On January 27, Wolfgang Amadeus Mozart celebrated his thirty-fifth and last anniversary. Alone, tired, sick, and without any penny, he composed three operas and several pieces in exchange of a few florins.
Creations
“Working so hard and hastily made one believe that he wanted to put a stop on material angishes by taking refuge in the creations of his mind. He overworked at such a point that not only did he forget his surroundings but also his own exhaustion. All of a sudden, he lost all strengths, and had to be carried to his bed.”
Nissen
Mozart died in Vienna. It was fifty-five minutes past midnight on Monday, December 5, 1791

The time was mild and foggy, and last tribute paid to Mozart amounted to a funeral service without any music, a third class procession, and then the communal grave.
He departed from this world leaving behind him works that were still misunderstood, his wife Constance and his two sons, Karl Thomas and Franz Xaver, who would later die without descendants. Before the end of her life, Constance will have enjoyed substantial income from Mozart's works and will die wealthy.
Regrets
“I was a long time out of me by the death of Mozart; I could not believe that Providence recalled an irreplaceable man so early in the other world. Over all, I consider it regrettable that before dying, Mozart did not have the occasion to convince English people, who are still unaware of him, of the truth that I preach daily to them.”
Joseph Haydn
In March, he joined with Schikaneder to compose the Magic Flute, a German opera intended for a popular theatre of the suburb. This coloured, tenderizing, funny and magic work, describes the stages leading to the achievement of oneself through characters evolving with different degrees of anguish and resolution.
During the summer, he composed the Introït of his Requiem.
In September, he composed in eighteen days his La Clemenza di Tito opera, intended for the solemn celebrations of Leopold II coronation.
His last days were devoted to his infamous Requiem.
| K.429 | Masonic Cantata: "Dir, Seele des Weltalls" (To you, heart of the universe, Oh! Sun), in E flat Major |
| K.595 | Concerto for piano No. 27 in B flat Major |
| K.596 | "Sehnsucht Nach dem Frühlinge" (longing for spring), Lied in F Major |
| K.597 | "Im Frühlingsanfang" (When Spring comes), Lied in E flat Majorr |
| K.598 | "Das Kinderspiel" (Games of children), Lied in A Major |
| K.599 | Six minuets: 1 in C, 2 in G, 3 in E flat, 4 in B flat, 5 in F, 6 in D |
| K.600 | Six German Dances: 1 in C, 2 in F, 3 in B flat, 4 in E flat, 5 in Ground, 6 in D |
| K.601 | Four minuets: 1 in A, 2 in C, 3 in G, 4 in D |
| K.602 | Four German Dances: 1 in B flat, 2 in F, 3 in C, 4 in A |
| K.603 | Two contredanses for orchestra |
| K.604 | Two minuets: 1 in B flat, 2 in E flat |
| K.605 | Three German Dances: 1 in D, 2 in G, 3 in C |
| K.607 | "Il Trionfo delle Donne" (The triumph of the ladies), Contredanse for orchestra in E flat Majorr |
| K.608 | Fantasia No. 2 for mechanical organ in F Minor |
| K.609 | Five contredanses for orchestra |
| K.610 | "Les filles malicieuses" (The malicious girls), Contredanse for orchestra in G Majorr |
| K.612 | Aria "Per Questa Bella Mano" For bass in D Major |
| K.613 | Eight variations for piano on a theme of Schack, in F Major |
| K.614 | String quintet No. 7 in E flat Major |
| K.617 | Quintet for harmonica, flute, oboe, viola and violoncello |
| K.618 | "Ave Verum", Motet for four voices, in D Major |
| K.619 | A small German cantata for a soprano with accompaniment of piano, in C Major |
| K.620 | "Die Zauberflöte" (the Magic Flute), opera |
| K.621 | "Clemenza di Tito", Opera-seria |
| K.621a | Aria: "Io Ti Lascio, o Cara, Addio..." for bass, in E flat Major |
| K.622 | Concerto for clarinet, in A Major |
| K.623 | "Das lob der Freundschaft" (The praise of the friendship), masonic Cantata in C Majorr |
| K.623a | Masonic lied: "Lasst uns mit Geschlungnen Haenden" (Let us intertwine our hands), in F Majorr |
| K.626 | Requiem Mass No. 17 in D Minor |
Child Cheerfulness
“These days, you can't believe how much time goes so slowly, far from you. I can't explain my feeling to you: it's a kind of emptiness... that really hurts me, a desire never satisfied, thus never ceasing, persisting and even growing day by day. - When I think of our childlike cheerfulness we spent in Baden... and what sorrowful and boring hours I'm now living here! ... That an hour comes when my business has its term, and the following hour will not find me here.”
Mozart to Constance
The taste of death
“I already have the taste of death in mouth, I feel the death, and who will assist my good Constance, if you do not stay there?”
Mozart dying