector was ill, but the Mozarts gave three concerts in the town, which brought in 200 florins. From Mainz the family took the market boat up the River
619:, was dedicated to Queen Charlotte at her request, and presented to her with an appropriate inscription in January 1765. Wolfgang also wrote his first vocal works, the
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recounts an anecdote of how the Archduchess helped Wolfgang when he slipped on the polished floor; she is supposed to have received a proposal of marriage in return.
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tested Wolfgang's abilities by requiring him to play with the keyboard covered. During this court visit Wolfgang met the Archduchess Maria Antonia, the future Queen
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The Mozarts left London for the continent on 24 July 1765. Before this, Leopold allowed Wolfgang to be subjected to a scientific examination, conducted by The Hon.
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640:. These lodgings were located conveniently close to several concert rooms, and to the residences of both J. C. Bach and Carl Friedrich Abel. Bach, a son of
477:, "known for the enthusiasm with which it received continental musicians and the extravagance with which it rewarded them". On 10 April the family left for
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The Mozart children were not alone as 18th-century music prodigies. Education writer Gary Spruce refers to hundreds of similar cases, and cites that of
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in his lifetime, has become popularised since. Theophilus and Amadeus are respectively the Greek and Latin forms of "Loved of God". Sadie, pp. 15–16
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607:(first few bars of music), may also have originated from the London period. Other works composed by Wolfgang in London include several instrumental
1059:. A third and final visit to Italy, from October 1772 until March 1773, was the last of the extended trips; the new Prince-Archbishop of Salzburg,
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for the year 1770, confirms the truth of Wolfgang's exceptional capabilities. Practically the last act of the family in London was the gift to the
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890:. The children played in a concert there on 19 July, accompanied by a local orchestra, about whose players Leopold made disparaging comments:
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516:. Letters of introduction from Paris proved effective; on 27 April 1764, four days after their arrival, the children were playing before King
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806:" and once thought to have been written several years later, was also written in The Hague, possibly for the Prince's coming-of-age concert.
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for the Princess, as he had earlier for the French princess and for the Queen of Great Britain. Another symphony, K. 45a, commonly known as "
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fee, Wolfgang would perform his musical party pieces. During June both the "young Prodigies" performed daily at the Swan and Harp Tavern in
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from the English public". Hildesheimer likens this part of the tour to a travelling circus, comparing the Mozarts to a family of acrobats.
660:, the charge this time being a mere two shillings and sixpence. These were, as Sadie puts it, "Leopold's last, desperate effort to extract
298:
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of a Handel aria from which, according to Leopold, he produced "the most beautiful melody in such a manner that everyone was astonished".
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The symphonies numbered 2, K. 17 and 3, K. 18 are each spurious. No. 2 is the work of Leopold, No. 3 of Carl Friedrich Abel. Blom, p. 26
632:, K. 21. At the end of September, with Leopold's recovery, the family moved back to central London, to lodgings in Thrift Street (later
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September 1767 the family was on the move again, this time to Vienna, remaining there (apart from an enforced evacuation during a
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Map showing the Grand Tour, 1763–1766. Black line shows outward journey to London, 1763–1764. Red line shows homeward journey to
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During the hiatus in Brussels, Wolfgang turned his attention briefly from performing to composing. On 14 October he finished an
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During Leopold's illness performances were impossible, so Wolfgang turned to composition. According to the writer and musician
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374:, where they arrived in the regional capital, Brussels, on 5 October. After several weeks' waiting for the governor-general,
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to Frankfurt, where several public concerts were given. Among those present at the first of these was the fourteen-year-old
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740:, where Wolfgang played on the new organ at the Bernardines chapel; a few days later he played on the cathedral organ at
426:
289:, where Leopold's estranged mother refused to attend any of the three concerts given there. The family then moved on to
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harmed or musically hindered by these childhood exertions; it seems that he felt equal to the challenge from the start.
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Sadie, p. 82. A similar misunderstanding arose over a symphony of Leopold's which Köchel called Symphony No 2, K. 17
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968:, photographed in 1998. The family's quarters were on the floor immediately above the sign "Mozarts Geburtshaus".
