DOCSLIB.ORG

Mozart Society of America

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mozart Society of America Volume 25, Number 1 spring 2021 NEWSLETTER OF THE Mozart Society of America Inside this Issue: “Francesco Benucci as Actor,” by Magnus Tessing Schneider 6 “94 Seconds of New Mozart” 1 Robert H Spaethling (1927–2020) 12 News of Members 2 Tre opere su Don Giovanni per Praga, “One of the Mozarteum’s New Acquisitions,” ed Milada Jonášová and Tomislav Volek, by Steven N Machtinger 3 reviewed by Martin Nedbal 13 Call for Papers: MSA and Society for Carl Ditters von Dittersdorf: Kontexty a perspektivy, Eighteenth-Century Music in Salzburg 5 ed Jan Blüml and Jana Spáčilová, reviewed by Martin Nedbal 14 “94 Seconds of New Mozart”: Mozart Week 2021 You can also view a full-length piano recital by Cho and two other performances from Mozart Week 2021—a wonder- Mozart Week (Mozartwoche), like many events during the ful recital of Mozart’s songs and a performance by the Vienna COVID pandemic, was different this year Customarily, the Philharmonic—on the subscription service Medici tv Mozarteum Foundation’s annual celebration of Mozart’s life Paul Corneilson and I represented the MSA at the Mozart and works includes multiple live performances, lectures, Communities gathering on January 30, 2021 Representatives hands-on activities at Salzburg’s museums, and an in-per- from societies in Japan, China, Canada, Brazil, Paraguay, son gathering of representatives from Mozart societies from and various countries in Europe attended The morning in- around the globe This year the concerts and the Mozart cluded a report by Ulrich Leisinger, the Head of Research at Communities gathering took place online Despite current the Mozarteum Foundation, about the newly discovered Mo- challenges, Mozart Week included uplifting performances zart autograph (K 626b/16) It definitely is in Mozart’s hand, and an energizing exchange of information but evidence suggests it may be a keyboard transcription of a The highlight of the week was the world premiere of newly work for larger forces Leisinger also reported on the acqui- discovered music by Mozart Scholars at the Mozarteum sition in late 2020 of three important Mozart family letters Foundation and four additional experts have confirmed the from the estate of artist Maurice Sendak These include the seventy measures are in Mozart’s hand It is the first major dis- famous letter that Mozart wrote to his father in 1787 when he covery of previously unknown music by the composer in over learned Leopold was seriously ill, discussed below by Steven eighty years: “94 seconds of new Mozart!,” as the Mozarteum’s Machtinger Leisinger disclosed that close study of the origi- publicity declared The manuscript comes from the collection nal has revealed slight differences from transcribed versions of Aloys Fuchs (who we know received documents from Mo- of the letter A facsimile of the original is now available zart’s son Franz Xaver) and appears to be from early 1773 Many representatives gave brief reports about their so- You can watch a short documentary about the discovery cieties’ activities in 2020 The Mozart Society of China, for and hear pianist Seong-Jin Cho perform the piece, on the example, founded in 2019, is translating the Mozart family Mozarteum’s website: https://www youtube com/watch?v= letters and other resources into Chinese With the help of 9cYWRhlHo9I&feature=youtu be the Mozarteum, they held a public exhibition that simulated Deutsche Grammophon has posted a version with En- Mozart’s home through paintings, scores, and photographs glish subtitles on its website: https://www youtube com/ The exhibit received substantial press coverage and was very watch?v=vmxZVMU1Gpg well attended by visitors from all over the country Despite continued on page 2 News of Members Newsletter of the Mozart Society of America Volume 25, Number 1 Bruce Alan Brown published his article “Opera in France, Spring 2021 Italy, and on the Moon, as Viewed by a Frenchman, Financier, ISSN: 1527-3733 and Philosophe,” in Gluck-Studien, vol 8, ed Daniel Branden- The Newsletter is published twice yearly (spring and burg (Kassel: Bärenreiter, 2020), 9–33 fall) by the Mozart Society of America Guidelines L. Poundie Burstein has recently published Journeys for submission are posted on the website: Through Galant Expositions (Oxford University Press, 2020) www mozartsocietyofamerica org This book reexamines eighteenth-century discussions of Editor: John A Rice musical form by writers such as Riepel, Koch, Galeazzi, and johnarice6@gmail com Neubauer, and applies their concepts to the analysis of a Review Editor: Martin Nedbal number of the early works by Mozart, as well to compositions mnedbal@ku edu by many of his contemporaries https://global oup com/us/ Designed by Dean Bornstein companion websites/9780190083991/book/ Dexter