DOCSLIB.ORG

Newsletter of the Mozart Society of America

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Newsletter of the Mozart Society of America Newsletter of the Mozart Society ofAmerica Volume IX, Number 2 27 August 2005 Guest Column: Pierluigi Petro belli 2005 MSA Study Session The Mozart Society of America will My first, true "encounter" with Mozart movement in the minor key of the again hold its annual meeting at the happened when I was eighteen, in an opening. The way in which the apparent fall meeting of the American Italian provincial town, Padua (I was simplicity of the theme in the final Musicological Society, this year in born and had grown up there), where rondo was constantly varied at each Washington, D.C. The MSA will public performances of music were return gave me the definite impression convene on Friday, 28 October 2005, usually limited-within a year-to two that behind that simplicity an extremely from 12:00 to 2:00 P.M .. for a brief operas and two parallel concert seasons rigorous-and yet flexible-concept of business meeting followed by a study of chamber music; in this musical the musical discourse was realized: it session. The meeting is open to non­ activity the appearance of Mozart's name seemed to me-and still does-a sort of members as well as members of the was occasional indeed-certainly absent miracle to present with deceiving ease Society. in the opera house, and rare in the such a complex organization of musical The agenda for the business portion chamber music repertory, one exception ideas. is as follows: being, if 1 remember correctly, a piano I would like to stress the fact that, in Announcements recital by Walter Gieseking, the first part the 50's of the previous century, the President's Report of which was entirely devoted to the situation concerning the performance of Treasurer's Report Salzburg master. Mozart's music I have described for my Committee Reports I have not used at random the term native town was, more or less, the same New Business "encounter," it was a 78 recording of the throughout Italy; performances of his Other Piano Concerto in E flat K. 482, played operas were extremely rare; the same and conducted by Edwin Fischer, that was true for chamber music, indeed for Study Session opened up to me, for the first time, the any other Mozart composition. My world of Mozart's music, its richness, its move to Rome in order to complete the The Program Committee has selected complexity of meanings, its constant uni versity studies allowed me to three abstracts [or presentation at the variety of aspects, above all its supreme broaden in some ways my knowledge of study session. Since a leading aim of mastery of the overall shape of the Mozart; I bought a vocal score of Don our Society is to promote scholarly composition. Of course, at that time 1 Giovanni (the only one available in the exchange and discussion among its was aware of all these qualities only in music bookstore) in a French edition members, many of whom are not yet an instinctive way; my musical (with piano reduction of the orchestral familiar with one another's work, we experience having begun with opera, I interludes, derived from the symphonic will again follow the format we have was fascinated by the clarity and repertory, to allow for the changes of used for the last several years. The pithiness of the difference between the sets), perfectly mirroring the study session will break into two parts, two themes in the first movement-and performing practice of that score at the the first for the presentation and of course by the entrance of the soloist, Opera during the nineteenth century; I discussion of the paper by Ellwood like Don Giovanni showing up on the attended a performance of the Requiem Derr, which was selected partly on the stage (I did not know then a single note given by the soloists, chorus, orchestra, basis of its potential to stimulate of that opera). And then the intimate and conductor from Salzburg Cathedral discussion, and the second for melancholy of the second movement, the (no real, striking impression) and a individual discussions between authors constant dialogue between the soloist and ZauberjlOte at the Teatro dell' Opera, of the other distributed abstracts and the winds, and between the winds conducted by Vittorio Gui-and with those interested in their work. themselves; all in C minor and E flat Sena Jurinac, Anton Dermota, Rita major, until the sudden appearance in the Streich and Erich Kunz in the cast. Gui penultimate variation of C major, with continued on page 14 the inexorable conclusion of the continued on page 2 Guest Column In my long life I have listened, Newsletter of the studied, written on, and worked with all continued