Symphony No. 41 (Mozart)
Last symphony (1788) by Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart completed his Symphony No. 41 in C major, K. 551, on 10 August 1788. The longest and last symphony that he composed, it is regarded by many critics as among the greatest symphonies in classical music. The work is nicknamed the "Jupiter" Symphony, probably coined by the impresario Johann Peter Salomon.
The autograph manuscript of the symphony is preserved in the Berlin State Library.
Instrumentation.
The symphony is scored for flute, 2 oboes, 2 bassoons, 2 horns in C and F, 2 trumpets in C, timpani in C and G, and strings.
Composition and premiere.
Symphony No. 41 is the last of a set of three that Mozart composed in rapid succession during the summer of 1788. No. 39 was completed on 26 June and No. 40 on 25 July. Nikolaus Harnoncourt argues that Mozart composed the three symphonies as a unified work, pointing, among other things, to the fact that the Symphony No. 41, as the final work, has no introduction (unlike No. 39) but has a grand finale.
Around the same time as he composed the three symphonies, Mozart was writing his piano trios in E major (K. 542) and C major (K. 548), his piano sonata No. 16 in C (K. 545)—the so-called "Sonata facile", and a violin sonatina (K. 547).
It is not known for certain whether Symphony No. 41 was ever performed in the composer's lifetime. According to Otto Erich Deutsch, Mozart was preparing to hold a series of "Concerts in the Casino" around this time in a new casino in the Spiegelgasse owned by Philipp Otto. Mozart even sent a pair of tickets for this series to his friend Michael Puchberg. Historians have not determined whether the concert series was held or was cancelled for lack of interest. However, the new symphony in C was performed at the Gewandhaus in Leipzig in 1789—at least according to its concert program.
Movements.
The four movements are arranged in the traditional symphonic form of the Classical era:
The symphony typically has a duration of about 33 minutes.
I. Allegro vivace.
The sonata form first movement's main theme begins with contrasting motifs: a threefold tutti outburst on the fundamental tone (respectively, by an ascending motion leading in a triplet from the dominant tone underneath to the fundamental one), followed by a more lyrical response.
<score sound>
\new Staff \with { instrumentName = #"Fl."} \relative c" {
 \key c \major
 \set Score.tempoHideNote = ##t
 \tempo "Allegro vivace" 4 = 140
 \time 4/4
 \set Staff.midiInstrument = "flute"
 c'4\f r8 \times 2/3 { g16( a b } c4) r8 \times 2/3 { g16( a b } |
 c4) r r2 | R1 | R1 |
 g4\f r8 \times 2/3 { d16( e fis } g4) r8 \times 2/3 { d16( e fis } |
 g4) r4 r2 | R1 | R1 |
 c4 c8. c16 c4 c |
 a4 a8. a16 a4 a |
 b4 b8. b16 b4 b |
\new Staff \with { instrumentName = #"Vl. 1 "} \relative c" {
 \key c \major
 \time 4/4
 \set Staff.midiInstrument = "violin"
 c,4\f r8 \times 2/3 { g16( a b } c4) r8 \times 2/3 { g16( a b } |
 c4) r r r8 c'-.\p |
 c4.( b8 d4. c8) |
 g'2( f4) r |
 <g, g,>4\f r8 \times 2/3 { d16( e fis } g4) r8 \times 2/3 { d16( e fis } |
 g4) r r r8 d'-.\p |
 d4.( c8 g'4. f!8) |
 a2( g4) r |
 <g, e' c'>\f r8 g32^"Vl. 2"( f e d c4) <g' e' c' > |
 <f c' a'> r8 c'32^"Vl. 2"( bes a g f4) <a f'> |
 r8 d"32^"Vl. 2"( c b! a g4) <d b' g'> |
»
</score>
This exchange is heard twice and then followed by an extended series of fanfares. What follows is a transitional passage where the two contrasting motifs are expanded and developed. From there, the second theme group begins with a lyrical section in G major which ends suspended on a seventh chord and is followed by a stormy section in C minor. Following a full stop, the expositional coda begins which quotes Mozart's insertion aria "Un bacio di mano", K. 541 and then ends the exposition on a series of fanfares.
The development begins with a modulation from G major to E♭ major where the insertion-aria theme is then repeated and extensively developed. A false recapitulation then occurs where the movement's opening theme returns but softly and in F major. The first theme group's final flourishes then are extensively developed against a chromatically falling bass followed by a restatement of the end of the insertion aria then leading to C major for the true recapitulation. With the exception of the usual key transpositions and some expansion of the minor key sections, the recapitulation proceeds in a regular fashion.
<score sound>
II. Andante cantabile.
\relative c" {
 \key f \major
 \time 3/4
 \set Staff.midiInstrument = "string ensemble 2"
 \tempo "Andante cantabile"
 \tempo 4 = 70
 f,8.\p^\markup { \italic {con sordini}} (c16) a'4.. g32 (f
 e8) r8 bes'8-.\f r8 r4
 g8.\p (c,16) bes'4.. (a32 g
 f8) r8 c'8-.\f r8 r4
 f8.\p (c16) a'8. (\tuplet 3/2 {g32 f e} g16 f e d)
 c8 (b bes4 a)
</score>
The second movement, also in sonata form, is a sarabande of the French type in F major (the subdominant key of C major) similar to those found in the keyboard suites of J.S. Bach. This is the only symphonic slow movement of Mozart's to bear the indication "cantabile." The opening melody, played by muted violins, is never allowed to conclude without interruption. After a development section, the recapitulation begins in the subdominant key of B♭ major, though a secondary development section disrupts the recapitulation with rhythmic figures before the return to F.
<score sound>
III. Menuetto: Allegretto – Trio.
\relative c" {
 \key c \major
 \time 3/4
 \set Staff.midiInstrument = "string ensemble 1"
 \tempo "Menuetto: Allegretto"
 \tempo 4 = 130
 g'2\p (fis4 f! e d c8) r8 b8-. r8 c-. r8
 e2 (d8) r8
 a'2 (g4 fis f e d8) r8 c8-. r8 d-. r8
 f2 (e8) r8
 d'2\f (cis4 c!8) r8 a-. r8 fis-. r8
 d'2 (cis4 c!8) r8 a-. r8 fis-. r8
 d'-. r8 d-. r8 d-. r8
 e2 c8 (a)
 c2 a8 (fis)
 g4 r4 r4 \bar ":|."
</score>
The third movement, a "menuetto" marked "allegretto" is similar to a Ländler, a popular Austrian folk dance form. Midway through the movement, there is a chromatic progression in which sparse imitative textures are presented by the woodwinds (bars 43–51) before the full orchestra returns. In the trio section of the movement, the four-note figure that will form the main theme of the last movement appears prominently (bars 68–71), but on the seventh degree of the scale rather than the first, and in a minor key rather than a major, giving it a very different character.
<score sound>
IV. Molto allegro.
\relative c" {
 \key c \major
 \time 2/2
 \set Staff.midiInstrument = "string ensemble 2"
 \tempo "Molto allegro"
 \tempo 4 = 210
 c1\p ( d f e)
 r4 a4-. a-. a-.
 g2. (f16 e d c)
 f4-. f-. e-. e-.
 cis8 (d e d) c (b a g)
 c1-.\f d-. f-. e-.
 r4 a4-. a-. a-.
 a2. (g16 f e d c4)
</score>
Finally, a distinctive characteristic of this symphony is the five-voice quintuple fugato (representing the five major themes) at the end of the fourth movement. But there are fugal sections throughout the movement either by developing one specific theme or by combining two or more themes together, as seen in the interplay between the woodwinds. The main theme consists of four notes:
Four additional themes are heard in the symphony's finale (which is in sonata form) and all five motifs are combined in the fugal coda.
In an article about the "Jupiter" Symphony, Sir George Grove wrote that "it is for the finale that Mozart has reserved all the resources of his science, and all the power, which no one seems to have possessed to the same degree with himself, of concealing that science, and making it the vehicle for music as pleasing as it is learned. Nowhere has he achieved more". Of the piece as a whole, he wrote that "It is the greatest orchestral work of the world which preceded the French Revolution".
The four-note theme is a common plainchant motif which can be traced back at least as far as Thomas Aquinas's "Pange lingua gloriosi corporis mysterium" from the 13th century. It was very popular with Mozart. It makes a brief appearance as early as his Symphony No. 1 in 1764. Later, he used it in the Credo of an early "Missa Brevis" in F major, the first movement of his Symphony No. 33 and trio of the minuet of this symphony. It also appears in the first movement of the violin sonata K481 as the basis for the development section.