Edge and David Black have added several doc- Mozart Society of America c/o Alyson McLamore uments to their online collection Mozart: New Documents 708 Avenida de Diamante (see https://sites google com/site/mozartdocuments/news) Arroyo Grande, CA 93420 The latest additions all shed light on Mozart’s first visit to info@mozartsocietyofamerica org Italy (1770–1771) and include an article-length commentary on a letter of recommendation written by Count Firmian, Mozart’s primary patron in Milan continued from page 1 Sarah Eyerly has been awarded the Heizer Award from the pandemic, the Mozart Society of Switzerland held a per- the American Society for Ethnohistory for her co-authored formance competition online that drew over ninety young article and digital project, “Singing Box 331: Re-Sounding performers from thirty-five countries On behalf of the MSA, Eighteenth-Century Mohican Hymns from the Moravian I reported on our successful online panel “Talking About Archives,” The William and Mary Quarterly76 (2019), 649– Race and Gender in The Magic Flute” and the joint confer- 96 Her article also received the Cappon Award as the best ence with the American Bach Society Paul and I invited our article in the Quarterly for 2019 fellow Mozart supporters to join us in Salzburg in 2022 Adeline Mueller’s book Mozart and the Mediation of The general manager of the Foundation, Tobias Debuch, Childhood will be published later this year by the University shared that it had been a hard year for the organization He of Chicago Press in its series “New Material Histories of Mu- revealed that Mozart’s birthplace museum had never been sic ” An abstract is available on the press’s website closed for such an extensive period of time, not even during John Platoff’s article “Sarti’s Fra i due litiganti and Opera World War II A newly completed concert hall ideal for in Vienna” appeared in the Fall 2020 issue of the Journal of chamber music has remained closed as well On the bright the American Musicological Society side, now that we have grown more accustomed to interact- John A. Rice wrote liner notes for the CD of Salieri’s ing online, he and Mozart Communities coordinator Marina Tarare, performed by Les Talens Lyriques under the direction Corlianò Nahi plan to explore how to harness technology of Christophe Rousset and issued by Aparté in 2019 to foster more cooperative projects between the Mozarteum Beverly Wilcox is a panelist and speaker in a series of and societies like ours He closed his remarks with “Light is public Zoom seminars on French music copyists’ workshops stronger and will win in the end ” up to about 1730 For the schedule and to register to attend The discovery of new music by Mozart certainly brought upcoming sessions contact seminaire copistes@gmail com joy to the delegates in an otherwise dark year The words of the artistic director of Mozartwoche, tenor and arts advocate Rolando Villazón, captured the feelings of many: “Mozart’s music brings us solace in difficult times and is the shining light that lets us look forward to the time when audiences and performers will be able to meet again ” —Laurel E. Zeiss, Vice-President of the MSA 2 One of the Mozarteum’s New Acquisitions Steven N. Machtinger Breaking news about Mozart scholarship is not an everyday occurrence, so it was a special day in November 2020 when the Mozarteum Foundation in Salzburg announced that it had acquired the original holographs of three letters written by Mozart in his own hand 1 The most important of these was Mozart’s last letter to his father, dated April 4, 1787, in which he attempted to console the ailing Leopold by saying that death is the true goal of our lives Death, he wrote, is our “true best friend” and “the key to our true happiness ” Vir- tually all of Mozart’s biographers have commented on these statements and endeavored to explain their meaning in the context of Mozart’s relationship with his father and his phi- losophy of life The Mozarteum’s press release noted that high quality fac- similes of the letters were available for purchase A copy of the April 4, 1787 letter arrived a few weeks later in a handsome package that included a lengthy explanatory essay by Ulrich Leisinger, the Mozarteum’s Director of Research Because Leisinger’s essay, printed in German, English and French, bears the Mozarteum’s imprimatur, it seems worthwhile to review what he said, particularly about the manuscript’s au- thenticity, originality, and provenance Leisinger states that “serious doubts” raised by Wolfgang Hildesheimer about its authenticity are now settled This statement is mistaken on two counts First, Hildesheimer never questioned the authenticity of this letter In his discus- Title page of the first edition of Moses Mendelssohn’s Phädon, dec- sion of the
Load more

Recommended publications
  • The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice.