from page 1 Mozart Society of America sorts of repertoires and composers, from was a leading figure in introducing for the the earliest forms of polyphony to first time to the Italian audience great Volume IX, Number 2 27 August 2005 Dallapiccola; a great part of my pages from music of the past and of his institutional acitivity has been devoted to The Newsletter is published twice yearly time: a friend of Debussy, he was the Verdi. I have always worked with interest, (in January and August) by the Mozart initiator of the Rossini renaissance, he curiosity and also with love on all these Society of America. The Editor welcomes rediscovered Verdi's Macbeth, and forms of music; and yet I never have had submission of brief articles, news items, transcribed and reorchestrated (in a way such ajoy as when I worked (and work) and reviews. Deadlines for submissions totally unacceptable today) a number of with Mozart and with his music. This are 15 November for the January issue Bach cantatas. His interpretation of endless fascination comes from the and 15 June for the August issue. ZauberJlOte opened up to me the world of directness of his musical message, which Mozart's musical theater. deals-I am convinced- with the most Editor I would like to linger for a moment on profound and important questions every John A. Rice my experience as editor of Mozart's human being worthy of the name has to Rochester, Minn. music, and especially of my contact with face in life. Mozart deals with these E-mail: [email protected] his autographs. Often, and in specific questions entirely and exclusively with places in those manuscripts, one has the the musical language, even when-as it is Edmund Goehring definite impression of hearing the sound often the case-he combines it with the Founding Editor he had in mind, the sound he was spoken word. Hence comes-I think-the imagining while he was writing down the consolation he offers, and the joy he gives Board of Directors music just conceived. This is true for to everyone who listens to his music Mozart Society of America many pages in the score of Il re pastore; "with a fine ear." but it is true for other compositions as Isabelle Emerson, President well; a most telling example, in my -University of Rome Jane Stevens, Vice-President opinion, is the opening page in the Daniel Leeson, Treasurer autograph of the D minor Quartet K. 421, Peter Hoyt, Secretary where the way in which the caption "sotto Bruce Alan Brown voce" is written expresses the kind of Gregory Butler sound required for the opening bars better Dexter Edge and more precisely than any other Kathryn L. Shanks Libin indication. Marita McClymonds Mary Sue Morrow John A. Rice Jessica Waldoff Gretchen Wheelock Honorary Directors Alessandra Comini Daniel Heartz Jane Perry-Camp Christoph Wolff Barry S. Brook (1918-1997) Jan LaRue (1918-2004) Business Office Department of Music University of Nevada, Las Vegas Las Vegas, NV 89154-5025 E-mail: [email protected] Fax: (702) 895-4239 Isabelle Emerson Emma Pease-Byron, Assistant Web Site: www.unlv.edulmozart ISSN: 1527-3733 -2- From the President Mozart Society of America: Greetings from the oven that is Las I've just returned from Santa Fe Object and Goals Vegas in August! where I attended the brilliantly sung Welcome to our new members and controversially staged performance and thanks to the many faithful of Lucio Silla at the Santa Fe Opera. I Object members who have already renewed was able to confirm arrangements for a their memberships for the coming year. conference jointly sponsored by the The object of the Society shall be the Plans for the February 2006 MSA and the Santa Fe Opera to take encouragement and advancement of conference at Indiana University are place 29 June through 2 July 2006 studies and research about the life, shaping up rapidly. A number of centering around Die Zauberf/.Ote and works, historical context, and reception abstracts for proposed papers have been culminating with the opening night of Wolfgang Amade Mozart, as well as received, and Otto Biba, Director of the performance on 1 July of that opera. the dissemination of information about Gesellschaft fur Musikfreunde in The city of San Diego has announced a study and performance of related Vienna, has agreed to be the keynote festival for Mozart year 2006 which music. speaker. Registration information will involves most of the city's arts be mailed out on 1 October. Since organizations. My own institution, Bloomington is a small town, I UNLV, is planning a four-day Goals recommend making your travel plans as conference in early April. Please let me soon as possible (see the information know of any celebrations at your on page 10). I would like to extend the institutions.