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where Wolfgang "preluded for an hour and a quarter with the most capable master here, yielding nothing to him".
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Sadie, p. 22, casts doubt on this visit, suggesting that it might have been "falsely remembered" by Nannerl.
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524:. A second royal engagement was fixed for 19 May, at which Wolfgang was asked by the king to play pieces by
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142:. Mozart eventually became recognised among prodigies as the future standard for early success and promise.
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status was confirmed as their precocious performances consistently amazed and gratified their audiences.
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712:, but would go to Paris and then return home to Salzburg. However, he was persuaded by an envoy of the
652:, but between April and June members of the public could go to the Mozarts' lodgings where, for a five
230:(1712–1792), a prominent Salzburg merchant, written after the tour, Leopold quotes the German diplomat
1383:) was the currency of the Austro-Hungarian empire. A florin was worth about one-tenth of a ÂŁ sterling.
940:, written for the ZĂĽrich concerts, and later some cello pieces (since lost) written for the Prince of
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on 20 August, where the children gave two concerts, and were received by the distinguished composer
594:(which Zaslaw concludes was more likely composed, or at least completed, in The Hague). The D major
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and to present the children to her, as official guests of the court. After the party's landing at
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936:. Since leaving the Netherlands, Wolfgang had composed little; a minor harpsichord piece,
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Leopold had been specific in letters to Hagenauer that the family would not visit the
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2295:"London Mozartiana: Wolfgang's disputed age & early performances of Allegri's
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A letter to Hagenauer dated 16 August indicated that Leopold wished to proceed to
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1032:
1012:
849:
733:
583:
509:
497:
474:
147:
821:
at 21 April, before leaving the Netherlands and traveling through Brussels and
779:
517:
371:
86:
878:
The only surviving music composed by Wolfgang during this Paris visit is his
154:, recounted that at the age of four Wolfgang began to compose a recognisable
2260:
2128:
1169:
861:
784:
769:
765:
721:
362:. The princess tried to persuade Leopold to abandon his itinerary and go to
215:
191:
94:
2215:
He had been made a concert master with a salary of 150 florins. Blom, p. 60
933:
2511:
892:
Très médiocre – Un misérable italien détestable – Asini tutti – Un racleur
965:
929:
764:, composed in the Netherlands. Following this concert they spent time in
752:. Her condition grew steadily worse, and on 21 October she was given the
653:
595:
418:
294:
286:
102:
98:
37:
1006:, where Mozart made his home town debut as a symphonist in December 1766
251:, while waiting for the proceeds from their performances to accumulate.
93:
The first stage of the tour's itinerary took the family, via Munich and
2127:"Aria d'affeto" refers to arias of the slow, expressive type, such as "
818:
810:
741:
604:
367:
347:
339:
130:
1206:
Blom, p. 14. Gutman, Introduction p. xx, has the same story. See also
500:, the street in which the Mozart family found lodgings on arriving in
918:
910:
725:
608:
501:
478:
363:
351:
313:
693:
2294:
198:
salary. Their schedule was interrupted when Wolfgang fell ill with
2395:
The Cambridge History of Nineteenth Century Music, ed. Samson, Jim
998:
955:
906:
883:
737:
729:
692:
620:
570:
492:
482:
439:
400:
324:
307:
262:
214:
160:
116:
944:. The prince received the party on 20 October, on its arrival in
508:
The Mozarts' first London lodgings were above a barber's shop in
485:
on a hired boat, and some delays, arrived in London on 23 April.
899:
637:
624:
537:
343:
2515:
809:
The family left The Hague at the end of March, moving first to
190:
of France, who was two months his senior. Mozart's biographer
2479:
Mozart's Symphonies: Context, Performance Practice, Reception
1589:
Zaslaw dates this second royal recital 28 May – Zaslaw, p. 26
928:
The journey through Switzerland continued, with concerts at
772:(song medley) for small orchestra and harpsichord, entitled
385:
for harpsichord, which would later be incorporated into the
158:, and was able to demonstrate a phenomenal sense of pitch.