    [Show full text]
  • A Passion for Opera the DUCHESS and the GEORGIAN STAGE
    A Passion for Opera THE DUCHESS AND THE GEORGIAN STAGE A Passion for Opera THE DUCHESS AND THE GEORGIAN STAGE PAUL BOUCHER JEANICE BROOKS KATRINA FAULDS CATHERINE GARRY WIEBKE THORMÄHLEN Published to accompany the exhibition A Passion for Opera: The Duchess and the Georgian Stage Boughton House, 6 July – 30 September 2019 http://www.boughtonhouse.co.uk https://sound-heritage.soton.ac.uk/projects/passion-for-opera First published 2019 by The Buccleuch Living Heritage Trust The right of Paul Boucher, Jeanice Brooks, Katrina Faulds, Catherine Garry, and Wiebke Thormählen to be identified as the authors of the editorial material and as the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording or in any information storage or retrieval system, without permission in writing from the authors. ISBN: 978-1-5272-4170-1 Designed by pmgd Printed by Martinshouse Design & Marketing Ltd Cover: Thomas Gainsborough (1727-1788), Lady Elizabeth Montagu, Duchess of Buccleuch, 1767. Portrait commemorating the marriage of Elizabeth Montagu, daughter of George, Duke of Montagu, to Henry, 3rd Duke of Buccleuch. (Cat.10). © Buccleuch Collection. Backdrop: Augustus Pugin (1769-1832) and Thomas Rowlandson (1757-1827), ‘Opera House (1800)’, in Rudolph Ackermann, Microcosm of London (London: Ackermann, [1808-1810]). © The British Library Board, C.194.b.305-307. Inside cover: William Capon (1757-1827), The first Opera House (King’s Theatre) in the Haymarket, 1789.
    [Show full text]
  • Vicente Martín Y Soler 1754?-1806
    2 SEMBLANZAS DE COMPOSITORES ESPAÑOLES 11 VICENTE MARTÍN Y SOLER 1754?-1806 Leonardo J. Waisman Investigador del Consejo Nacional de Investigaciones Científicas y Técnicas, Argentina n los años alrededor de 1790, el compositor más querido por el gran público euro- E peo era un español. Aunque Haydn, Mozart y Beethoven estaban vivos y en plena producción, el predilecto de la mayoría de los oyentes era el valenciano Vicente Martín y Soler. Esto se verificaba especialmente en la ciudad en que tanto Vicente como los tres grandes maestros del clasicismo residían: Viena, pero también era cierto en los grandes centros operísticos de Italia, Inglaterra, Alemania y Francia. En España misma, quizás el público en general no compartiera esa predilección, pero la familia real elegía reiterada- mente sus óperas para celebrar acontecimientos festivos. Aunque Martín y Soler cultivó muchos de los géneros vocales en boga durante la segun- da mitad del siglo XVIII (ópera seria, oratorio, opéra comique, opera komicheskaya rusa, cantata, serenata, canción) y cosechó muchos aplausos por sus numerosas composicio- nes para ballet, fue sin duda a través de la ópera bufa en italiano como conquistó el co- razón de los melómanos de todo el continente. En particular, tres de ellas tuvieron un éxi- to tal como para generar modas en el vestir y expresiones idiomáticas que entraron en el En «Semblanzas de compositores españoles» un especialista en musicología expone el perfil biográfico y artístico de un autor relevante en la historia de la música en España y analiza el contexto musical, social y cultural en el que desarrolló su obra.
