Mozart: an anomaly in the history of music?

Abstract

Mozart's work is quite unique on account of its quantitative and qualitative fullness within a short life. The explanatory patterns offered for this phenomenon range from a concentrated process of musical socialization, which comprised an exclusive preoccupation with music, to the specific fact of his travelling activity at that time (approx. 10 years of Mozart's life); to his good fortune in receiving, as a natural accompaniment in life, a musical education which was focused exclusively on high standards and enabled Mozart to become acquainted with almost the whole of the central European intelligentsia; to a consciously economic way of working which helped him to translate his experience of life into a work of art. These circumstances, which are ideal from the point of view of production, determined as they were by exceptional talent and by the environment, seemed to be so improbable to succeeding generations that the history of the reception of Mozart displays not only a reaction from a non‐academic perspective, but also designed a variety of diverging explanations for the (literally) unbelievable circumstances. This is probably why, ever since the start the nineteenth century, writings about Mozart have been not only contradictory, but have in part also provided no answers whatsoever to those questions which played such a major role in the biography. Consequently, the anomaly is valid not only for the process of production but also for that of reception.