138:, born the same year as Wolfgang, and the organist prodigy
297:
court, where the children's performance apparently amazed
40:, 1765–1766. Occluded line shows travel in each direction.
1267:"Wolfgang Amadeus Mozart | Biography, Facts, & Works"
578:, Pimlico, where the Mozarts stayed in the summer of 1764
276:, where according to Leopold the boy played on the organ
744:. On 11 September the family finally reached The Hague.
611:, the jewel of which, according to Hildesheimer, is the
2393:
Knittel, K.M. (2001). "The Construction of Beethoven".
617:
set of violin sonatas, with extra flute and cello parts
536:. He was allowed to accompany the queen as she sang an
704:. The young prince met the Mozart family in 1765–66.
2870:
2834:
2737:
2703:
2630:
2549:
1767:. Sydney, New South Wales, Australia. 26 April 1864
1937:Quoted by Sadie, p. 99, from a contemporary report
1912:Zaslaw, p. 67. The other terms may be translated:
794:, K. 23), and keyboard variations on a Dutch song
2330:The Mozart Family: Four Lives in a Social Context
1308:
1306:
1304:
1294:
1292:
84:. Throughout the subsequent tour, the children's
548:concert for a maternity hospital on 29 June, at
2062:Sadie, pp. 613–21 (summary of Köchel catalogue)
165:Leopold, Wolfgang, and Nannerl. Watercolour by
1992:
1990:
134:of Mozart included the violinist and composer
2527:
1366:Leopold Mozart letter, quoted by Sadie, p. 37
689:The Netherlands (September 1765 – April 1766)
8:
613:C major sonata for piano, four hands, K. 19d
2414:The Cultural Significance of the Child Star
2114:
2112:
2031:
2029:
1971:
1969:
1967:
1965:
1963:
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1659:
1657:
1638:
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1234:
1232:
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1220:
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2700:
2534:
2520:
2512:
2305:, vol. 151, no. 1911 (Summer 2010), 83–89.
1953:
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1246:
1244:
1193:
1191:
1189:
1187:
1147:
1145:
1143:
848:, depicting W. A. Mozart entertaining the
623:"God is our Refuge", K. 20, and the tenor
27:Journey through western Europe (1763–1766)
2397:. Cambridge: Cambridge University Press.
1608:
1606:
1604:
1438:
1436:
564:, then considered part of the village of
176:Maximilian III Joseph, Elector of Bavaria
1526:"Visit from the child Mozart, 1763–1764"
949:Salzburg, arriving at their home on the
448:during his stay at the Versailles Palace
408:, the courtesan whom the Mozarts met at
31:
1084:
354:, where a performance was given before
226:In a letter to his friend and landlord
121:Maria Anna and Wolfgang, on ivory, 1765
2497:"Köchel's catalogue of Mozart's works"
2137:or "Per pièta, ben mio, perdona" from
2073:"Köchel's catalogue of Mozart's works"
870:Homeward journey (April–November 1766)
338:The family proceeded by riverboat to
312:Wolfgang at the start of the tour in
7:
2079:from the original on 23 January 2009
481:and after an unpleasant crossing to
2332:. Oxford: Oxford University Press.
886:, following an invitation from the
732:, as first Wolfgang fell sick with
232:Friedrich Melchior, Baron von Grimm
2440:. New York: W.W. Norton & Co.
2437:Mozart: The Early Years, 1756–1781
2375:The Pegasus Pocket Guide to Mozart
2265:'Mozart' (Master Musicians series)
800:set of keyboard and violin sonatas
714:Princess Carolina of Orange-Nassau
520:and his 19-year-old German queen,
397:Paris (November 1763 – April 1764)
25:
1532:from the original on 16 June 2023
1277:from the original on 1 March 2016
960:The Mozart family's house, No. 9
540:, and he later improvised on the
259:Early stages (July–November 1763)
2911:
2910:
2771:Maria Anna Thekla Mozart (Bäsle)
2243:Mozart: An Illustrated Biography
1920:, "a repulsive Italian misery";
909:, then across northern Italy to
856:in the Four-Mirror Salon of the
830:
825:, to arrive in Paris on 10 May.