Load more

Recommended publications
  • IMAGO MUSICAE Edenda Curavit Björn R
    International•Yearbook•of•Musical•Iconography Internationales•Jahrbuch•für•Musikikonographie Annuaire•International•d’Iconographie•Musicale XXIX Annuario•Internazionale•di•Iconografia•Musicale Anuario•Internacional•de•Iconografía•Musical Founded by the International Repertory of Musical Iconography (RIdIM) IMAGO MUSICAE Edenda curavit Björn R. Tammen cum Antonio Baldassarre, Cristina Bordas, Gabriela Currie, Nicoletta Guidobaldi atque Philippe Vendrix Founding editor 1984–2013 Tilman Seebass IMAGO MUSICAE XXIX INSTITUT FÜR KUNST- UND MUSIKHISTORISCHE FORSCHUNGEN Österreichische Akademie der Wissenschaften Wien CENTRE D’ÉTUDES SUPÉRIEURES DE LA RENAISSANCE ISSN • 0255-8831 Université François-Rabelais de Tours € 80.00 ISBN • 978-7096-897-2 LIM Libreria•Musicale•Italiana Centre National de la Recherche Scientifique, UMR 7323 IMAGO MUSICAE International•Yearbook•of•Musical•Iconography Internationales•Jahrbuch•für•Musikikonographie Annuaire•International•d’Iconographie•Musicale Annuario•Internazionale•di•Iconografia•Musicale Anuario•Internacional•de•Iconografía•Musical Edenda curavit Björn R. Tammen cum Antonio Baldassarre, Cristina Bordas, Gabriela Currie, Nicoletta Guidobaldi atque Philippe Vendrix Founding editor 1984–2013 Tilman Seebass IMAGO MUSICAE XXIX Libreria•Musicale•Italiana Founded by the International Repertory of Musical Iconography (RIdIM) Graphic design and Layout: Vincent Besson, CNRS-CESR ISSN: 0255-8831 ISBN: 978-88-7096-897-2 © 2017, LIM Editrice, Lucca Via di Arsina 296/f – 55100 Lucca All rights reserved – Printed in
    [Show full text]
  • Così Fan Tutte
    Wolfgang Amadeus Mozart Così fan tutte CONDUCTOR Opera in two acts James Levine Libretto by Lorenzo Da Ponte PRODUCTION Lesley Koenig Saturday, April 26, 2014, 1:00–4:40 pm SET & COSTUME DESIGNER Michael Yeargan LIGHTING DESIGNER Duane Schuler STAGE DIRECTOR Robin Guarino This production of Così fan tutte was made possible by a generous gift from Alberto Vilar. Additional funding was provided by the Metropolitan Opera Club; the Denenberg Foundation, in honor of Dan Denenberg; The DuBose and Dorothy Heyward Memorial Fund; and the late Mr. and Mrs. Samuel L. Tedlow. The revival of this production is made possible GENERAL MANAGER Peter Gelb by a gift from DOLCE & GABBANA. MUSIC DIRECTOR James Levine PRINCIPAL CONDUCTOR Fabio Luisi 2013–14 Season The 184th Metropolitan Opera performance of Wolfgang Amadeus Mozart’s Così fan tutte This performance is being broadcast live over The Conductor Toll Brothers– James Levine Metropolitan Opera International IN ORDER OF VOCAL APPEARANCE Radio Network, sponsored by Ferrando Toll Brothers, Matthew Polenzani America’s luxury homebuilder®, with Guglielmo generous long-term Rodion Pogossov* support from Don Alfonso The Annenberg Maurizio Muraro Foundation, The Neubauer Family Fiordiligi Foundation, the Susanna Phillips Vincent A. Stabile Endowment for Dorabella Broadcast Media, Isabel Leonard and contributions from listeners Despina worldwide. Danielle de Niese* This performance is Cello Continuo also being broadcast David Heiss live on Metropolitan Opera Radio on Harpsichord Continuo SiriusXM channel 74. Howard Watkins* Saturday, April 26, 2014, 1:00–4:40 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation.
    [Show full text]
  • Noteworthy 16-2006
    F.A.P. December 2OO7 Note-Worthy Music Stamps, Part 16 by Ethel Bloesch (Note: Part 16 describes stamps with musical notation that were issued in 2006.) ANTIGUA & BARBUDA Scott 2887 Michel 4353-4356 A sheet issued July 3, 2006 for the 250 th anniversary of the birth of Wolfgang Amadeus Mozart (1756- 1791). On the left side of the sheet are four stamps (three portraits of the young Mozart and a violin). The right side features a page of music superimposed on the unfinished portrait of Mozart by Joseph Lange, 1789. The music is the first page of the solo horn part to Mozart's Horn Concerto No. 3 in E-flat major, KV 447, now thought to have been written in 1787. The orchestration (clarinets and bassoons, rather than oboes and horns) and the lyrical musical style make this work more intimate and less extroverted than Mozart's three other horn concertos. ARMENIA Scott 730 Michel 540 A stamp issued March 28, 2006 for the 125 th anniversary of the birth of the Armenian musician Spiridon Melikian (1880-1933). His contributions to the musical culture of Armenia were wide- ranging: he engaged in expeditions to study Armenian folklore, wrote text-books and other musicological works, taught in the conservatory in Yerevan, and was one of the founders of the Armenian Choral Society. He also composed two children's operas, choral works, and songs. The stamp features a portrait of Melikian, with unidentified music in the background. AUSTRIA Scott 2067 Michel 2617 This stamp has been issued jointly by Austria and China on September 26, 2006.
