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Wolfgang Amadeus Mozart was not only one of the greatest composers of the Classical period, but one of the greatest of all time. Surprisingly, he is not identified with radical formal or harmonic innovations, or with the profound kind of symbolism heard in some of Bach's works. Mozart's best music has a natural flow and irresistible charm, and can express humor, joy or sorrow with both conviction and mastery. His operas, especially his later efforts, are brilliant examples of high art, as are many of his piano concertos and later symphonies. Even his lesser compositions and juvenile works feature much attractive and often masterful music.

Mozart was the last of seven children, of whom five did not survive early childhood. By the age of three he was playing the clavichord, and at four he began writing short compositions. Young Wolfgang gave his first public performance at the age of five at Salzburg University, and in January 1762, he performed on harpsichord for the Elector of Bavaria. There are many astonishing accounts of the young Mozart's precocity and genius. At the age of seven, for instance, he picked up a violin at a musical gathering and sight-read the second part of a work with complete accuracy, despite his never having had a violin lesson.

In the years 1763-1766, Mozart, along with his father Leopold, a composer and musician, and sister Nannerl, also a musically talented child, toured London, Paris, and other parts of Europe, giving many successful concerts and performing before royalty. The Mozart family returned to Salzburg in November 1766. The following year young Wolfgang composed his first opera, Apollo et Hyacinthus. Keyboard concertos and other major works also came from his pen.

In 1769, Mozart was appointed Konzertmeister at the Salzburg Court by the Archbishop. Beginning that same year, the Mozarts made three tours of Italy, where the young composer studied Italian opera and produced two successful efforts, Mitridate and Lucio Silla. In 1773, Mozart was back in Austria, where he spent most of the next few years composing. He wrote all his violin concertos between 1774 and 1777, as well as Masses, symphonies, and chamber works.

In 1780, Mozart wrote his opera Idomeneo, which became a sensation in Munich. After a conflict with the Archbishop, Mozart left his Konzertmeister post and settled in Vienna. He received a number of commissions and took on a well-paying but unimportant Court post. In 1782 Mozart married Constanze Weber and took her to Salzburg the following year to introduce her to his family. 1782 was also the year that saw his opera Die Entführung aus dem Serail staged with great success.

In 1784, Mozart joined the Freemasons, apparently embracing the teachings of that group. He would later write music for certain Masonic lodges. In the early and mid-1780s, Mozart composed many sonatas and quartets, and often appeared as soloist in the 15 piano concertos he wrote during this period. Many of his commissions were for operas now, and Mozart met them with a string of masterpieces. Le nozze di Figaro came 1786, Don Giovanni in 1787, Così fan tutte in 1790, and Die Zauberflöte in 1791. Mozart made a number of trips in his last years, and while his health had been fragile in previous times, he displayed no serious condition or illness until he developed a fever of unknown origin near the end of 1791. ~ Robert Cummings

While lacking the celebrity of certain other more glamorous figures, Vittorio Gui was a conductor of exceptional gifts, a knowledgeable leader and supportive accompanist to the hundreds of singers whose careers were enhanced by his tutelage and care, and a vivid and musically sound conductor of the symphonic literature. During a long career, he helped establish one important music festival and greatly influenced another, even while appearing in numerous other venues to great acclaim.

Gui was trained at Rome's Academy of Saint Cecilia, following piano instruction from his mother. Study in composition was accompanied by courses in the humanities at Rome University from which institution he obtained his degree. On short notice, Gui was summoned to take over a December 1907 performance of La Gioconda at the Teatro Adriano in his native city. The success he enjoyed led quickly to engagements at Turin and Naples. Within three years of his debut, Gui was appointed principal conductor at the San Carlo Opera in Naples. During this time, he also led a number of symphonic programs, most prominently at the 1911 Turin Exposition and, in 1912, at the Augusteo in Rome.

Gui's early achievements gave considerable luster to his name. Termed "a young Toscanini," he was celebrated for his meticulous preparation. Mastering a broad repertory of operatic and symphonic works, he invariably conducted from memory. In 1923, he was engaged by Toscanini to make his debut at La Scala in Strauss' Salome, therein being entrusted with the opening of the theatre's 1923 - 1924 season. In 1925, Gui was appointed music director of the Teatro Torino, instituting a regime of revitalized repertory and carefully restudied performance, and conducting many of the productions himself. An example of his intentions in managing the theatre came with a first-year revival of Rossini's L'italiana in Algeri featuring Conchita Supervia.

Three years into his work at Turin, Gui established the Orchestra Stabile in Florence, leading in 1933 to the beginning of the Maggio Musicale Fiorentino. Also in 1933, Gui received an invitation from Bruno Walter to appear at Salzburg where he would become the festival's first Italian guest conductor. At Salzburg, he arrived with a reputation as not only a superb conductor of opera, but also as a symphonic director with particular abilities in the music of Debussy and Brahms.

Gui's warm relationship with the English public began with his debut at Covent Garden in 1938, when he conducted productions of Rigoletto, La bohème, and Tosca. Although his return there was delayed until a 1952 Norma with Callas and Stignani, he had followed wartime appearances in Vienna and Berlin with a debut at the Glyndebourne Festival in 1948. His sparkling manner and thorough preparation in both Mozart and Rossini made him a welcome part of that company. Assuming duties as music director in 1952 following the death of Fritz Busch, Gui remained at Glyndebourne until 1964 when he was approaching 80. Several recordings preserve his work, notably La Cenerentola, Le comte Ory (a brilliantly conducted, well cast production from 1952), Le nozze di Figaro from 1955 (with Jurinac, Bruscantini, and Stevens) and Il barbiere di Siviglia from 1962 (Bruscantini and de los Angeles).

Vittorio Gui also gained favorable comments for his composing. Writing in a neo-impressionistic style, he produced two operas of some merit, a symphonic poem, and several cantatas. Gui made substantial contributions to musicology as well, with numerous articles and editions of important scores.