648:concert was given, on 13 May at
603:of Mozart's works only by their
393:6, which he completed in Paris.
82:Prince-Archbishopric of Salzburg
2888:Beethoven–Haydn–Mozart Memorial
1918:Un misérable italien détestable
854:Louis François, Prince of Conti
588:Symphony No. 1 in E flat, K. 16
489:London (April 1764 – July 1765)
356:Princess Anna Amalia of Prussia
2416:. London: Taylor and Francis.
599:symphonies, identified in the
504:, April 1764 (2005 photograph)
323:The next extended stop was at
1:
796:Laat ons juichen, Batavieren!
728:there was a month's delay at
299:Elector Palatine Karl Theodor
2797:(paternal great-grandfather)
2640:Concert arias, songs, canons
2311:Mozart: A Cultural Biography
2245:. London: Macdonald and Co.
427:Friedrich Melchior von Grimm
350:. Turning west they reached
267:Maria Anna as a child (1763)
2777:Franz Xaver Wolfgang Mozart
2759:Maria Anna Mozart (Nannerl)
2481:. Oxford: Clarendon Press.
2459:. London: RoutledgeFalmer.
2378:. New York: Pegasus Books.
2313:. San Diego: Harcourt Inc.
842:Afternoon Tea at the Temple
698:William V, Prince of Orange
681:of the manuscript copy of "
2958:
2309:Gutman, Robert W. (1999).
1916:, "very undistinguished";
846:Michel-Barthélémy Ollivier
674:Philosophical Transactions
376:Prince Charles of Lorraine
333:Johann Wolfgang von Goethe
2906:
2883:Mozart in popular culture
2695:Relationship with G minor
1764:The Sydney Morning Herald
844:, 1766, oil on canvas by
550:Ranelagh Pleasure Gardens
458:Madame Victoire de France
152:Johann Andreas Schachtner
2612:Appearance and character
2328:Halliwell, Ruth (1998).
1029:Per pièta, bell'idol mio
813:, where the organist of
140:Joseph Siegmund Bachmann
46:Mozart family grand tour
18:Mozart family Grand Tour
2937:Wolfgang Amadeus Mozart
2898:Mozart Monument, Vienna
2543:Wolfgang Amadeus Mozart
2412:O'Connor, Jane (2008).
2293:Chrissochoidis, Ilias.
1685:Hildesheimer, pp. 34–35
1298:Hildesheimer, pp. 30–31
1271:Encyclopædia Britannica
880:Kyrie in F major, K. 33
592:No. 4 in D major, K. 19
514:St Martin-in-the-Fields
228:Johann Lorenz Hagenauer
2791:(paternal grandfather)
2354:. London: J. M. Dent.
2348:Hildesheimer, Wolfgang
1007:
969:
705:
671:. A report, issued in
579:
505:
449:
413:
320:
268:
223:
170:
122:
48:was a journey through
41:
2455:Spruce, Gary (1996).
2279:. London: Macmillan.
2267:. London: J. M. Dent.
1061:Hieronymous Colloredo
1002:
959:
953:on 29 November 1766.
702:Johann Georg Ziesenis
696:
642:Johann Sebastian Bach
629:Va, dal furor portata
574:
530:Johann Christian Bach
496:
443:
404:
311:
266:
236:Wolfgang Hildesheimer
218:
164:
120:
60:, and their children
35:
2690:Compositional method
2670:Works for solo piano
1924:, "all idiots"; and
1739:Gutman, p. 184 (f/n)
1079:Notes and references
775:Gallimathias musicum
650:Hickford's Long Room
464:. Mozart biographer
460:, the second to the
285:. The next stop was
245:Austrian Netherlands
2789:Johann Georg Mozart
2724:Neue Mozart-Ausgabe
2717:Alte Mozart-Ausgabe
1703:Hildesheimer, p. 33
1312:Hildesheimer, p. 29
1100:O'Connor, pp. 40–41
1021:Giuseppe Sammartini
913:, and home via the
898:. They moved on to
720:, to go instead to
534:Carl Friedrich Abel
435:Madame de Pompadour
406:Madame de Pompadour
360:Frederick the Great
180:Karl von Zinzendorf
66:Wolfgang Theophilus
2783:Karl Thomas Mozart
1759:"Mozart in London"
1528:. 23 August 2018.