Scholars are certain Mozart studied Michael Haydn's Symphony No. 28 in C major, which also has a fugato in its finale and whose coda he very closely paraphrases for his own coda. Charles Sherman speculates that Mozart also studied Michael Haydn's Symphony No. 23 in D major because he "often requested his father Leopold to send him the latest fugue that Haydn had written". The Michael Haydn Symphony No. 39, written only a few weeks before Mozart's, also has a fugato in the finale, the theme of which begins with two whole notes. Sherman has pointed out other similarities between the two almost perfectly contemporaneous works. The four-note motif is also the main theme of the contrapuntal finale of Michael's elder brother Joseph's Symphony No. 13 in D major (1764).
Origin of the nickname.
According to Franz Mozart, Wolfgang's younger son, the symphony was given the name "Jupiter" by Johann Peter Salomon, who had settled in London in around 1781. The name has also been attributed to Johann Baptist Cramer, an English music publisher. Reportedly, from the first chords, Mozart's Symphony No. 41 reminded Cramer of Jupiter and his thunderbolts.
"The Times" of Thursday, May 8, 1817, carries an advertisement for a concert to be given in the Hanover Square Rooms on "Friday next, May 9" to include "Grand Sinfonie (Jupiter), Mozart". "The Morning Post" of Tuesday, June 3, 1817, carries an advertisement for printed music that includes: "The celebrated movement from Mozart's sympathy [sic], called 'Jupiter', arranged as a Duet, by J. Wilkins, 4s. [4 shillings]".
Responses and reception.
In a phrase ascribed to musicologist Elaine Sisman in her book "Mozart: The 'Jupiter' Symphony", most responses ranged "from admiring to adulatory, a gamut from A to A".
As summarized below, the symphony garnered approbation from critics, theorists, composers, and biographers and came to be viewed as a canonized masterwork known for its fugue and its overall structure that exuded clarity.
First recording.
The first known recording of the "Jupiter" Symphony is from around the beginning of World War I, issued by the Victor Talking Machine Company in its black label series, making it one of the first symphonies to be recorded using the acoustic recording technology.
The record labels list the Victor Concert Orchestra as the performers; they omit the conductor, who according to company ledgers was Walter B. Rogers.
The music was heavily abridged and issued on two records: 10-inch 17707 and 12-inch 35430. Victor published two widely separated takes of each of the first two movements under the same catalogue numbers. The distribution, recording dates, and approximate timings were as follows (data from corresponding matrix pages in the Discography of American Historical Recordings as indicated and physical copies of the records):
References.
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Sources

Wolfgang Amadeus Mozart
Composer (1756–1791)
Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was a prolific and influential composer of the Classical period. Despite his short life, his rapid pace of composition and proficiency from an early age resulted in more than 800 works representing virtually every Western classical genre of his time. Many of these compositions are acknowledged as pinnacles of the symphonic, concertante, chamber, operatic, and choral repertoires. Mozart is widely regarded as one of the greatest composers in the history of Western music, with his music admired for its "melodic beauty, its formal elegance and its richness of harmony and texture".
Born in Salzburg, Mozart showed prodigious ability from his earliest childhood. At age five, he was already competent on keyboard and violin, had begun to compose, and performed before European royalty. His father took him on a grand tour of Europe and then three trips to Italy. At 17, he was a musician at the Salzburg court but grew restless and travelled in search of a better position. Mozart's search for employment led to positions in Paris, Mannheim, Munich, and again in Salzburg, during which he wrote his five violin concertos, Sinfonia Concertante, and Concerto for Flute and Harp, as well as sacred pieces and masses, the motet "Exsultate Jubilate", and the opera "Idomeneo," among other works.
While visiting Vienna in 1781, Mozart was dismissed from his Salzburg position. He stayed in Vienna, where he achieved fame but little financial security. During Mozart's early years in Vienna, he produced several notable works, such as the opera "Die Entführung aus dem Serail", the "Great Mass in C minor", the "Haydn" Quartets and a number of symphonies. Throughout his Vienna years, Mozart composed over a dozen piano concertos, many considered some of his greatest achievements. In the final years of his life, Mozart wrote many of his best-known works, including his last three symphonies, culminating in the "Jupiter" Symphony, the serenade "Eine kleine Nachtmusik", his Clarinet Concerto, the operas "The Marriage of Figaro", "Don Giovanni", "Così fan tutte" and "The Magic Flute" and his Requiem. The Requiem was largely unfinished at the time of his death at age 35, the circumstances of which are uncertain and much mythologised.
Life and career.
Early life.
Family and childhood.
Wolfgang Amadeus Mozart was born on 27 January 1756 to Leopold Mozart and Anna Maria, née Pertl, at Getreidegasse 9 in Salzburg. Salzburg was the capital of the Archbishopric of Salzburg, an ecclesiastic principality in the Holy Roman Empire (today in Austria). He was the youngest of seven children, five of whom died in infancy. His elder sister was Maria Anna Mozart, nicknamed "Nannerl". Mozart was baptised the day after his birth, at St. Rupert's Cathedral in Salzburg. The baptismal record gives his name in Latinised form, as "Joannes Chrysostomus Wolfgangus Theophilus Mozart". He generally called himself "Wolfgang Amadè Mozart" as an adult, but his name had many variants.
Leopold Mozart, a native of Augsburg, then an Imperial Free City in the Holy Roman Empire, was a minor composer and an experienced teacher. In 1743, he was appointed as the fourth violinist in the musical establishment of Count Leopold Anton von Firmian, the ruling Prince-Archbishop of Salzburg. Four years later, he married Anna Maria in Salzburg. Leopold became the orchestra's deputy Kapellmeister in 1763. During the year of his son's birth, Leopold published a violin textbook, "Versuch einer gründlichen Violinschule", which achieved success.
When Nannerl was seven, she began keyboard lessons with her father, while her three-year-old brother looked on. Years later, after her brother's death, she reminisced:
He often spent much time at the clavier, picking out thirds, which he was ever striking, and his pleasure showed that it sounded good... In the fourth year of his age his father, for a game as it were, began to teach him a few minuets and pieces at the clavier... He could play it faultlessly and with the greatest delicacy, and keeping exactly in time... At the age of five, he was already composing little pieces, which he played to his father who wrote them down.
These early pieces, K. 1–5, were recorded in the "Nannerl Notenbuch". There is some scholarly debate about whether Mozart was four or five years old when he created his first musical compositions, though there is little doubt that Mozart composed his first three pieces of music within a few weeks of each other: K. 1a, 1b, and 1c.
In his early years, Wolfgang's father was his only teacher. Along with music, he taught his children languages and academic subjects. Biographer Solomon notes that, while Leopold was a devoted teacher to his children, there is evidence that Mozart was keen to progress beyond what he was taught. His first ink-spattered composition and his precocious efforts with the violin were of his initiative and came as a surprise to Leopold, who eventually gave up composing when his son's musical talents became evident.
1762–73: Travel.
While Wolfgang was young, his family made several European journeys in which he and Nannerl performed as child prodigies. These began with an exhibition in 1762 at the court of Prince-elector Maximilian III of Bavaria in Munich, and at the Imperial Courts in Vienna and Prague. A long concert tour followed, spanning three and a half years, taking the family to the courts of Munich, Mannheim, Paris, London, Dover, The Hague, Amsterdam, Utrecht, Mechelen and again to Paris, and back home via Zürich, Donaueschingen, and Munich. During this trip, Wolfgang met many musicians and acquainted himself with the works of other composers. A particularly significant influence was Johann Christian Bach, whom he visited in London in 1764 and 1765. When he was eight years old, Mozart wrote his first symphony, most of which was probably transcribed by his father.
The family trips were often challenging, and travel conditions were primitive. They had to wait for invitations and reimbursement from the nobility, and they endured long, near-fatal illnesses far from home: first Leopold (London, summer 1764), then both children (The Hague, autumn 1765). The family again went to Vienna in late 1767 and remained there until December 1768.
After one year in Salzburg, Leopold and Wolfgang set off for Italy, leaving Anna Maria and Nannerl at home. This tour lasted from December 1769 to March 1771. As with earlier journeys, Leopold wanted to display his son's abilities as a performer and a rapidly maturing composer. Wolfgang met Josef Mysliveček and Giovanni Battista Martini in Bologna and was accepted as a member of the famous Accademia Filarmonica. There exists a myth, according to which, while in Rome, he heard Gregorio Allegri's "Miserere" twice in performance in the Sistine Chapel. Allegedly, he subsequently wrote it out from memory, thus producing the "first unauthorised copy of this closely guarded property of the Vatican". However, both the origin and plausibility of this account are disputed.
In Milan, Mozart wrote the opera "Mitridate, re di Ponto" (1770), which was performed with success. This led to further opera commissions. He returned with his father twice to Milan (August–December 1771; October 1772 – March 1773) for the composition and premieres of "Ascanio in Alba" (1771) and "Lucio Silla" (1772). Leopold hoped these visits would result in a professional appointment for his son, and indeed ruling Archduke Ferdinand contemplated hiring Mozart, but owing to his mother Empress Maria Theresa's reluctance to employ "useless people", the matter was dropped and Leopold's hopes were never realised. Toward the end of the journey, Mozart wrote the solo motet "Exsultate, jubilate", K.165.