    [Show full text]
  • The Operas of Mozart Part I
    The Operas of Mozart Part I Professor Robert Greenberg THE TEACHING COMPANY ® Robert Greenberg, Ph.D. San Francisco Conservatory of Music Robert Greenberg has composed over forty-five works for a wide variety of instrumental and vocal ensembles. Recent performances of Greenberg’s work have taken place in New York, San Francisco, Los Angeles, Chicago, England, Ireland, Italy, Greece, and The Netherlands, where his Child’s Play for string quartet was performed at the Concertgebouw of Amsterdam. Professor Greenberg holds degrees from Princeton University and the University of California at Berkeley, where he received a Ph.D. in music composition in 1984. His principal teachers were Edward Cone, Claudio Spies, Andrew Imbrie, and Olly Wilson. Professor Greenberg’s awards include three Nicola De Lorenzo prizes in composition, three Meet the Composer grants, and commissions from the Koussevitzky Foundation of the Library of Congress, the Alexander String Quartet, XTET, the San Francisco Contemporary Music Players, and the Dancer’s Stage Ballet Company. He is currently on the faculty of the San Francisco Conservatory of Music, where he served as Chair of the Department of Music History and Literature and Director of Curriculum of the Adult Extension Division for thirteen years. Professor Greenberg is resident music historian for National Public Radio’s “Weekend All Things Considered” program. He has taught and lectured extensively across North America and Europe, speaking to such schools, corporations, and musical institutions as the Wharton School of Business at the University of Pennsylvania, Harvard Business School Publishing, Deutches Financial Services, Canadian Pacific, Quintiles Transnational, Lincoln Center, Van Cliburn Foundation, San Francisco Performances, University of California/Haas School of Business, University of Chicago Graduate School of Business, Chautauqua Institute, Commonwealth Club of San Francisco, and others.
    [Show full text]
  • Sabine Devieilhe RAPHAËL PICHON PYGMALION 2 MOZART the WEBER SISTERS Sabine Devieilhe Soprano Pygmalion Raphaël Pichon Direction
    MOZART THE WEBER SISTERS Sabine Devieilhe RAPHAËL PICHON PYGMALION 2 MOZART THE WEBER SISTERS Sabine Devieilhe soprano Pygmalion Raphaël Pichon direction L’envie d’enregistrer Mozart n’est pour moi ni originale, ni récente. D’où me vient depuis mon plus jeune âge le sentiment d’être en terrain connu ? Pourquoi sa musique est-elle évidemment celle que je souhaite adresser au néophyte autant qu’au connaisseur ? C’est ce que j’ai réalisé en découvrant la relation unique qui le lie avec les sœurs Weber. Lorsque Mozart compose ses premières pages pour Aloysia et le rendez-vous manqué de leur tournée en Italie, il s’inscrit dans un art du bel canto encore très empreint de la pyrotechnie baroque. Mozart aime le spectacle. Il joue avec la typologie vocale de la jeune Aloysia qui lui permet d’offrir au public des vocalises flamboyantes, des suraigus sensationnels. Si nous retenons souvent cette utilisation extrême de la tessiture, nous savons au fond de nous que l’essence de son art est ailleurs : dans l’affect. Qu’est-ce qui nous fait fondre dans ces lignes que nous mémorisons parfois après une écoute seulement ? L’évidence du sentiment. Lire entre les notes et donner à entendre le théâtre, comme note d’intention du compositeur, voilà où se place le défi de l’interprète. Par notre rencontre avec les sœurs Weber, femmes et dédicataires ayant tellement compté dans sa vie, nous tentons de tracer un portrait de Mozart amoureux. SABINE DEVIEILHE 3 I PROLOGUE : LA CONFIDENCE NAÏVE, OU L’ATTENTE 1 Les petits riens k 299b : Ouverture 3:20 2 Ah, vous