1037:Salzburg Cathedral
1008:
1004:Salzburg Cathedral
970:
798:K. 24. He wrote a
762:B flat major K. 22
706:
590:, and started his
580:
506:
450:
414:
321:
269:
224:
171:
123:
105:in November 1766.
42:
2924:
2923:
2753:Anna Maria Mozart
2733:
2732:
2423:978-0-415-96157-8
2303:The Musical Times
2161:Sadie, pp. 111–12
2118:Sadie, pp. 104–08
2075:. Classical.net.
2053:Zaslaw, pp. 29–31
1957:Sadie, pp. 99–103
1882:Zaslaw, pp. 64–66
1864:Zaslaw, pp. 52–55
1855:Zaslaw, pp. 47–51
1694:Zaslaw, pp. 17–20
1667:Zaslaw, pp. 44–45
1651:Zaslaw, pp. 25–26
1497:Zaslaw, pp. 28–29
1226:Glover, pp. 18–19
1151:Glover, pp. 16–17
1118:Sadie, pp. 192–93
1053:Wolfgang's opera
791:Conservati fedele
683:God is our refuge
669:Daines Barrington
462:Countess of Tessé
16:(Redirected from
2949:
2914:
2913:
2803:(brother-in-law)
2765:Constanze Mozart
2711:Köchel catalogue
2701:
2685:Violin concertos
2536:
2529:
2522:
2513:
2508:
2506:
2504:
2492:
2470:
2451:
2427:
2408:
2389:
2370:Kenyon, Nicholas
2365:
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2045:
2044:Halliwell. p. 63
2042:
2036:
2033:
2024:
2023:Halliwell, p. 85
2021:
2015:
2014:Halliwell, p. 64
2012:
2006:
2005:Halliwell, p. 61
2003:
1997:
1996:Halliwell, p. 55
1994:
1985:
1982:
1976:
1973:
1958:
1955:
1938:
1935:
1929:
1910:
1904:
1901:
1895:
1894:Sadie, pp. 96–99
1892:
1883:
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1874:
1871:
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1862:
1856:
1853:
1847:
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1837:Sadie, pp. 90–95
1835:
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1809:Sadie, pp. 75–78
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1630:Sadie, pp. 63–65
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1580:Sadie, pp. 58–60
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1568:Sadie, pp. 58–59
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1471:Sadie, pp. 47–50
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1403:Sadie, pp. 37–47
1401:
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1375:The florin, or (
1373:
1367:
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1358:
1357:Halliwell, p. 56
1355:
1349:
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1330:Halliwell, p. 67
1328:
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1256:Sadie, pp. 34–36
1254:
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1210:Marie Antoinette
1204:
1198:
1197:Sadie, pp. 23–29
1195:
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1101:
1098:
1092:
1089:
858:Palais du Temple
834:
815:St Bavo's Church
718:Prince of Orange
716:, sister of the
601:Köchel catalogue
576:180 Ebury Street
562:180 Ebury Street
554:Grosvenor Square
358:, the sister of
188:Marie Antoinette
52:, undertaken by
21:
2957:
2956:
2952:
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2950:
2948:
2947:
2946:
2927:
2926:
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2920:
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2847:Catholic Church
2830:
2827:(sister-in-law)
2821:(sister-in-law)
2815:(sister-in-law)
2809:(mother-in-law)
2729:
2699:
2665:Piano concertos
2626:
2545:
2540:
2502:
2500:
2499:. Classical.net
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2143:. Sadie, p. 108
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2013:
2009:
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1995:
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1983:
1979:
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1961:
1956:
1941:
1936:
1932:
1928:, "inadequate".