1773–77: Employment at the Salzburg court.
After finally returning with his father from Italy on 13 March 1773, Mozart was employed as a court musician by the ruler of Salzburg, Prince-Archbishop Hieronymus Colloredo. The composer had many friends and admirers in Salzburg and had the opportunity to work in many genres, including symphonies, sonatas, string quartets, masses, serenades, and a few minor operas. Between April and December 1775, Mozart developed an enthusiasm for violin concertos, producing a series of five (the only ones he ever wrote), which steadily increased in their musical sophistication. The last three—K. 216, K. 218, K. 219—are now staples of the repertoire. In 1776, he turned his efforts to piano concertos, culminating in the E♭ concerto K. 271 of early 1777, considered by critics to be a breakthrough work.
Despite these artistic successes, Mozart grew increasingly discontented with Salzburg and redoubled his efforts to find a position elsewhere. One reason was his low salary, 150 florins a year; Mozart longed to compose operas, and Salzburg provided only rare occasions for these. The situation worsened in 1775 when the court theatre was closed, especially since the other theatre in Salzburg was primarily reserved for visiting troupes.
Two long expeditions in search of work interrupted this long Salzburg stay. Mozart and his father visited Vienna from 14 July to 26 September 1773, and Munich from 6December 1774 to March 1775. Neither visit was successful, though the Munich journey resulted in a popular success with the premiere of Mozart's opera "La finta giardiniera".
1777–78: Journey to Paris.
In August 1777, Mozart resigned his position at Salzburg and on 23 September ventured out once more in search of employment, with visits to Augsburg, Mannheim, Paris, and Munich.
Mozart became acquainted with members of the famous orchestra in Mannheim, the best in Europe at the time. He also fell in love with Aloysia Weber, one of four daughters of a musical family. There were prospects of employment in Mannheim, but they came to nothing, and Mozart left for Paris on 14 March 1778 to continue his search. One of his letters from Paris hints at a possible post as an organist at Versailles, but Mozart was not interested in such an appointment. He fell into debt and took to pawning valuables. The nadir of the visit occurred when Mozart's mother was taken ill and died on 3July 1778. There had been delays in calling a doctor—probably, according to Halliwell, because of a lack of funds. Mozart stayed with Melchior Grimm at Marquise d'Épinay's residence, 5 rue de la Chaussée-d'Antin.
While Mozart was in Paris, his father was pursuing opportunities of employment for him in Salzburg. With the support of the local nobility, Mozart was offered a post as court organist and concertmaster. The annual salary was 450 florins, but he was reluctant to accept. By that time, relations between Grimm and Mozart had cooled, and Mozart moved out. After leaving Paris in September 1778 for Strasbourg, he lingered in Mannheim and Munich, still hoping to obtain an appointment outside Salzburg. In Munich, he again encountered Aloysia, now a very successful singer, but she was no longer interested in him. Mozart finally returned to Salzburg on 15 January 1779 and took up his new appointment, but his discontent with Salzburg remained undiminished.
Among the better-known works which Mozart wrote on the Paris journey are the A minor piano sonata, K. 310/300d, the "Paris" Symphony (No. 31), which were performed in Paris on 12 and 18 June 1778; and the Concerto for Flute and Harp in C major, K. 299/297c.
Vienna.
1781: Departure.
In January 1781, Mozart's opera "Idomeneo" premiered with "considerable success" in Munich. The following March, Mozart was summoned to Vienna, where his employer, Archbishop Colloredo, was attending the celebrations for the accession of Joseph II to the Austrian throne. For Colloredo, this was simply a matter of wanting his musical servant to be at hand (Mozart indeed was required to dine in Colloredo's establishment with the valets and cooks). He planned a bigger career as he continued in the archbishop's service; for example, he wrote to his father:
My main goal right now is to meet the emperor in some agreeable fashion, I am absolutely determined he should get to know me. I would be so happy if I could whip through my opera for him and then play a fugue or two, for that's what he likes.
Mozart did indeed soon meet the Emperor, who eventually was to support his career substantially with commissions and a part-time position.
In the same letter to his father just quoted, Mozart outlined his plans to participate as a soloist in the concerts of the "Tonkünstler-Societät", a prominent benefit concert series; this plan as well came to pass after the local nobility prevailed on Colloredo to drop his opposition.
Colloredo's wish to prevent Mozart from performing outside his establishment was in other cases carried through, raising the composer's anger; one example was a chance to perform before the Emperor at Countess Thun's for a fee equal to half of his yearly Salzburg salary.
The quarrel with the archbishop came to a head in May: Mozart attempted to resign and was refused. The following month, permission was granted, but in a grossly insulting way: the composer was dismissed literally "with a kick in the arse", administered by the archbishop's steward, Count Arco. Mozart decided to settle in Vienna as a freelance performer and composer.
The quarrel with Colloredo was more difficult for Mozart because his father sided against him. Hoping fervently that he would obediently follow Colloredo back to Salzburg, Mozart's father exchanged intense letters with his son, urging him to be reconciled with their employer. Mozart passionately defended his intention to pursue an independent career in Vienna. The debate ended when Mozart was dismissed by the archbishop, freeing himself both of his employer and of his father's demands to return. Solomon characterizes Mozart's resignation as a "revolutionary step" that significantly altered the course of his life.
Early years.
Mozart's new career in Vienna began well. He often performed as a pianist, notably in a competition before the Emperor with Muzio Clementi on 24 December 1781, and he soon "had established himself as the finest keyboard player in Vienna". He also prospered as a composer, and in 1782 completed the opera "Die Entführung aus dem Serail" ("The Abduction from the Seraglio"), which premiered on 16 July 1782 and achieved considerable success. The work was soon being performed "throughout German-speaking Europe", and thoroughly established Mozart's reputation as a composer.
Near the height of his quarrels with Colloredo, Mozart moved in with the Weber family, who had moved to Vienna from Mannheim. The family's father, Fridolin, had died, and the Webers were now taking in lodgers to make ends meet.
Marriage and children.
After failing to win the hand of Aloysia Weber, who was now married to the actor and artist Joseph Lange, Mozart's interest shifted to the third daughter of the family, Constanze.
The courtship did not go entirely smoothly; surviving correspondence indicates that Mozart and Constanze briefly broke up in April 1782, over an episode involving jealousy (Constanze had permitted another young man to measure her calves in a parlour game). Mozart also faced a very difficult task getting permission for the marriage from his father, Leopold.
The marriage took place in an atmosphere of crisis. Daniel Heartz suggests that eventually, Constanze moved in with Mozart, which would have placed her in disgrace by the mores of the time. Mozart wrote to Leopold on 31 July 1782, "All the good and well-intentioned advice you have sent fails to address the case of a man who has already gone so far with a maiden. Further postponement is out of the question." Heartz relates, "Constanze's sister Sophie had tearfully declared that her mother would send the police after Constanze if she did not return home [presumably from Mozart's apartment]." On 4 August, Mozart wrote to Baroness von Waldstätten, asking: "Can the police here enter anyone's house in this way? Perhaps it is only a ruse of Madame Weber to get her daughter back. If not, I know no better remedy than to marry Constanze tomorrow morning or if possible today."
The couple were finally married on 4August 1782 in St. Stephen's Cathedral, the day before his father's consenting letter arrived in the mail. In the marriage contract, Constanze "assigns to her bridegroom five hundred gulden which ... the latter has promised to augment with one thousand gulden", with the total "to pass to the survivor". Further, all joint acquisitions during the marriage were to remain the common property of both.
The couple had six children, of whom only two survived infancy:
1782–87.
In 1782 and 1783, Mozart became intimately acquainted with the work of Johann Sebastian Bach and George Frideric Handel as a result of the influence of Gottfried van Swieten, who owned many manuscripts of the Baroque masters. Mozart's study of these scores inspired compositions in the Baroque style and later influenced his musical language, for example in fugal passages in "Die Zauberflöte" ("The Magic Flute") and the finale of Symphony No. 41.
In 1783, Mozart and his wife visited his family in Salzburg. His father and sister were cordially polite to Constanze, but the visit prompted the composition of one of Mozart's great liturgical pieces, the Mass in C minor. Though not completed, it was premiered in Salzburg, with Constanze singing a solo part.
Mozart met Joseph Haydn in Vienna around 1784, and the two composers became friends. When Haydn visited Vienna, they sometimes played together in an impromptu string quartet. Mozart's six quartets dedicated to Haydn (K. 387, K. 421, K. 428, K. 458, K. 464, and K. 465) date from the period 1782 to 1785, and are judged to be a response to Haydn's Opus 33 set from 1781. Haydn wrote, "posterity will not see such a talent again in 100 years" and in 1785 told Mozart's father: "I tell you before God, and as an honest man, your son is the greatest composer known to me by person and repute, he has taste and what is more the greatest skill in composition."