    [Show full text]
  • Jubiläumsprogramm
    Jubiläumsprogramm 28. Mai bis 27. Juni 2021 Über diesen Tag, über diese Seite meiner bunten Lebensblätter möchte ich ein Wort schrei- ben, ein Wort wie »Welt« oder »Sonne«, ein Wort voll Magie und Strahlungskraft, voll Klang, voll Fülle, voller als voll, reicher als reich, ein Wort mit Bedeutung vollkommener Erfüllung, vollkommenen Wissens. Da fällt das Wort mir ein, das magische Zeichen für diesen Tag, ich schreibe es groß über dies Blatt: MOZART. Hermann Hesse 1920 Die Eigentümlichkeit aller ganz großen Werke ist doch gerade die, dass jede Zeit sie wieder anders schaut, ohne dass sie selbst sich ändern. Max Slevogt 1924 Mozart ist ein Revolutionsmensch, der große Apostel des freien Menschentums als Künstler. Paul Bekker 1926 Es ist die wesentlichste Äußerung der Musik, womit Mozart das erreicht. Denn schließlich ist das, was uns im Theater bewegt, das gleiche, was uns in allen Künsten ergreift: das gesteigerte Erlebnis der geläuterte Aus- druck einer Empfindung der Menschlichkeit.Kurt Weill 1926 Mozarts Kunst ist zeitlos, ... ihr Kern ist an keinerlei Epoche gebunden, daher bleibt sie unabhängig von der jeweiligen Tagesmode, aufrecht im Wandel der Zeiten. Carl Flesch 1929 Von Mozart habe ich gelernt: 1. Die Ungleichheit der Phrasenlänge. 2. Die Zusammenfassung heterogener Charaktere in eine thematische Einheit. 3. Die Abweichung von der Gradtaktigkeit im Thema und in seinen Bestandteilen. 4. Die Kunst der Nebengedankenformung. 5. Die Kunst der Ein- und Über- leitung. Arnold Schönberg 1930 Es geht hier eine gerade Linie von Mozart über Schubert und Brahms zu Reger und Schönberg. Alban Berg 1930 Im Nachspiel von Mozarts Orches- ter scheint die entzweite Menschheit selber versöhnt.
    [Show full text]
  • Mozart Biography
    Mozart Cliff Eisen According to a possibly apocryphal story, when the conductor Otto Klemperer was asked to list his favourite composers, Mozart was not among them. On being taxed with his, Klemperer is said to have replied, 'Oh, I thought you meant the others'. This anecdote illustrates how Mozart is often regarded, almost as a matter of course: as a pre-eminent (some would say 'the' pre-eminent) composer of operas, concertos, symphonies and chamber music.[1] His life and works can conveniently be divided into three distinct periods: 1756- 1773 when, as a child prodigy, he toured much of Western Europe and composed his first works; 1773-1780, when he was largely based in Salzburg in the employ of the Salzburg court (with a significant interruption from September 1777 to January 1779, when he quit service in search of a position at either Mannheim or Paris); and 1781-1791, when he was permanently resident in Vienna and during which time he composed the works for which he is best remembered. Most Mozart biographers see in this three-fold division a pattern that, even if its dates do not exactly correspond with the traditional, Rousseauian model of a creative life - apprenticeship (which for Mozart is said to extend from 1763 to the late 1770s), maturity (the late 1770s to about 1788), and decline (about 1788-1791) - is nevertheless more or less consistent with how other composers' lives, including Palestrina, Beethoven and Rossini, are usually represented. The one significant difference, perhaps, is that Mozart's alleged decline is 'redeemed' by the composition, in his final year, of two transcendent works: the sacred Requiem and the secular The Magic Flute.