1911:
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1598:Blom, pp. 23–24
1597:
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1208:Evelyne Lever,
1205:
1201:
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1185:
1180:
1176:
1168:
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1159:
1155:
1150:
1141:
1135:
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1127:Knittel, p. 124
1126:
1122:
1117:
1113:
1108:
1104:
1099:
1095:
1090:
1086:
1081:
1073:Mozart in Italy
1069:
1056:Ascanio in Alba
1045:
993:
980:
975:
888:Prince of Conti
872:
867:
866:
865:
840:
835:
691:
634:20 Frith Street
491:
444:The 7-year-old
399:
261:
213:
208:
115:
113:Child prodigies
28:
23:
22:
15:
12:
11:
5:
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2829:
2828:
2822:
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2804:
2798:
2792:
2786:
2780:
2774:
2773:(first cousin)
2768:
2762:
2756:
2750:
2747:Leopold Mozart
2743:
2741:
2735:
2734:
2731:
2730:
2728:
2727:
2720:
2713:
2707:
2705:
2698:
2697:
2692:
2687:
2682:
2677:
2672:
2667:
2662:
2657:
2652:
2650:Horn concertos
2647:
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2539:
2538:
2531:
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2516:
2510:
2509:
2493:
2487:
2471:
2465:
2457:Teaching Music
2452:
2446:
2432:Sadie, Stanley
2428:
2422:
2409:
2403:
2390:
2384:
2366:
2360:
2344:
2338:
2325:
2319:
2306:
2291:
2285:
2277:Mozart's Women
2269:
2257:
2251:
2239:Baker, Richard
2233:
2230:
2227:
2226:
2217:
2208:
2199:
2190:
2181:
2172:
2163:
2154:
2145:
2140:Così fan tutte
2120:
2108:
2099:
2090:
2064:
2055:
2046:
2037:
2025:
2016:
2007:
1998:
1986:
1977:
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992:
989:
979:
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971:
946:Donaueschingen
894:(a scratcher)
871:
868:
837:
836:
829:
828:
827:
754:last sacrament
710:Dutch Republic
690:
687:
679:British Museum
558:Earl of Thanet
490:
487:
398:
395:
387:C major sonata
260:
257:
220:Leopold Mozart
212:
209:
207:
204:
156:piano concerto
127:William Crotch
114:
111:
74:Imperial Court
64:(Nannerl) and
54:Leopold Mozart
50:western Europe
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2954:
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2942:Mozart family
2940:
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2893:Mozart effect
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2819:Aloysia Weber
2817:
2814:
2813:Josepha Weber
2811:
2808:
2807:Cäcilia Weber
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2488:0-19-816286-3
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2466:0-415-13367-X
2462:
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2447:0-393-06112-4
2443:
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2404:0-521-59017-5
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2385:1-933648-23-6
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2371:
2367:
2363:
2361:0-460-02401-9
2357:
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2349:
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2341:
2339:0-19-816371-1
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2320:0-15-601171-9
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2288:
2286:1-4050-2121-7
2282:
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2262:
2258:
2254:
2252:0-356-19695-X
2248:
2244:
2240:
2236:
2235:
2231:
2224:Kenyon, p. 65
2221:
2218:
2212:
2209:
2206:Kenyon, p. 64
2203:
2200:
2197:Sadie, p. 176
2194:
2191:
2188:Kenyon, p. 61
2185:
2182:
2179:Glover, p. 28
2176:
2173:
2167:
2164:
2158:
2155:
2152:Zaslaw, p. 70
2149:
2146:
2142:
2141:
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2124:
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2100:
2097:Zaslaw, p. 35
2094:
2091:
2078:
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2059:
2056:
2050:
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2041:
2038:
2035:Glover, p. 24
2032:
2030:
2026:
2020:
2017:
2011:
2008:
2002:
1999:
1993:
1991:
1987:
1984:Sadie, p. 111
1981:
1978:
1975:Glover, p. 26
1972:
1970:
1968:
1966:
1964:
1960:
1954:
1952:
1950:
1948:
1946:
1944:
1940:
1934:
1931:
1927:
1923:
1919:
1915:
1914:très mediocre
1909:
1906:
1900:
1897:
1891:
1889:
1885:
1879:
1876:
1873:Zaslaw, p. 64
1870:
1867:
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1642:Glover, p. 25
1639:
1637:
1633:
1627:
1624:
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1577:
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1562:
1559:Zaslaw, p. 42
1556:
1553:
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1531:
1527:
1521:
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1483:Kenyon, p. 56
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1462:
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1421:Glover, p. 20
1418:
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1348:Glover, p. 19
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1238:Kenyon, p. 55
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1109:Sadie, p. 102
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1103:
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1091:Spruce, p. 71
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1022:
1018:
1017:William Boyce
1014:
1005:
1001:
997:
990:
988:
984:
977:
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962:Getreidegasse
958:
954:
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951:Getreidegasse
947:
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750:typhoid fever
745:
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731:
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723:
719:
715:
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703:
700:, painted by
699:
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466:Stanley Sadie
463:
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319:
318:Maria Theresa
315:
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210:
205:
203:
201:
200:scarlet fever
195:
193:
189:
185:
184:Maria Theresa
181:
177:
169:, c. 1763–64.