From 1782 to 1785 Mozart mounted concerts with himself as a soloist, presenting three or four new piano concertos in each season. Since space in the theatres was scarce, he booked unconventional venues: a large room in the Trattnerhof apartment building, and the ballroom of the Mehlgrube restaurant. The concerts were very popular, and his concertos premiered there are still firm fixtures in the repertoire. Solomon writes that during this period, Mozart created "a harmonious connection between an eager composer-performer and a delighted audience, which was given the opportunity of witnessing the transformation and perfection of a major musical genre".
With substantial returns from his concerts and elsewhere, Mozart and his wife adopted a more luxurious lifestyle. They moved to an expensive apartment, with a yearly rent of 460 florins. Mozart bought a fine fortepiano from Anton Walter for about 900 florins, and a billiard table for about 300. The Mozarts sent their son Karl Thomas to an expensive boarding school and kept servants. During this period Mozart saved little of his income.
On 14 December 1784, Mozart became a Freemason, admitted to the lodge Zur Wohltätigkeit ("Beneficence"). Freemasonry played an essential role in the remainder of Mozart's life: he attended meetings, a number of his friends were Masons, and on various occasions, he composed Masonic music, e.g. the Maurerische Trauermusik.
1786–87: Return to opera.
Despite the great success of "Die Entführung aus dem Serail", Mozart did little operatic writing for the next four years, producing only two unfinished works and the one-act "Der Schauspieldirektor". He focused instead on his career as a piano soloist and writer of concertos. Around the end of 1785, Mozart moved away from keyboard writing and began his famous operatic collaboration with the librettist Lorenzo Da Ponte. The year 1786 saw the successful premiere of "Le nozze di Figaro" in Vienna. Its reception in Prague later in the year was even warmer, and this led to a second collaboration with Da Ponte: the opera "Don Giovanni", which premiered in October 1787 to acclaim in Prague, but less success in Vienna during 1788. The two are among Mozart's most famous works and are mainstays of operatic repertoire today, though at their premieres their musical complexity caused difficulty both for listeners and for performers. These developments were not witnessed by Mozart's father, who had died on 28 May 1787.
In December 1787, Mozart finally obtained a steady post under aristocratic patronage. Emperor Joseph II appointed him as his "chamber composer", a post that had fallen vacant the previous month on the death of Gluck. It was a part-time appointment, paying just 800 florins per year, and required Mozart only to compose dances for the annual balls in the Redoutensaal (see "Mozart and dance"). This modest income became important to Mozart when hard times arrived. Court records show that Joseph aimed to keep the esteemed composer from leaving Vienna in pursuit of better prospects.
In 1787, the young Ludwig van Beethoven spent several weeks in Vienna, hoping to study with Mozart. No reliable records survive to indicate whether the two composers ever met.
Later years.
1788–90.
Toward the end of the decade, Mozart's circumstances worsened. Around 1786, he ceased to appear frequently in public concerts, and his income shrank. This was a difficult time for musicians in Vienna because of the Austro-Turkish War: both the general level of prosperity and the ability of the aristocracy to support music had declined. According to Solomon, in 1788, Mozart saw a 66% decline in his income compared to his best years in 1781.
By mid-1788, Mozart and his family had moved from central Vienna to the suburb of Alsergrund. Although it has been suggested that Mozart aimed to reduce his rental expenses by moving to a suburb, as he wrote in his letter to Michael von Puchberg, Mozart had not reduced his expenses but merely increased the housing space at his disposal. Mozart began to borrow money, most often from his friend and fellow mason Puchberg; "a pitiful sequence of letters pleading for loans" survives. Maynard Solomon and others have suggested that Mozart was suffering from depression, and it seems his musical output slowed. Major works of the period include the last three symphonies (Nos. 39, 40, and 41, all from 1788), and the last of the three Da Ponte operas, "Così fan tutte", premiered in 1790.
Around this time, Mozart made some long journeys hoping to improve his fortunes, visiting Leipzig, Dresden, and Berlin in the spring of 1789, and Frankfurt, Mannheim, and other German cities in 1790.
1791.
Mozart's last year was, until his final illness struck, a time of high productivity—and by some accounts, one of personal recovery. He composed a great deal, including some of his most admired works: the opera "The Magic Flute"; the final piano concerto (K. 595 in B♭); the Clarinet Concerto K. 622; the last in his series of string quintets (K. 614 in E♭); the motet Ave verum corpus K. 618; and the unfinished Requiem K. 626.
Mozart's financial situation, a source of anxiety in 1790, finally began to improve. Although the evidence is inconclusive, it appears that wealthy patrons in Hungary and Amsterdam pledged annuities to Mozart in return for the occasional composition. He is thought to have benefited from the sale of dance music written in his role as Imperial chamber composer. Mozart no longer borrowed large sums from Puchberg and began to pay off his debts.
He experienced great satisfaction in the public success of some of his works, notably "The Magic Flute" (which was performed several times in the short period between its premiere and Mozart's death) and the Little Masonic Cantata K. 623, premiered on 17 November 1791.
Final illness and death.
Mozart fell ill while in Prague for the premiere, on 6September 1791, of his opera "La clemenza di Tito", which was written in that same year on commission for Emperor Leopold II's coronation festivities. He continued his professional functions for some time and conducted the premiere of "The Magic Flute" on 30 September. His health deteriorated on 20 November, at which point he became bedridden, suffering from swelling, pain, and vomiting.
Mozart was nursed in his final days by his wife and her youngest sister and was attended by the family doctor, Thomas Franz Closset. He was mentally occupied with the task of finishing his Requiem, but the evidence that he dictated passages to his student Franz Xaver Süssmayr is minimal.
Mozart died in his home on at 12:55 am. The "New Grove" describes his funeral:
Mozart was interred in a common grave, in accordance with contemporary Viennese custom, at the St. Marx Cemetery outside the city on 7December. If, as later reports say, no mourners attended, that too is consistent with Viennese burial customs at the time; later Otto Jahn (1856) wrote that Salieri, Süssmayr, van Swieten and two other musicians were present. The tale of a storm and snow is false; the day was calm and mild.
The expression "common grave" refers to neither a communal grave nor a pauper's grave, but an individual grave for a member of the common people (i.e., not the aristocracy). Common graves were subject to excavation after ten years; the graves of aristocrats were not.
The cause of Mozart's death is not known with certainty. The official record of "hitziges Frieselfieber" ("severe miliary fever", referring to a rash that looks like millet seeds) is more a symptomatic description than a diagnosis. Researchers have suggested more than a hundred causes of death, including acute rheumatic fever, streptococcal infection, trichinosis, influenza, mercury poisoning, and a rare kidney ailment.
Mozart's modest funeral did not reflect his standing with the public as a composer; memorial services and concerts in Vienna and Prague were well attended. Indeed, in the period immediately after his death, his reputation rose substantially. Solomon describes an "unprecedented wave of enthusiasm" for his work; biographies were written first by Schlichtegroll, Niemetschek, and Nissen, and publishers vied to produce complete editions of his works.
Appearance and character.
Mozart's physical appearance was described by tenor Michael Kelly in his "Reminiscences": "a remarkably small man, very thin and pale, with a profusion of fine, fair hair of which he was rather vain". His early biographer Niemetschek wrote, "there was nothing special about [his] physique... He was small and his countenance, except for his large intense eyes, gave no signs of his genius." His facial complexion was pitted, a reminder of his childhood case of smallpox. Of his voice, his wife later wrote that it "was a tenor, rather soft in speaking and delicate in singing, but when anything excited him, or it became necessary to exert it, it was both powerful and energetic."
He loved elegant clothing. Kelly remembered him at a rehearsal: "[He] was on the stage with his crimson pelisse and gold-laced cocked hat, giving the time of the music to the orchestra." Based on paintings that researchers were able to find of Mozart, he seemed to wear a white wig for most of his formal occasions—researchers of the Salzburg Mozarteum declared that only one of his fourteen portraits they had found showed him without his wig.
Mozart usually worked long and hard, finishing compositions at a tremendous pace as deadlines approached. He often made sketches and drafts; unlike Beethoven's, these are mostly not preserved, as his wife sought to destroy them after his death.
Mozart lived at the centre of the Viennese musical world and knew a significant number and variety of people: fellow musicians, theatrical performers, fellow Salzburgers, and aristocrats, including some acquaintance with Emperor Joseph II. Solomon considers his three closest friends to have been Gottfried von Jacquin, Count August Hatzfeld, and Sigmund Barisani; others included his elder colleague Joseph Haydn, singers Franz Xaver Gerl and Benedikt Schack, and the horn player Joseph Leutgeb. Leutgeb and Mozart carried on a kind of friendly mockery, often with Leutgeb as the butt of Mozart's practical jokes.