    [Show full text]
  • MOZART – a SHORT BIOGRAPHY YOUNG MOZART WAYS Mozart
    YOUNG MOZART WAYS European level through meetings, competitions, travels to MOZART – A SHORT BIOGRAPHY Court Chapel. First Italian journey of father and son to Milan 1782 Premiere of the singspiel The Abduction from the Seraglio; other partner cities along the Mozart Ways. Not only does with numerous excursions to other towns. Commission to com- Mozart marries Constanze Weber, Aloysia’s sister. this channel effectively assist in spreading knowledge about pose the first Milanese opera Mitridate, Re di Ponto. Admission Young Mozart Ways Mozart, but it also disseminates the positive resonance of 1756 Wolfgang Amadeus Mozart is born on January 27 in to the Accademia Filarmonica di Bologna (Padre Martini) and 1783 Last stay of Wolfgang (together with Constanze) in Salz- On the way to & with Mozart Mozart’s music, individually and collectively, in the direct Salzburg. He is the seventh child of Anna Maria (née Pertl awarding of the Order of the Golden Spur in Rome by the burg. Mozart’s first son Raimund Leopold lives only two months. In the field of music education and pedagogy, projects have experience of performance. 1720-1778) from St. Gilgen and Leopold Mozart (1719-1787) Pope. Second journey to Italy. Second opera commission for On the way back to Vienna, he writes the Linz Symphony “head been developed under the heading “Young Mozart Ways”. from Augsburg. Five of their children die, only Wolfgang Milan, Ascanio in Alba. over heels”. Their aim is to inspire the younger generations in the discov- • Choir “Amadeo” Salzburg, Austria and his older sister Maria Anna (1751-1829), called Nannerl, 1784-1785 Mozart starts to keep a catalogue of all his works; ery of Mozart’s life and work as well as his pioneering Euro- • Boys’ Choir “Les Pastoureaux”, Waterloo, Belgium survive.
    [Show full text]
  • Lucio Silla 2
    MENU — TRACKLIST P. 4 ENGLISH P. 8 FRANÇAIS P. 22 DEUTSCH P. 37 Th is recording has been made with the support of the Fédération Wallonie-Bruxelles (Direction générale de la Culture, Service de la Musique) Th e Millenium Orchestra is sponsored by the Fédération Wallonie-Bruxelles (Direction générale de la Culture, Secteur de la Musique) and supported by the Loterie nationale, the Port autonome de Namur and the City and Province of Namur. www.cavema.be Recordings: Malonne, chapelle de l’Institut Saint-Berthuin, May 2016 Ettelbruck, Centre des Arts Pluriels (Don Giovanni & Die Zauberfl öte), February 2015 2 Artistic direction, recording & editing: Manuel Mohino Producer: Jérôme Lejeune Cover: Martin van Meyten (1695-1770), Concert for the wedding of Joseph II and Isabelle of Parma Wien, Schloß Schönbrun / Photo: © akg-images /Erich Lessing Th e photos of the Millennium Orchestra were taken during rehearsals for a concert and during the concert itself in the Salle Henry Le Boeuf in Brussels on 3 May 2016. Th ey are used with the kind permission of BOZAR / (p. 1, 18,19, 26, 27, 32, 44, 45): © Bertrand Th omas Photos of Leonardo García Alarcón & Jodie Devos ( p. 5 & 7) : © Jean-Baptiste Millot THE VIENNNA CONCERT 23 MARCH 1783 Wolfgang Amadeus Mozart 17561791 — 3 MILLENIUM ORCHESTRA Jodie Devos: soprano Sebastian Wienand: fortepiano Leonardo García Alarcón: direction CD I CD II D E Symphonie Haff ner, KV 385 Posthorn Serenade D-Dur , KV 320 FR 1. Allegro con spirito 8’11 1. Andante gracioso (Concertante) 6’33 Idomeneo, re di Creta, opera seria, KV 366 2.
    [Show full text]
  • Freemason, Mozart's Contemporary, and Theatre Director on the Edge
    FREEMASON, MOZART’S CONTEMPORARY, AND THEATRE DIRECTOR ON THE EDGE: FRANZ KRATTER (1758 –1830) AND DER FRIEDE AM PRUTH (‘THE TREATY OF PRUT’, 1799). CATALOGUING THE KOMPLEX MAUERBACH, VIENNA* Gabriele C. Pfeiffer (Vienna) Abstract: Among the plays in the collection of theatre texts known as Komplex Mauer- bach are three dramas, written by the Bavarian Franz Kratter (1758 –1830), which revolve around Tsar Peter I of Russia (r.1682 –1725). My paper will investigate this ‘Russian Trilogy’, especially its last part: Der Friede am Pruth (‘The treaty of Prut’, Frankfurt, 1799). I will highlight certain aspects of the biography of its author, Kratter’s links to fellow freemason Mozart and his family, and discuss theatre life in the periphery of the Habsburg domain, in the Galician capital of Lemberg (Lviv), where Kratter resided and worked as a theatre director and writer between 1786 and 1830. * * * The Komplex Mauerbach is an inventory of mostly German language theatre texts from the mid-eighteenth century to the first third of the twentieth century. Its booklets are part of the former Kunstraub assets, which means assets that had been Jewish property and were looted in Austria by the Nazi regime between the Anschluß (the annexation of Austria to Nazi Germany in 1938) and the end of the Second World War (1945), and which could not be returned to their rightful owners or heirs thereafter. The looted booklets, together with other non-restituted objects, were classified by the Austrian government as “herrenloses Kunstgut”1 (‘heirless art * This article reflects the general path of my paper delivered at the Ottoman Empire and European Theatre, From the Beginnings to 1800, W.