168:
163:
159:
157:
153:
149:
143:
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137:
136:Thomas Linley
132:
128:
119:
112:
110:
106:
104:
100:
96:
91:
89:
88:
83:
79:
78:Kapellmeister
75:
71:
70:Maria Theresa
67:
63:
59:
55:
51:
47:
39:
34:
30:
19:
2878:Georg Nissen
2825:Sophie Weber
2801:Joseph Lange
2795:Franz Mozart
2722:
2715:
2617:Pet starling
2566:
2501:. Retrieved
2478:
2475:Zaslaw, Neal
2456:
2436:
2413:
2394:
2374:
2351:
2329:
2310:
2302:
2296:
2276:
2273:Glover, Jane
2264:
2242:
2220:
2211:
2202:
2193:
2184:
2175:
2166:
2157:
2148:
2138:
2132:
2123:
2102:
2093:
2081:. Retrieved
2067:
2058:
2049:
2040:
2019:
2010:
2001:
1980:
1933:
1925:
1921:
1917:
1913:
1908:
1899:
1878:
1869:
1860:
1851:
1842:
1797:Sadie, p. 69
1793:
1788:Sadie, p. 72
1784:
1776:
1769:. Retrieved
1762:
1753:
1744:
1735:
1730:Sadie, p. 66
1726:
1717:
1712:Sadie, p. 86
1708:
1699:
1690:
1681:
1672:
1647:
1626:
1621:Sadie, p. 62
1617:
1594:
1585:
1564:
1555:
1550:Sadie, p. 57
1546:
1534:. Retrieved
1520:
1511:
1506:Baker, p. 22
1502:
1451:Sadie, p. 46
1447:
1430:Sadie, p. 41
1426:
1417:
1412:Sadie, p. 35
1408:
1380:
1371:
1362:
1353:
1344:
1335:
1326:
1317:
1279:. Retrieved
1270:
1261:
1209:
1202:
1177:
1165:
1160:Sadie, p. 18
1156:
1132:
1123:
1114:
1105:
1096:
1087:
1054:
1046:
1028:
1027:d'affetto",
1025:
1009:
994:
985:
981:
927:
923:André Grétry
904:
895:
891:
877:
873:
841:
823:Valenciennes
808:
795:
789:
783:
782:'s libretto
773:
758:
746:
707:
672:
666:
646:
627:
581:
556:home of the
546:
507:
471:
451:
431:
415:
380:
337:
322:
291:Schwetzingen
270:
253:
248:
241:
225:
211:Preparations
196:
172:
144:
124:
107:
92:
85:
45:
43:
29:
2852:Freemasonry
2577:Nationality
2557:Biographies
2170:Blom, p. 34
1922:Asini tutti
1903:Blom. p. 32
1846:Blom, p. 30
1748:Blom, p. 27
1721:Blom, p. 26
1612:Blom, p. 25
1515:Blom, p. 19
1442:Blom, p. 17
1339:Blom, p. 14
1321:Blom, p. 23
1013:Thomas Arne
942:FĂĽrstenberg
850:royal court
804:Old Lambach
788:(including
734:tonsillitis
584:Jane Glover
510:Cecil Court
498:Cecil Court
475:Neal Zaslaw
316:by Empress
167:Carmontelle
148:harpsichord
56:, his wife
2931:Categories
2835:Influences
2680:Symphonies
2567:Grand tour
2562:Birthplace
2503:27 October
2261:Blom, Eric
2083:27 October
973:Evaluation
780:Metastasio
518:George III
454:louis d'or
423:Versailles
421:at nearby
410:Versailles
372:Luxembourg
278:pedalboard
274:Wasserburg
206:Grand tour
99:symphonies
87:Wunderkind
62:Maria Anna
58:Anna Maria
2842:Beethoven
2587:Scatology
2582:Residence
2550:Biography
2129:Dove sono
1043:Aftermath
1033:High Mass
978:Financial
862:Le Marais
785:Artaserse
770:quodlibet
766:Amsterdam
722:The Hague
542:bass part
522:Charlotte
412:, 1763–64
303:Electress
222:, c. 1765
192:Eric Blom
95:Frankfurt
2916:Category
2761:(sister)
2755:(mother)
2749:(father)
2704:Editions
2592:Smallpox
2477:(1991).
