wolfgang mozart

You know who deserves some recognition? Nannerl Mozart.

yep, that’s right, Wolfie’s older sister. lemme tell you a few things bout my girl Nan

-born Maria Anna Walburga Ignatia Mozart in 1751, the fourth of seven children & only Nan and the youngest, Wolfgang would actually make it to adulthood

-her dad Leopold began teaching her harpsichord when she was 8, and wham bam, she was AMAZINGLY GREAT AT IT

-lil wolfie would sit at her side, and it was most likely her impressive talent that inspired him to learn!!!

-helped teach Wolfgang by translating what their father said into an easier way for him to understand

-1762 rocks up & it’s basically The Mozart KidsLive! They begin touring Europe for what will be 3 years and over 88 cities

-“What it all amounts to is this, that my little girl, although she is only 12 years old, is one of the most skillful players in Europe.”- Leopold had 0 chill when it came to his kids

-at 13 she sat down and wrote out her brother’s first symphony (K.16)

-survived both typhus AND smallpox, which were terribly deadly diseases at the time

-could also sing and play the violin! was there anything she couldn’t do?

-unfortunately, yes. she was unable to make her dad see that she was just as worthy as her lil brother to be taught how to compose

-apparently all good things must come to an end, because in 1769, Leopold forbid her from accompanying them on any more tours due to her reaching a marriageable age (uGH DAD)

-in 1770, Wolfgang writes her a letter from on tour that goes a little bit like “sis, how’d you get so good at composing? I know dad never taught you and it’s honestly a little embarrassing for me. anyway, I thought you might like this postcard. see ya in a couple years, xoxo Wolfie.”

-she continued teaching HERSELF how to compose and lived with Leopold at home taking the utmost care of his grouchy old ass

-then some cutie patootie nobleman (not much is known about him) named Franz d’Ippold strolls into Vienna & cue the heart eyes n’ cupids, because Nan is in The Sauce That is a Metaphor For Love

-i’m expecting that Franz was hot af in those breeches because my girl was picky when it came to men

-Franz must’ve been all like “she’s cute & smart? double whammy!” so he jumps headfirst into The Sauce That Is a Metaphor For Love as well

-NanZ (i’m assuming that was their ship name) goes to ask Leopold for his blessing and…

-the bastard says NOPE and tells Franz to take a flying leap back to wherever he came from (which is still unknown by historians)

-so Franz is lost to history, and we totally know Nan would walk around the house crying and listening to the 18th century equivalent of Adele 

-but being the good brother he is, Wolfgang writes her a flowery letter 3 months late, telling her to follow her heart and her dreams, but by that time Nan is a stone cold killa in the love dept.

-so she goes on to marry a magistrate named Berchtold (ew) in 1783 who already had 5 kids from 2 other marriages and was at least 10 years her senior (well done Nan)

-but wait! there’s more! Nan’s scumbag of a dad TOOK her firstborn son, FRANZ Leopold ( do I even need to say anything) under the claim that he wished him to have a private musical education, and that Nannerl was too occupied with her other stepchildren to give him the education he deserved. Nan was absent from the first two years of Franz’s life.

-Wolfgang would send music for Nan to proofread and perform over the years, but sadly after he married, the once-tight bond between them broke, and the last letter sent between them was in 1788.

-Wolfgang died in 1791, and the last time the siblings had seen each other was 1783.

-after her own husband kicks it in 1801, Nan’s got 4 of her stepchildren and 2 of her own to look after, so she gets a job as a music instructor to support them

-she helps Wolfgang’s widow create his biography by loaning her all of their family’s correspondence over the years

-in her later years, Nan’s vision failed rapidly, and by 1825 she was completely blind. A visitor in 1829 described her as, “blind, languid, exhausted, feeble and nearly speechless,“ as well as lonely.