He enjoyed billiards, dancing, and kept pets, including a canary, a starling, a dog, and a horse for recreational riding. He had a startling fondness for scatological humour, which is preserved in his surviving letters, notably those written to his cousin Maria Anna Thekla Mozart around 1777–1778, and in his correspondence with his sister and parents. Mozart also wrote scatological music, a series of canons that he sang with his friends. He had an ear for languages, and having travelled all over Europe as a boy, was fluent in Latin, Italian, and French in addition to his native Salzburg dialect of German. He possibly also understood and spoke some English, having jokingly written "You are an ass" after his 19-year-old student Thomas Attwood made a thoughtless mistake on his exercise papers.
Mozart was raised a Catholic and remained a devout member of the Church throughout his life. He embraced the teachings of Freemasonry in 1784.
Works, musical style, and innovations.
Style.
Mozart's music, like Haydn's, stands as an archetype of the Classical style. At the time he began composing, European music was dominated by the "style galant", a reaction against the highly evolved intricacy of the Baroque. Progressively, and in large part at the hands of Mozart himself, the contrapuntal complexities of the late Baroque emerged once more, moderated and disciplined by new forms, and adapted to a new aesthetic and social milieu. Mozart was a versatile composer, and wrote in every major genre, including symphony, opera, the solo concerto, chamber music including string quartet and string quintet, and the piano sonata. These forms were not new, but Mozart advanced their technical sophistication and emotional reach. He almost single-handedly developed and popularised the Classical piano concerto. He wrote a great deal of religious music, including large-scale masses, as well as dances, divertimenti, serenades, and other forms of light entertainment.
The central traits of the Classical style are all present in Mozart's music. Clarity, balance, and transparency are the hallmarks of his work, but simplistic notions of its delicacy mask the exceptional power of his finest masterpieces, such as the Piano Concerto No. 24 in C minor, K. 491; the Symphony No. 40 in G minor, K. 550; and the opera "Don Giovanni". Charles Rosen makes the point forcefully:
It is only through recognising the violence and sensuality at the centre of Mozart's work that we can make a start towards a comprehension of his structures and an insight into his magnificence. In a paradoxical way, Schumann's superficial characterisation of the G minor Symphony can help us to see Mozart's daemon more steadily. In all of Mozart's supreme expressions of suffering and terror, there is something shockingly voluptuous.
During his last decade, Mozart frequently exploited chromatic harmony. A notable instance is his "String Quartet in C major", K. 465 (1785), whose introduction abounds in chromatic suspensions, giving rise to the work's nickname, the "Dissonance" quartet.
Mozart had a gift for absorbing and adapting the valuable features of others' music. His travels helped in the forging of a unique compositional language. In London as a child, he met J. C. Bach and heard his music. In Paris, Mannheim, and Vienna he met with other compositional influences, as well as the avant-garde capabilities of the Mannheim orchestra. In Italy, he encountered the Italian overture and opera buffa, both of which deeply affected the evolution of his practice. In London and Italy, the galant style was in the ascendent: simple, light music with a mania for cadencing; an emphasis on tonic, dominant, and subdominant to the exclusion of other harmonies; symmetrical phrases; and clearly articulated partitions in the overall form of movements. Some of Mozart's early symphonies are Italian overtures, with three movements running into each other; many are homotonal (all three movements having the same key signature, with the slow middle movement being in the relative minor). Others mimic the works of J. C. Bach, and others show the simple rounded binary forms turned out by Viennese composers.
As Mozart matured, he progressively incorporated more features adapted from the Baroque. For example, the Symphony No. 29 in A major K. 201 has a contrapuntal main theme in its first movement, and experimentation with irregular phrase lengths. Some of his quartets from 1773 have fugal finales, probably influenced by Haydn, who had included three such finales in his recently published Opus 20 set. The influence of the "Sturm und Drang" ("Storm and Stress") period in music, with its brief foreshadowing of the Romantic era, is evident in the music of both composers at that time. Mozart's Symphony No. 25 in G minor K. 183 is another excellent example.
Mozart would sometimes switch his focus between operas and instrumental music. He produced operas in each of the prevailing styles: opera buffa, such as "Le nozze di Figaro", "Don Giovanni", and "Così fan tutte"; opera seria, such as "Idomeneo"; and Singspiel, of which "Die Zauberflöte" is the most famous example by any composer. In his later operas, he employed subtle changes in instrumentation, orchestral texture, and tone colour, for emotional depth and to mark dramatic shifts. Here, his advances in opera and instrumental composing interacted: his increasingly sophisticated use of the orchestra in the symphonies and concertos influenced his operatic orchestration, and his developing subtlety in using the orchestra to psychological effect in his operas was in turn reflected in his later non-operatic compositions.
Köchel catalogue.
For unambiguous identification of works by Mozart, a "Köchel catalogue number" is used. This is a unique number assigned, in regular chronological order, to every one of his known works. A work is referenced by the abbreviation "K." or "KV" followed by this number. The first edition of the catalogue was completed in 1862 by Ludwig von Köchel. It has since been repeatedly updated, as scholarly research improves knowledge of the dates and authenticity of individual works.
Instruments.
Although some of Mozart's early pieces were written for harpsichord, he also became acquainted in his early years with fortepianos made by Regensburg builder Franz Jakob Späth. Later when Mozart was visiting Augsburg, he was impressed by Stein fortepianos and shared this in a letter to his father. On 22 October 1777, Mozart had premiered his triple-piano concerto, K. 242, on instruments provided by Stein. The Augsburg Cathedral organist Demmler was playing the first, Mozart the second and Stein the third part. In 1783, when living in Vienna he purchased an instrument by Walter. Leopold Mozart confirmed the attachment which Mozart had with his Walter fortepiano: "It is impossible to describe the hustle and bustle. Your brother's pianoforte has been moved at least twelve times from his house to the theatre or to someone else's house."
Influence.
His most famous pupil was Johann Nepomuk Hummel, a transitional figure between the Classical and Romantic eras whom the Mozarts took into their Vienna home for two years as a child. More important is the influence Mozart had on composers of later generations. Ever since the surge in his reputation after his death, studying his scores has been a standard part of a classical musician's training.
Ludwig van Beethoven, Mozart's junior by fifteen years, was deeply influenced by his work, with which he was acquainted as a teenager. He is thought to have performed Mozart's operas while playing in the court orchestra at Bonn and travelled to Vienna in 1787 hoping to study with the older composer. Some of have direct models in comparable works by Mozart, and he wrote cadenzas (WoO 58) to Mozart's D minor piano concerto K. 466.
Composers have paid homage to Mozart by writing sets of variations on his themes. Beethoven wrote four such sets (Op. 66, WoO 28, WoO 40, WoO 46). Others include Fernando Sor's Introduction and Variations on a Theme by Mozart (1821), Mikhail Glinka's Variations on a Theme from Mozart's Opera "The Magic Flute" (1822), Frédéric Chopin's Variations on "Là ci darem la mano" from "Don Giovanni" (1827), and Max Reger's Variations and Fugue on a Theme by Mozart (1914), based on the variation theme in the piano sonata K. 331. Pyotr Ilyich Tchaikovsky, who revered Mozart, wrote his Orchestral Suite No. 4 in G, "Mozartiana" (1887), as a tribute to him.
References.
Citations.
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Sources.
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Further reading.
"See for an extensive bibliography"
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External links.
Digitized documents
Sheet music


Colonial Heights, Tennessee
Colonial Heights is a census-designated place (CDP) in Sullivan County, Tennessee, United States. It is located within the city of Kingsport.
The population was 3,055 at the 2020 census down from 6,934 at the 2010 census, due to annexation by the city of Kingsport.
It is part of the Kingsport-Bristol-Bristol, TN-VA Metropolitan Statistical Area, which is a component of the Johnson City-Kingsport-Bristol, TN-VA Combined Statistical Area, commonly known as the "Tri-Cities" region.
Geography.
Colonial Heights is located at (36.477769, -82.505278).
According to the United States Census Bureau, the CDP has a total area of , of which, of it is land and of it (4.15%) is water.
Demographics.
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2020 census.
As of the 2020 United States census, there were 3,055 people, 1,318 households, and 956 families residing in the CDP.
2000 census.
As of the census of 2000, there were 7,067 people, 2,811 households, and 2,217 families residing in the CDP. The population density was . There were 2,936 housing units at an average density of . The racial makeup of the CDP was 97.59% White, 0.88% African American, 0.16% Native American, 0.67% Asian, 0.03% Pacific Islander, 0.20% from other races, and 0.48% from two or more races. Hispanic or Latino of any race were 0.72% of the population.
There were 2,811 households, out of which 31.5% had children under the age of 18 living with them, 68.9% were married couples living together, 7.6% had a female householder with no husband present, and 21.1% were non-families. 18.7% of all households were made up of individuals, and 7.2% had someone living alone who was 65 years of age or older. The average household size was 2.51 and the average family size was 2.86.
In the CDP, the population was spread out, with 23.1% under the age of 18, 5.8% from 18 to 24, 27.8% from 25 to 44, 28.5% from 45 to 64, and 14.8% who were 65 years of age or older. The median age was 41 years. For every 100 females, there were 94.0 males. For every 100 females age 18 and over, there were 91.7 males.