2434:(2006).
2372:(2006).
2350:(1985).
2297:Miserere
2275:(2005).
2263:(1935).
2241:(1991).
2077:Archived
1530:Archived
1275:Archived
1067:See also
1050:smallpox
966:Salzburg
930:Lausanne
896:– Rotten
658:Cornhill
654:shilling
605:incipits
596:symphony
419:Louis XV
301:and his
295:Mannheim
293:and the
287:Augsburg
249:en route
103:Salzburg
38:Salzburg
2871:Related
2862:Salieri
2675:Sonatas
2232:Sources
1536:16 June
1281:2 March
991:Musical
864:(Paris)
819:Utrecht
811:Haarlem
742:Antwerp
662:guineas
609:sonatas
566:Chelsea
512:, near
383:Allegro
368:Belgium
348:Cologne
340:Koblenz
283:florins
131:Norwich
80:to the
72:at the
2767:(wife)
2739:Family
2660:Operas
2655:Masses
2645:Dances
2607:Prague
2602:Berlin
2485:
2463:
2444:
2420:
2401:
2382:
2358:
2352:Mozart
2336:
2317:
2283:
2249:
2134:Figaro
1926:Rotten
1771:8 June
1381:gulden
1377:German
1172:, p. 8
938:K. 33B
934:ZĂĽrich
919:Geneva
911:Venice
726:Calais
526:Handel
502:London
479:Calais
446:Mozart
364:Berlin
352:Aachen
314:livery
2857:Haydn
2785:(son)
2779:(son)
2632:Music
2622:Death
2597:Italy
2131:" in
915:Tyrol
907:Turin
884:Dijon
738:Ghent
730:Lille
621:motet
483:Dover
325:Mainz
2572:Name
2505:2008
2483:ISBN
2461:ISBN
2442:ISBN
2418:ISBN
2399:ISBN
2380:ISBN
2356:ISBN
2334:ISBN
2315:ISBN
2281:ISBN
2247:ISBN
2085:2008
1773:2019
1538:2023
1283:2016
1170:Blom
1019:and
932:and
900:Lyon
638:Soho
625:aria
615:. A
538:aria
532:and
370:and
346:and
344:Bonn
329:Main
44:The
1035:at
852:of
685:".
636:),
129:of
2933::
2301:,
2111:^
2028:^
1989:^
1962:^
1942:^
1887:^
1814:^
1802:^
1775:.
1761:.
1656:^
1635:^
1603:^
1573:^
1488:^
1476:^
1456:^
1435:^
1388:^
1379::
1303:^
1291:^
1273:.
1269:.
1243:^
1231:^
1217:^
1186:^
1142:^
1015:,
964:,
860:,
568:.
528:,
391:K.
389:,
342:,
305:.
2535:e
2528:t
2521:v
2507:.
2491:.
2469:.
2450:.
2426:.
2407:.
2388:.
2364:.
2342:.
2323:.
2299:"
2289:.
2255:.
2087:.
1540:.
1285:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