-Nannerl died alone at 78 on Oct. 29, 1829, nearly 38 years after her beloved brother

Nannerl’s legacy is one of amazing capabilities and outstanding achievements, but is not known by many, due to the fact that she was a woman in a man’s era. Let’s finally show a lil appreciation to the girl behind the genius. 

every tumblr post in 2017
  • a tumblr user: you know when you uh.... astral project... to walgreens.... to pick up some excedrin for your headache but get sidetracked in the "intimate care" aisle because your... soul projection just noticed that they actually stock tiny vibrators in-store at walgreens and it really catches you by surprise then you notice an employee staring at your shadowy, indistinct form which is awkwardly hunched over in front of the condom shelf and you have to struggle to explain what you're doing there hahaha
  • someone with a junkrat icon and a 3 page long blocklist linked in their about: hey OP just wondering why did you kill wolfgang amadeus mozart with poison :/
The Signs As Classical Masterpieces

Aries: Ride Of The Valkyries, Richard Wagner, 1856

Taurus: Bolero, Maurice Ravel, 1928

Gemini: Symphony No. 5, Ludwig van Beethoven, 1808

Cancer: Blue Danube, Strauss, 1866

Leo: Also sprach Zarathustra, Richard Strauss, 1896

Virgo: Eine Kleine Nachtmusik: Allegro, Wolfgang Amadeus Mozart, 1787

Libra: Canon in D Major, Johann Pachelbel, 1680

Scorpio: Toccata and Fugue in D Minor, Johann Sebastian Bach, 1707

Sagittarius: William Tell Overture, Rossini, 1829

Capricorn: 1812 Overture, Pyotr Ilyich Tchaikovsky, 1880

Aquarius: Carmen Suite No.1: 5. Les toreadors, Bizet, 1845

Pisces: Moonlight Sonata, Ludwig van Beethoven, 1801

a compilation of some of my favourite composer quotes:

“Too many pieces of music finish too long after the end.”  - Igor Stravinsky

“I am sure my music has a taste of codfish in it.” - Edvard Grieg 

“Never look at the trombones. It only encourages them.” - Richard Strauss

“He’d be better off shovelling snow than scribbling on manuscript paper.” - Richard Strauss on Schoenberg

“I liked your opera. I think I will set it to music.” - Ludvig van Beethoven

“I have written a chorale both sober and suitable. In it I have put everything I know about boredom. I dedicate this to those who do not like me.” - Erik Satie

“ Mr. Wagner has beautiful moments but bad quarters of an hour.” - Gioacchino Rossini

“What a good thing this isn’t music.” - Gioacchino Rossini on Berlioz’s Symphonie Fantastique 

“Oh how wonderful, really wonderful opera would be if there were no singers!” - Gioacchino Rossini

“In opera there is always too much singing.” - Claude Debussy

“Bring me coffee before I turn into a goat!” - Johann Sebastian Bach

“Listening to the 5th Symphony of Ralph Vaughan Williams is like staring at a cow for 45 minutes.” - Aaron Copland 

“The audience expected something big, something colossal, but they were served instead with some agitated water in a saucer.” - Louis Schnieder on Debussy’s La Mer

“He gives me the impression of being a spoilt child.” - Clara Schumann on Liszt 

“What a giftless bastard!” - Pyotr Ilyich Tchaikovsky on Brahms

“Handel is only fourth rate. He is not even interesting.” - Pyotr Ilyich Tchaikovsky

“Bach on the wrong notes” -  Sergei Prokofiev on Stravinsky 

And, saving the best for last…

“Lick my ass up and down” -Wolfgang Amadeus Mozart 

Feel free to add more! (Also please don’t think that I agree with all of these, I am a huge fan of Symphonie Fantastique and La Mer!!)


Throughout Amadeus, Miloš Forman chooses to strengthen several shots by means of repetition. In this triptych he shows the film’s main characters, at different points, closing the same door. Normally when this is done in filmed narrative, it’s used as little more than a device to motivate an edit or signal a transition between story beats, but as the door shuts Forman has each actor drift to follow the rapidly shrinking frame. The eye is deprived as the angle of view approaches a vanishing point. It is in this deprivation that our focus intensifies, and in the second before the window is gone, we are allowed an almost confessional glimpse of each individual lowering their mask.