The median income for a household in the CDP was $48,145, and the median income for a family was $53,651. Males had a median income of $41,604 versus $25,045 for females. The per capita income for the CDP was $26,210. About 4.8% of families and 6.2% of the population were below the poverty line, including 8.4% of those under age 18 and 4.2% of those age 65 or over.

WPWT
WPWT (870 AM) is a classic country music formatted broadcast radio station licensed to Colonial Heights, Tennessee, serving the Tri-Cities, VA/TN area. WPWT is owned and operated by Kenneth Clyde Hill.
History.
This station signed on the air in 1984. Prior to its sign-on, it had been assigned the call letters WIKV by the FCC. Since these calls were deemed by constructing supervisor Dave Murray (husband of Martha Murray, the original licensee) to be too close to the calls of a prominent FM in the market, WIKQ, the calls were changed, to WPRQ. All this transpired before the station ever officially hit the air.
The original power was 5,000 watts. This was increased later to 10,000 watts. The signal, which shares the clear channel of 870 kHz with Class-A 50,000-watt WWL in New Orleans, was licensed as daytime-only, which it remains today.
The original format was contemporary Christian hit music. Other formats have followed, including news/talk and religious talk. In the late 1980s/early 1990s, the station was dark (silent) for a time, but was sold and returned to the air. Its current owner, Kenneth Clyde Hill, owns other stations as well.
The transmitter was originally a single tower near Warrior's Path State Park in Colonial Heights, Tennessee, which is south of Kingsport, Tennessee. It remains there today.
The original studio was in a residence, in Colonial Heights, Tennessee, which was owned by Dave and Martha Murray.
In November 2017, WPWT rebranded as "96.3 The Possum" (simulcasting on FM translators W242CQ 96.3 Colonial Heights and W264BY 100.7 Kingsport).
Management.
Dr. Kenneth C. Hill is the owner of WPWT and sister stations WHCB and WHGG.
References.
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WKDU
WKDU (91.7 FM) is a non-commercial educational radio station licensed to serve Philadelphia, Pennsylvania. It is owned by Drexel University and operated by Drexel students, with several alumni among its on-air staff. It is the only free-format non-commercial FM station in Philadelphia. Its transmitter is located atop Van Rensselaer Hall, a dormitory on the Drexel campus, in the University City section of Philadelphia. Its studio is in the basement of the Creese Student Center. WKDU was the 2010 and 2011 CMJ Station of the Year.
History.
Starting as carrier current station WMAX in 1958 (and later WXDT), WKDU began FM broadcasting on Saturday, July 17, 1971. In 1981, its power rating was raised from 10 watts to 110 watts, and in 1996, to 800 watts. WKDU originally shared time on its frequency with WPWT, a station established in the 1950s by Philadelphia Wireless Technical Institute. WPWT ceased operations in the late 1980s, allowing WKDU to extend its broadcast day to 24 hours on February 26, 1990. Previously, WKDU signed off between the hours of 2 PM to 10 PM.
WKDU gained Black listeners in the 1970s due to "The Black Experience in Music", a group of Black students who called themselves "communicators", rather than DJs, as they educated the Black communities in Drexel and Philadelphia about their cultural happenings. "The Black Experience" began in 1971 and responsible for much of the station's programming through the 1980s. As of 2025, "The Black Experience" is still running weekly.
Programming.
WKDU's musical format is free-form, meaning that playlists are dictated by the taste of the on-air DJs. In 1984, a progressive requirement was created and implemented to the Free Format music programming policy by then Music Director, Ginny McCracken. Each DJ can play whatever they want but at least 1/3 of their music must be a "new release".
WKDU is known for its annual Electronic Music Marathon, an event that raises money for charities in the Philadelphia area. The Electronic Music Marathon ran from 1997–2007, then returned in Fall 2014 after a seven-year hiatus.
The WKDU Reggae Marathon has been held annually since 1984, during the Memorial Day Weekend. This special program includes not just reggae, but other similar Caribbean genres, such as Soca.
A notable show on WKDU was "Sounds of Jerusalem" which ran from 1978 through 1994.
References.
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Ron Joseph
American television producer (born 1941)
Ron Joseph (June 11, 1941, Philadelphia, Pennsylvania - April 24, 2022) was an American television producer known for his dance shows. On his shows, he was usually referred to as RJ.
Early life.
Ron Joseph began his broadcasting career in 1950 on "Ghost Riders", a Philadelphia children's show on WCAU. Four years later, in 1954, Joseph was a panel member on "Radio Rangers", a dramatic series on WCAU-AM. It aired on Sunday mornings and was hosted by Phil Sheridan.
In 1955, as a teenager, RJ published and edited a local newspaper, "The Upper Darby Tower", in Delaware County, Pennsylvania.
TV and radio career.
The next year (1956), Ron began as a regular teenage dancer on the locally-aired "Bandstand", hosted by Bob Horn and carried over WFIL.
When Dick Clark took over the show, RJ stayed on as a regular. A year later, when "Bandstand" went national (as "American Bandstand"), Ron continued as a steady dancer and became the only regular to have a dance show of his own, like Clark.
Ron played Ramon Montenegro in an episode of Mama’s Family ~ they entered & won a dance contest.
In 1960, Ron Joseph graduated from Upper Darby High and it was about that time that he joined the staff of WEEZ Radio (then licensed to Chester, Pennsylvania). He did a nightly top 40 music show on the station. For a time, he was a paid staff member.
In the meantime, there was a new TV station in town, WPCA-TV, Channel 17 in Philadelphia. Station owner Rev. Percy Crawford offered RJ his first television show, "Spotlight on America". At that time, regular TV receivers couldn't pick up channels 14 and higher without attaching an UHF converter to the set.
RJ went to the same church as Philadelphia's legendary TV newsman, John Facenda, who would quite often pass along broadcast tips to RJ after the 11:15 morning mass at St. Bernadette's in Drexel Hill.
By 1966, RJ opened an "under twenty-one" discotheque on the University of Pennsylvania's campus at 40th and Walnut Streets. He also started another club, "Groove" at Broad and Locust where WIFI, 92.5 on the FM dial broadcast live. WIFI, at that time, was owned by Mel Gollub and was licensed to Norristown, Pennsylvania.
That same year, Ron began his own TV dance party on Philadelphia's WIBF-TV, Channel 29, and WPHL-TV, channel 17. He created his own version of a teen disco on television and syndicated his television show independently to such cities as Newark/New York City's WBTB-TV 68, KEMO-TV 20 and KTSF-TV 26 in San Francisco, KBSC-TV 52 in Los Angeles, KSCI-TV 18 in Hollywood and KFTY-TV 50 in Santa Rosa, California.
In 1982, Ron Joseph was broadcasting over XPRS, a Mexican radio station serving Los Angeles. The outlet had 50,000 watts and blanketed the sixteen western states, plus parts of Canada and a large part of Mexico.
Then RJ had another TV program, "Teen Scene Magazine", which was carried in the Philadelphia area over WRBV-TV, Channel 65 (now Univision affiliate WUVP), a station licensed to Vineland, NJ. The show also aired over KFTY-TV, Channel 50 in Santa Rosa, California.
In 1985, RJ returned to radio on the Philadelphia Wireless Institute's station, WPWT-FM. At this same time, Ron created "Beach Party USA" which originated from Hunts Pier in Wildwood, NJ. The program aired over Wilmington's Channel 61, WTGI (now WPPX, iON).
The next year, RJ traveled to Europe for a new teenage motion picture, "Gemini Twin Stars", starring Gene Patrick as McGinty, who was "discovered" by RJ at his teen club on South Street in Center City Philadelphia.
In 1990, RJ pioneered a new field, low-powered television (LPTV). He was the moving force behind W07CB-TV, Philadelphia, which aired old TV shows like "The Lone Ranger", "The Cisco Kid", RJ's old dance shows and a telephone talk show. 1992 also saw Ron starting "Open Mike" over Channel 53 in Atlantic City over WWAC-TV.
In 1993, he opened low-power television station, W05AX-TV in Wildwood/Cape May and four years later, in 1997, WELL-TV, Channel 8 in Willow Grove.
In 1998, RJ began a disco "block party" Sunday afternoons on WNJC Radio and Friday evenings in 2000 at Cruisin' 92.1, WVLT. He has syndicated "Disco USA" to independent stations across the nation including KECG-FM in Oakland, California serving San Francisco, a city RJ has become obsessed with over the years. His TV dance show, "The Nostalgia Dance Party", continues to air in that market.
Ron Joseph was inducted into the Philadelphia Broadcast Pioneers in 2003.
RJ briefly hosted a Saturday-afternoon talk show on WNWR called "Something To Say With RJ", from May 2006 to July 2007.
TV projects.