    [Show full text]
  • Carlos Castaneda – a Separate Reality
    “A Separate Reality: Further Conversations with don Juan” - ©1971 by Carlos Castaneda Contents • Introduction • Part One: The Preliminaries of 'Seeing' o Chapter 1. o Chapter 2. o Chapter 3. o Chapter 4. o Chapter 5. o Chapter 6. o Chapter 7. • Part Two: The Task of 'Seeing' o Chapter 8. o Chapter 9. o Chapter 10. o Chapter 11. o Chapter 12. o Chapter 13. o Chapter 14. o Chapter 15. o Chapter 16. o Chapter 17. • Epilogue Introduction Ten years ago I had the fortune of meeting a Yaqui Indian from northwestern Mexico. I call him "don Juan." In Spanish, don is an appellative used to denote respect. I made don Juan's acquaintance under the most fortuitous circumstances. I had been sitting with Bill, a friend of mine, in a bus depot in a border town in Arizona. We were very quiet. In the late afternoon, the summer heat seemed unbearable. Suddenly he leaned over and tapped me on the shoulder. "There's the man I told you about," he said in a low voice. He nodded casually toward the entrance. An old man had just walked in. "What did you tell me about him?" I asked. "He's the Indian that knows about peyote. Remember?" I remembered that Bill and I had once driven all day looking for the house of an "eccentric" Mexican Indian who lived in the area. We did not find the man's house and I had the feeling that the Indians whom we had asked for directions had deliberately misled us. Bill had told me that the man was a "yerbero," a person who gathers and sells medicinal herbs, and that he knew a great deal about the hallucinogenic cactus, peyote.
    [Show full text]
  • PPO2 Schneider 2.Pages
    Performing Premodernity Online – Volume 2 (January 2015) On Acting in Late Eighteenth- Century Opera Buffa MAGNUS TESSING SCHNEIDER In 1856 the German poet and music critic Johann Peter Lyser wrote about the beginning of the supper scene in the second finale of Don Giovanni, written for the comedians Luigi Bassi and Felice Ponziani: "Unfortunately, it is not performed in Mozart's spirit nowadays, for the Don Giovannis and Leporellos of today are no Bassis and Lollis [recte: Ponzianis]. These played the scene differently in each performance, sustaining an uninterrupted crossfire of improvised jokes, droll ideas and lazzi, so that the audience was thrown into the same state of mirth in which it was Mozart's intention that master and servant should appear to be on the stage. These were the skills of the opera buffa singers of old; the modern Italian singers know as little how to do it as the Germans ever did."1 Though written more than 150 years ago, this longing for the musical and theatrical immediacy that reigned in the opera houses of the late eighteenth century may still resonate with adherents of the Historically Informed Performance (HIP) movement. At least since Georg Fuchs coined the motto "rethéâtraliser le théâtre" in 19092 the theatrical practices of the past has, indeed, been an important source of inspiration for theatrical reformers, and the commedia dell'arte, with its reliance on virtuoso improvisation rather than on written text, has appealed to many directors. Yet as the Lyser quotation suggests, the idealization of a lost tradition as the positive counter- image of the restrictions of the modern stage is not a new phenomenon.
    [Show full text]
  • How to Encode Georg Nikolaus Nissen's
    Journal of the Text Encoding Initiative Issue 11 | July 2019 - June 2020 Selected Papers from the 2016 TEI Conference Biography as Compilation: How to Encode Georg Nikolaus Nissen’s Biographie W. A. Mozart’s (1828) in TEI P5 Anja Morgenstern and Agnes Amminger Electronic version URL: http://journals.openedition.org/jtei/2725 DOI: 10.4000/jtei.2725 ISSN: 2162-5603 Publisher TEI Consortium Electronic reference Anja Morgenstern and Agnes Amminger, « Biography as Compilation: How to Encode Georg Nikolaus Nissen’s Biographie W. A. Mozart’s (1828) in TEI P5 », Journal of the Text Encoding Initiative [Online], Issue 11 | July 2019 - June 2020, Online since 16 January 2020, connection on 01 July 2020. URL : http:// journals.openedition.org/jtei/2725 ; DOI : https://doi.org/10.4000/jtei.2725 For this publication a Creative Commons Attribution 4.0 International license has been granted by the author(s) who retain full copyright. Biography as Compilation 1 Biography as Compilation: How to Encode Georg Nikolaus Nissen’s Biographie W. A. Mozart’s (1828) in TEI P5 Anja Morgenstern and Agnes Amminger SVN keywords: $Id: jtei-cc-pn-morgenstern-135-source.xml 914 2020-02-20 09:04:30Z ron $ ABSTRACT The project of editing the early Biographie W. A. Mozart’s (1828) by Georg Nikolaus Nissen (Nissen Online) began as part of the Digital Mozart-Edition (DME) at the Mozarteum Foundation Salzburg. The aim of the edition is to reveal the structure of the text by identifying the diverse sources Nissen relied on when writing the biography. These include primary sources such as original letters and documents from the Mozart family, secondary sources such as contemporary literature about Wolfgang Amadeus Mozart, and original text written by the author and later editors.
