Still Mad Over Mozart : * Music: Today marks the 200th anniversary of the composer’s death. L.A. orchestras offer tributes with a dozen weekend concerts.

When it comes to Wolfgang Amadeus Mozart, have we left anything out?

In numerous concerts and opera performances starting even before this, the bicentennial year of Mozart’s death, the repertory has been hauled out, stretched, exhumed and revitalized.

“Nothing has been neglected. We’ve had it all,” said Gerard Schwarz, artistic director of the Mostly Mozart Festival in New York. Although today is the 200th anniversary of Mozart’s death, the bicentennial celebrations will continue through next year. Lincoln Center is spending a reported $3 million to present the entire Mozart oeuvre --more than 600 works--through August.

And that isn’t all. Through recordings, merchandising, books, radio and TV programs, operas, recitals and concerts, the genius of Mozart will be on continuous display.

In Japan, for instance, some companies have outdone themselves, turning out chocolates, sake and even a computer chip-laden Mozart brassiere--with matching panties--that plays “Twinkle, Twinkle Little Star.”

For encyclopedic completeness, probably nothingmatches the enterprise of the Philips 45-volume set of the complete works of Mozart on CD, the final volume due in February.

And there are about a dozen concerts through the weekend that put the prolific composer’s work on display. In his 36-year lifetime, Mozart created lasting works of acknowledged greatness in every genre, from operas, symphonic masterpieces and sacred pieces, through chamber music, songs and solo instrumental works.

Why celebrate Mozart? Why did we not make a greater fuss over Dvorak’s 150th anniversary or over Prokofiev’s centennial, both earlier this year?

“People do things for the wrong reasons,” says musicologist MaryAnn Bonino, a professor at Mount St. Mary’s College and founder of the Da Camera Society.

“Even before the film ‘Amadeus,’ Mozart was a commercial success--not in his lifetime, but in ours. He is something to take advantage of. In some ways, this bicentennial is nothing but a commercial event.”

These observations are of course unconnected to the composer’s worth, or the greatness of his music, Bonino contends.

“Fashion is fickle. The day after Mozart died, he was made into a Romantic hero. Actually, he had really always been on the cusp of revolutionary sensibilities.”

Here in Los Angeles, the most oddball observance of the bicentenary may be two linked events scheduled by the enterprising L.A. Mozart Orchestra.

On Saturday at 7 p.m., the LAMO, assisted by the Cambridge Singers, perform a benefit concert of instrumental and choral music by the composer at Forest Lawn in Hollywood Hills, to be conducted by David Ogden Stiers and Lucinda Carver. This will be preceded by a “wake” for the composer--with black armbands, “celebrity eulogies” and Viennese pastries--beginning at 4 p.m.

Tonight, our two major symphonic ensembles, the L.A. Philharmonic and the L.A. Chamber Orchestra, compete with each other in Mozart programs.

In the Dorothy Chandler Pavilion at the Music Center, Schwarz leads the Philharmonic, the L.A. Master Chorale and vocal soloists in the Requiem, pairing that relatively short work with the “Zauberflote” Overture, “Ave Verum Corpus” and the Clarinet Concerto, with Richard Stoltzman as soloist.

At Royce Hall, UCLA, guest conductor Trevor Pinnock leads the LACO in the Symphonies Nos. 34 and 41 (both in C, as you remember) and two concert arias, with Canadian soprano Ingrid Attrot the soloist. The concert will be broadcast live on KUSC (91.5 FM).

At mid-program, conductor and orchestra give the world premiere performance of Rand Steiger’s “Woven Serenade,” an homage to Mozart and the fourth and final work in a series of LACO commissions made to note this Bicentennial.

In Vienna, where Mozart died 200 years ago today, Sir Georg Solti will conduct the composer’s Requiem, with the Vienna Philharmonic, Vienna Opera Concert Society Chorus and vocal soloists, Arleen Auger, Cecilia Bartoli, Vinson Cole and Rene Pape. This Requiem was originally scheduled to be conducted by Leonard Bernstein, who died 14 months ago.

It is not a concert, but part of a live church service, a Mass at St. Stephan’s Cathedral, original site of Mozart’s funeral in 1791. The live radio broadcast can be heard in Southern California over KCRW-FM from 10 a.m. to noon.

The touring Salzburg Marionettes present “Le Nozze di Figaro” at Ambassador Auditorium in Pasadena tonight. The troupe from Mozart’s birthplace moves down to the Irvine Barclay Theatre in Orange County for four more performances--also including “Die Zauberflote” and “Don Giovanni”--Friday through Sunday.

Also tonight, at the County Museum of Art, an almost forgotten film version of “Le Nozze di Figaro,” performed in German as “Figaros Hochzeit,” will be shown at 8 p.m. This is stage director Georg Wildhagen’s 1949 film of the opera, sung by, among others, Erna Berger, Willi Domgraf-Fassbaender, Tiana Lemnitz, Mathieu Ahlersmeyer and Margarete Klose.

Friday on KCET Channel 28 at 9 p.m., Andre Previn hosts a two-hour show titled “Mozart on Tour,” concluding with a complete performance of the B-flat Piano Concerto (No. 27), played by Aleksandar Madzar, accompanied by the Royal Philharmonic.

Mozartmania may be everywhere today, but the composer’s music has had a permanent place in the repertory for 200 years. And there are no signs of a letup.

Pinnock, who guest conducts the L.A. Chamber Orchestra this weekend, summed up Mozart’s place in the musical realm: “I don’t want to feel, when 1991 is over: Let’s give him a rest.”