In 2007, Ron Joseph appeared in the motion picture "Fabulous", the life story of Charlie Gracie, and in 2008, "The Wages of Spin", which chronicles the Philadelphia music scene from 1952 to 1963. The film primarily focuses on Dick Clark.

WHGG
WHGG (1090 AM) is a Contemporary Christian formatted broadcast radio station licensed to Kingsport, Tennessee, serving the Tri-Cities, VA/TN area.
History.
This station signed on the air in 1967 with call letters WGOC and a modern-Nashville-country music format. The original owner was insurance mogul J.T. Parker, and the first station manager was Phil Roberts, who was hired away from crosstown station WKIN where he had been a popular morning host.
The first song played on the air on the morning of sign-on was I Washed My Face In The Morning Dew by Tom T. Hall. The 45-RPM disc hung on the wall of the station's original lobby on West Center Street in Kingsport until the studios were moved elsewhere in the 1980s.
The original power was 1,000 watts and the station originally operated sunrise-to-sunset, with 6am-to-sunrise power of 7.85 watts. The original transmitter location, which was abandoned in the 1970s, was at the intersection of West Stone Drive and Granby Road in western Kingsport.
Management.
WHGG shares the same management as sister stations WHCB and WPWT.
References.
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Alcohol laws of New York
Laws concerning alcohol in the State of New York
Alcohol laws of New York (or commonly Alcohol Beverage Control Law) are a set of laws specific to manufacturing, purchasing, serving, selling, and consuming alcohol in the state of New York. Combined with federal and local laws, as well as vendor policies, alcohol laws of New York determine the state's legal drinking age, the driving under the influence limit, liquor license requirements, server training, and more.
State Liquor Authority.
The New York State Liquor Authority (NYSLA) and its agency arm, the Division of Alcoholic Beverage Control (DABC), were established under New York State Law in 1934 to "regulate and control the manufacture and distribution within the state of alcoholic beverages for the purpose of fostering and promoting temperance in their consumption and respect for and obedience to law." The SLA is also authorized by statute to "determine whether public convenience and advantage will be promoted by the issuance of licenses to traffic in alcoholic beverages … and to carry out the increase or decrease in the number thereof and the location of premises licensed … in the public interest."
The DABC is a division of the New York State Executive Department.
For consumption on-premises.
In New York, for purposes of state law, there are only four hours Monday through Saturday in which alcohol may not be served: 4:00 a.m. to 8:00 a.m. On Sundays the limitation is six hours: 4:00 a.m. to 10:00 a.m. This was designed to accommodate both New York City nightlife and late-night workers statewide. Some upstate areas such as Buffalo, Albany, and Saratoga Springs retain the 4:00 a.m closing time, although individual counties are free to set an earlier "last call". In Binghamton, this is at 3:00 a.m.; in Syracuse, Plattsburgh, Oneonta, Rochester and Watertown, bars close at 2:00 a.m.; and Elmira, Geneva, and Ithaca, have some of the earliest closing times in the state at 1 a.m. For a complete list of closing hours by county, see.
B.Y.O. Policy.
The SLA does not permit establishments to allow patrons to "B.Y.O.B." if the establishment does not have a license or permit to sell alcoholic beverages. The only exception to this rule is that establishments with fewer than 20 seats can permit B.Y.O.B. Nonetheless, the SLA does not have authority to take any direct action against an establishment that is not licensed with the SLA unless the establishment is currently applying, or will apply in the future, for a liquor license.
Research.
Research has been conducted into the association between closing times and crime in New York. Counties with later closing times tend to have greater rates of violent crime (except gun violence), but not non-violent crime. This was true even after adjusting for socio-demographic factors.
For consumption off-premises.
Only liquor stores may obtain a license to sell liquor for off-premises consumption. Grocery and drug stores may obtain a license to sell beer alone or beer and "wine products", such as wine coolers (but not wine). Minors visiting a liquor store must be accompanied by an adult at all times; a violation can lead to the owner or manager being charged with second-degree unlawfully dealing with a minor, a Class B misdemeanor.
Until the mid-2000s, sales of beer before noon on Sundays for off-premises consumption were prohibited statewide, a remnant of a royal decree during the Colonial era, and between 3–6 a.m. any other day. Changes to the law made in the last years of Governor George Pataki's administration loosened those restrictions, and now beer sales are only prohibited from 3–8 a.m. Sundays. Counties are free to adjust those hours in either direction, all the way to midnight and noon, and allow 24-hour beer sales on other days of the week.
The law also changed for liquor stores. They may now open on Sundays (although not before noon) and in a 2022 change they may now open on Christmas should they choose to do so.
A few years after the Pataki administration changes, Governor David Paterson sought to allow supermarkets to sell wine. He argued that the increase in excise taxes collected would help the state close its budget deficit. The proposed law garnered so much opposition from liquor store owners that it was never voted on by either chamber of the New York State Legislature.
Ownership restrictions.
New York law requires that every license to sell wine or spirits at retail for off-premises consumption be held by a single individual who lives within a few miles of the store and who holds no other such licenses in the state. It was intended to prevent any chain liquor stores from doing business in the state. Some proprietors open additional stores in the names of their family members while maintaining complete control over all the stores. Collaboration is not only limited to families; for example, Premier Group or Global Group in western New York has three locations, with each individually owned and operated.
Dry communities.
State law prohibits dry counties. Individual cities and towns may choose to be dry. In the case of towns, the decision would also be binding on any villages within them. Cities and towns may become totally dry, forbidding any on- or off-premises alcohol sales, or partially dry by forbidding one or the other or applying those prohibitions only to beer or to wine and spirits.
As of 2024, there are six dry towns in the state, all in lightly populated rural areas upstate:
Ten towns forbid on-premises consumption but allow off-premises purchases; four allow both only at a hotel open year round. Seventeen disallow only special on-premises consumption. The town of Spencer in Tioga County allows only off-premises and special on-premises consumption. Williamson, in Wayne County, bans on-premises sale of beer at race tracks, outdoor athletic fields, and sports stadia where admission is charged. In all, there are thirty-nine partially dry towns.
In 2019, the Town of Argyle in Washington County voted to repeal the town's dry status. Argyle had made 11 attempts prior to do so. As a result, there are now only six remaining dry towns in New York State.
Drinking age.
In response to the National Minimum Drinking Age Act in 1984, which reduced by up to 10% the federal highway funding of any state that did not have a minimum purchasing age of 21, the New York Legislature raised the drinking age from 19 to 21, effective December 1, 1985. (The drinking age had been 18 since 1933, before the first increase of the drinking age to 19 on December 4, 1982.) Persons under 21 are prohibited from purchasing alcohol or possessing alcohol with the intent to consume, unless the alcohol was given to that person by their parent or legal guardian. There is no law prohibiting persons under the age of 21 consuming alcohol that was given to them by their parent or legal guardian. Persons under 21 are prohibited from having a blood alcohol level of 0.02% or higher while driving.
Drunken driving.
Like every other state in the United States, driving under the influence is a crime in New York and is subject to a great number of regulations outside of the state's alcohol laws. New York's maximum blood alcohol level for driving is 0.08% for persons over the age of 16 and there is a "zero tolerance" policy for persons under 16. Minors caught with any alcohol in the blood (defined legally as 0.02% or more) are subject to license revocation for six months or more. Other penalties for drunken driving include fines, license suspension/revocation, possible imprisonment, and in some cases the implementation of an ignition interlock device. A lesser charge, driving with ability impaired (DWAI), may apply when a driver's BAC exceeds 0.05%.
Research.
Research suggests that misdemeanor drunk driving offenses, but not felony drunk driving offenses, are related to county-based closing times for on-premises licensed venues.
Public intoxication.
New York State has no law against being intoxicated from alcohol in public, but there is a law prohibiting other substances. Any person found under the influence of a substance other than alcohol in public who is endangering themselves and others is guilty under the New York State Penal Code. This also applies to those found under the influence and bothering others or damaging public or private property.
Drinking in public was outlawed in New York City by Ed Koch in 1979. The law was originally pitched as targeting antisocial derelicts congregating in parks and on sidewalks, with Frederick E. Samuel, one of the measure's proponents in the New York City Council, stating "We do not recklessly expect the police to give a summons to a Con Ed worker having a beer with his lunch". By the end of the year similar laws had spread to municipalities in Westchester County. On March 7, 2016, drinking in public in Manhattan was decriminalized, but NYPD officers may still arrest an intoxicated individual on other charges.
References.
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The Kenwood Collection
Shopping center in Kenwood, Ohio, USA
The Kenwood Collection, formerly Kenwood Town Place, is a shopping center in Kenwood, Ohio, United States, between Interstate 71 and Kenwood Towne Centre.
History.
Kenwood Towne Place was a $175 million development project funded by Bear Creek Capital, Neyer Holding Corporation and Dov Limited. Groundbreaking for Kenwood Towne Place happened on April 4, 2007. Kenwood Towne Place also includes a $33 million public parking garage funded by bonds underwritten by the Port of Greater Cincinnati Development Authority.
