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It was originally known as Mozart-Bonbon, created in 1890 by Salzburg confectioner Paul Fürst (1856–1941) and named after Wolfgang Amadeus Mozart. Handmade Original Salzburger Mozartkugeln are manufactured by Fürst's descendants up to today, while similar products have been developed by numerous confectioners, often industrially produced.
The "Original Salzburger Mozartkugeln" of the Confectionary Fürst. In 1884 he opened his own pastry shop, again at Brodgasse 13. In 1890, Paul Fürst created a praline there, consisting of pistachio-marzipan coated with nougat and dark couverture chocolate, and named it "Mozartkugel" after the composer Wolfgang Amadeus Mozart (at that time it was still called "Mozartbonbon").
Its numbers reflect the ongoing task of compiling the chronology of Mozart's works, and provide a shorthand reference to the compositions. For example, according to Köchel's counting, Requiem in D minor is the 626th piece Mozart composed, thus is designated K. 626. Köchel's original catalogue (1862) has been revised several times.
All pages with titles containing Mozart; Mozart effect, a theory that listening to Mozart's music can enhance intellect; Mozartkugeln, a chocolate made to honor Mozart, popular in Austria; Juan Crisóstomo Arriaga (1806–1826), composer called the "Spanish Mozart" François-Adrien Boieldieu (1775–1834), composer called the "French Mozart"
Mozart's symphonic production covers a 24-year interval, from 1764 to 1788. According to most recent investigations, Mozart wrote not just the 41 symphonies reported in traditional editions, but up to 68 complete works of this type. However, by convention, the original numbering has been retained, and so his last symphony is still known as "No ...
However, since in six of the pieces these entries matched texts that had, in the meantime, independently come to light in original manuscripts, it was hypothesised that the remaining three may, too, have been original, including texts for K. 231 ("Leck mich im Arsch" itself), and another Mozart work, "Leck mir den Arsch fein recht schön sauber ...
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Framed by the opening and closing adagios, this middle section depicts the military career of the Field Marshall. The last bars capture the uncertainties of a military career, where Mozart breaks away from an augmented sixth chord and leaves it hanging in the air, unresolved, for almost four full beats. [3] III – Adagio
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