    [Show full text]
  • Mozart in Italy and the Enigma of a Collection: Newly-Discovered Portraits and Artifacts Cliff Eisen
    Mozart in Italy and the Enigma of a Collection: Newly-Discovered Portraits and Artifacts Cliff Eisen In a letter written at Brussels on 4 November 1763, addressed to his Salzburg friend, landlord and financier Johann Lorenz Hagenauer, Leopold Mozart briefly described what he called his ‘Peruvian treasures and riches’:‘Little Wolfgang has been given two magnificent swords, one from Count von Frankenberg, Archbishop of Malines, the other from General Count de Ferraris. My little girl has received Dutch lace from the archbishop, and from other courtiers cloaks, coats and so on. With snuffboxes and etuis and such junk we shall soon be able to rig out a stall ‘.1 This was just a first, brief description of a horde of valuable objects that the family collected on their travels: by the time the Mozarts returned to Salzburg in 1766, they had with them, or had sent ahead, several large coffers full of gifts, items that they had purchased while on tour, and memorabilia. Beda Hübner, the librarian of St Peter’s, Salzburg, noted in his diary for 8 December 1766: I . saw all the tributes and presents which the aforesaid Herr Mozart and his children had received from the great monarchs and princes during their costly journey: of gold pocket watches he has brought home 9; of gold snuff-boxes he has received 12; of gold rings set with the most handsome precious stones he has so many that he does not know himself how many; earrings for the girl, necklaces, knives with golden blades, bottle holders, writing tackle, toothpick boxes, gold objets for the girl, writing tablets and suchlike gewgaws without number and without end .
    [Show full text]
  • Acknowledgments 2005 Harmonia Mundi
    ACKNOWLEDGMENTS Cover: Wolfgang Amadeus Mozart, contemporary portrait, silhouette, scissor-cut / akg-images The performing editions used in this recording were prepared by Andrew Manze and Richard Egarr. All texts and translations © harmonia mundi usa 2005 harmonia mundi usa 1117 Chestnut Street, Burbank, California 91506 Recorded June 2004 at Doopsgezinde Kerk, Haarlem, The Netherlands Producer: Robina G. Young Engineer & Editor: Brad Michel Recorded, edited & mastered in DSD 1 MOZART / Violin Sonatas, 1781 / Andrew Manze / Richard Egarr HMU 807380 © harmonia mundi WOLFGANG AMADEUS MOZART (1756–1791) Violin sonatas, 1781 Sonata in F major, k. 377 20:22 1 I Allegro 4:38 2 II Tema con variazioni 9:45 3 III Tempo di Menuetto 5:58 Sonata in E-flat major, k. 380 19:25 4 I Allegro 7:08 5 II Andante con moto 7:52 6 III Rondeau 4:25 Sonata in C major, k. 403 (fragment) 13:23 7 I Allegro moderato 6:08 8 II Andante 3:38 9 III Allegretto (completed by Maximilian STADLER) 3:38 Sonata in F major, k. 376 18:12 10 I Allegro 5:19 11 II Andante 6:26 12 III Rondeau 6:26 Andrew Manze violin • Richard Egarr fortepiano 2 MOZART / Violin Sonatas, 1781 / Andrew Manze / Richard Egarr HMU 807380 © harmonia mundi MOZART Violin sonatas, 1781 he violin sonatas recorded here were composed during a One of those lady pupils was Josepha Barbara Putting aside the exciting possibility that these (and other?) pivotal year for Mozart. During a visit to Vienna in May, Auernhammer (1758–1820). Despite finding her playing violin sonatas might legitimately be arranged for piano duet, 3 T 1781, Mozart had, according to his version of events, “enchanting,” Mozart provided an extremely unflattering comparison of the first edition with the surviving autograph resigned – or more likely was sacked – from his position as court caricature of her in his letters to Leopold during the summer of manuscripts shows that, somewhere between composition and organist and concertmaster to the Prince Archbishop of Salzburg, 1781.
    [Show full text]