The original anchor tenants were supposed to be The Container Store, Crate & Barrel, Ethan Allen, Kroger, and LA Fitness. In March 2008, it was announced that Borders Books was set to occupy a space, in order to open "one of their new prototype stores" with a "higher-end bookstore experience."
In March 2008, UBS Financial Services Inc. signed a deal to lease of the office space on the top floor.
Kroger opened a Fresh Fare store in 2008; The Container Store and Crate & Barrel both opened later that year. In 2009, Mitchell's Salon & Day Spa opened.
Bank of America bought the Kenwood Town Place property at a Hamilton County Sheriff's auction in July 2012 for $27.5 million; they then sold it to the developer Phillips Edison. In 2013, Phillips Edison changed the name of the property to the "Kenwood Collection".
Financial trouble.
At the end of December 2008 and the start of January 2009, several contractors filed almost $5 million in liens against Bear Creek Capital's Kenwood Towne Place.
In late January 2009, problems with the development project began to surface, as more than two dozen liens were filed that had a combined total value of $17 million over a two-week period. While the liens were being placed, the complex was partially under construction and partially occupied by several stores, leaving them in a state of limbo.
The lenders stopped making disbursements on all parts of the project until all of the liens had been cleared up; in February 2009, there were over 80 outstanding liens.
On February 13, 2009, the first subcontractor filed a lawsuit for $373,000 against Kenwood Towne Place LLC and Bear Creek Construction LLC. The lawsuit includes claims for breach of contract and unjust enrichment.
Cincinnati Councilman Chris Bortz proposed and supported a bailout of $1.8 million to assist some of the small businesses that are stuck in the current financial problems of the developer.
Bank of America filed a foreclosure lawsuit in the Hamilton County Common Pleas Court against Bear Creek Capital and the developers of Kenwood Towne Place in May 2009. Bank of America was seeking repayment of $81.3 million in loans and a sheriff's sale of the location. LA Fitness became the first tenant to sue the developers for $600,000 in unpaid construction costs.
Kenwood Towne Place was placed into receivership on June 9, 2009. The receiver was a developer out of Cleveland
Criminal investigation.
One of the subcontractors of the development project, Kraft Electrical Contracting, reported that he had spoken with both the FBI and Hamilton County Sheriff.
The FBI has taken over the Criminal Investigation was first opened by the Hamilton County Sheriff Department. The FBI has started to question people who worked on the project.
On Nov. 16, 2012 Matt Daniels was indicted on 25 conspiracy and fraud counts. It was alleged that he used the money for personal gain.
Former Bear Creek CFO's Tina Schmidt pleaded guilty to one count of conspiracy to commit bank fraud in connection to the Kenwood Towne Place development. In her plea agreement she claimed she "knowingly and intentionally worked with other people – including individuals identified herein by the initials M.D. and A.T. – to executive a scheme to defraud federally-insured financial institutions – namely Bank of America and its predecessor entity, LaSalle Bank."
On December 20, 2013, former Kenwood Towne Place developer Matt Daniels was found not guilty on all charges. Daniels had faced 23 counts of fraud in relation to the failed project. The two other charges he faced, from the 25 counts he was indicted on, were dismissed.
Civil litigation.
The judge in the foreclosure action recused himself after speaking with Ohio Supreme Court; he had found that he held stock in one of the creditors, Fifth Third Bank. Judge Steven Martin was replaced by Judge Beth Myers.
The case, which has become one of the largest cases in Hamilton County Court of Common Pleas, got even more complicated. On October 2, 2009, motions were filed which alleged "large-scale fraud" by Bear Creek Capital. The same motion also alleged that Bear Creek Capital and Bank of America had engaged in improper relationships. Judge Beth Myers denied a motion of receiver Hank Menniinger requesting to resign after he had been unable to secure loans to address health and safety issues. Judge Myers ordered that Bank of America fund $263,000 in repairs. However, another hearing was held on December 21, 2009. Judge Myers allowed Attorney Hank Menninger to step down as receiver for the project, and appointed Frank Hertge, who was nominated by Bank of America. Bank of America has dropped its challenge of the receivership of Kenwood Towne Center attorney Hank Menninger. Hamilton County Judge Beth Myers ordered that the receiver be paid 80% of money due for the daily management of operating the buildings.
Gregory Scheper, Bear Creek's director of acquisition, filed a lawsuit against Bear Creek for $1.8 million. The cause for actions in the suit are racketeering, conspiracy, and fraud.
News was broken that the mediation that was underway in October 2010 failed, and the matter is moving forward to trial in February 2011. This case is set to be the largest and longest trial in the history of Hamilton County, Ohio.
In July 2013 news reported that there was a $5 million conclusion to the litigation. Investor Tim Baird entered into a consent decree judgement.
Recent problems.
After Bear Creek Capital ran out of money, work stopped on finishing the project while the remaining stores struggled to stay open.
In March 2009 Sycamore Township Fire Chief William Jetter threatened to revoke the site's occupancy certificate if a list of violations were not fixed, including problems with the sprinkler and fire alarm system not working.
Hamilton County Building Commissioner Tonia Edwards issued an order, which highlighted eight items that needed to be fixed in order for the temporary occupancy certificate to remain in effect.
Vicki Lang, Manager of public relation for Crate and Barrel Stated:
"We are collaborating with our fellow Kenwood Towne Place retailers to work through this challenging situation. We want to assure Crate and Barrel customers that we remain committed to serving them at this location. We invite shoppers to come and see for themselves – Crate & Barrel is alive and well at Kenwood Towne Place!"
Kroger closed its store in Kenwood Towne Place on May 30, 2010. Kroger stated this is the first time that it had to close a new store.
Adding to the ongoing trouble for this development is the fact that the Current Fire Chief has declared that without work, the site is becoming a bigger fire hazard every day. The Fire Chief has stated that the building and other items on the site which could cause problems for the public.
Use of License Plate Readers.
Brookfield Properties, according to them, uses Vigilant Technologies License Plate Reader technology "for the purposes of enforcing our Parking Program and for Crime Prevention and Law Enforcement Investigations. LPR data is NOT used by the mall or third parties for marketing solicitations or target marketing." As part of the parking program they say that it is help find "non-customers and their vehicles, examples include commuters, nearby office building workers, students at nearby schools." The data collected by the readers included "license plate number, a photograph of the license plate (which may include parts of vehicle surrounding the license plate), the GPS location of the vehicle, and the time of date of the read. This same information can
be observed by any person walking through the parking lot."
The Electronic Frontier Foundation released a report talking about how some shopping centers are spying for an ICE contractor. The contractor Vigilant Solution issued a press release disputing the EFF report claiming that the report from the EFF was false.
References.
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Riverhead (CDP), New York
Riverhead is a census-designated place (CDP) roughly corresponding to the hamlet by the same name located in the Town of Riverhead in Suffolk County, on Long Island, in New York, United States. The CDP's population was 13,299 at the 2010 census.
Situated at the mouth of the Peconic River, which empties into Peconic Bay where the North and South Forks of Long Island split, the town of Riverhead (of which the CDP is a part) is the official county seat of Suffolk County. In the 1960s, most of the county offices moved to the CDP of Hauppauge in the towns of Islip and Smithtown in the more populous western half of the county—a move which still spurs attempts for the town of Riverhead to lead the way for the secession of eastern Long Island towns to form Peconic County.
History.
The hamlet began with the Suffolk County Court House, a 1727 structure built to serve both the North and South Forks. Since that year, Riverhead has served as the seat of Suffolk County, and still contains the primary courts of the region.
Riverhead's downtown area formed as an active commercial hub during the 19th century. In the beginning of the 20th century, the community saw an influx of Polish immigrants, as did the rest of the town. This led to the creation of Polish Town, where the popular Polish Town Fair is held annually. The downtown experienced urban blight during the mid-20th century, but recovered as of the beginning of the 21st century.
Geography.
According to the United States Census Bureau, the CDP has a total area of , of which is land and , or 2.33%, is water.
The hamlet contains the principal downtown area in the Town of Riverhead and one of the largest in Suffolk County. Outside of this downtown area are rural sections which contain both active farms and residential developments.
The portion of the CDP facing Long Island Sound has a humid subtropical climate ("Cfa") while the southern portion has a hot-summer humid continental climate ("Dfa"). The hardiness zones are 7a and 7b.
Demographics.
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As of the census of 2010, there were 13,299 people. The racial makeup of the CDP was 74.6% White, (55.9% Not Hispanic or Latino), 18.5% African American/Black, 23.5% Hispanic or Latino (of any race), 1.4% Asian American, and 1.2% Two or More Races.
As of the census of 2000, there were 10,513 people, 3,878 households, and 2,547 families residing in the CDP. The population density was . There were 4,167 housing units at an average density of . The racial makeup of the CDP was 89.98%