    [Show full text]
  • An Examination of Stylistic Elements in Richard Strauss's Wind Chamber Music Works and Selected Tone Poems Galit Kaunitz
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 An Examination of Stylistic Elements in Richard Strauss's Wind Chamber Music Works and Selected Tone Poems Galit Kaunitz Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN EXAMINATION OF STYLISTIC ELEMENTS IN RICHARD STRAUSS’S WIND CHAMBER MUSIC WORKS AND SELECTED TONE POEMS By GALIT KAUNITZ A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2012 Galit Kaunitz defended this treatise on March 12, 2012. The members of the supervisory committee were: Eric Ohlsson Professor Directing Treatise Richard Clary University Representative Jeffrey Keesecker Committee Member Deborah Bish Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii This treatise is dedicated to my parents, who have given me unlimited love and support. iii ACKNOWLEDGEMENTS I would like to thank my committee members for their patience and guidance throughout this process, and Eric Ohlsson for being my mentor and teacher for the past three years. iv TABLE OF CONTENTS List of Figures ................................................................................................................................ vi Abstract
    [Show full text]
  • Wolfgang Amadeus Mozart
    Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart is probably one of the best composers ever born. But this is not why I decided to speak about him. I decided to speak about Mozart, because I like his music and because I admire him as a person. What do you think, how many works did he write in 35 years of his life??? He left nearly 1000 musical works, including 50 symphonies, 27 piano concerts and seven operas, which are among the best masterpieces of all times. He was born in Salzburg, Austria, on January 27, 1756. He was baptised as JOHANNES CHRYSOSTOMUS WOLFGANGUS THEOPHILUS MOZART. His father was a musician, for this reason Mozart first met music already in the cradle. He was extrordinarily gifted for music. Actualy he was considered a Child genius. In the age of six he was able to perform on piano, violin and organ. He had a remarkable talent for sight-reading and improvisation. When most children learned how to write and read he already wrote five short piano pieces, which have been still frequently performed. In 1762, when Wolfgang was 7 his father took him on the first of many successful concert tours through the courts of Europe. During this period Mozart composed several sonatas, a symphony and many other works. In 1769, when he was only 13, Mozart was appointed as a concertmaster by the archbishop of Salzburg. In the same year he composed his first German operetta, Bastien und Bastienne. At the age of 14 he was commissioned to write a serious opera, Mithridates, King of Pontus, which completely established his already phenomenal reputation.
    [Show full text]
  • PDF EN Für Web Ganz
    MUNICH MOZART´S STAY The life and work of Wolfgang Amadeus Mozart is closely connected to Munich, a centre of the German music patronage. Two of his most famous works Mozart composed in the residence city of Munich: On the 13th January, 1775 the premiere from „La finta giardinera “took place, on the 29th January, 1781 the opera "Idomeneo" was launched at Cuvilliés Theater. Already during his first trip at the age of six years Wolfgang played together with his sister Nannerl for Elector Maximilian Joseph III. The second visit followed a year later, in June, 1763. From Munich the Mozart family started to their three year European journey to Paris and London. On the way back from this triumphal journey they stopped in Munich again and Mozart gave concerts at the Emperors court. Main focus of the next trip to Munich (1774 – in 1775) was the premiere of the opera "La finta giardiniera" at the Salvatortheater. In 1777 when Wolfgang and his mother were on the way to Paris Munich was destination again and they stayed 14 days in the Isar city. Unfortunately, at that time Wolfgang aspired in vain to and permanent employment. Idomeneo, an opera which Mozart had composed by order of Elector Karl Theodor, was performed in Munich for the first time at the glamorous rococo theatre in the Munich palace, the Cuvilliés Theater. With pleasure he would have remained in Munich, however, there was, unfortunately, none „vacatur “for him again. In 1790 Mozart came for the last time to Munich on his trip to the coronation of Leopold II in Frankfurt.
    [Show full text]
  • Don Juan Et Cyrano Pour La Saint-Valentin
    Pour diffusion immédiate Don Juan et Cyrano pour la Saint-Valentin Mercredi 12 février, 20 h Jeudi 13 février, 10 h 30 Grand Théâtre de Québec Québec, le 30 janvier 2020 – Afin de célébrer en beauté la Saint-Valentin, l’Orchestre symphonique de Québec propose un concert où la musique côtoiera la poésie et le théâtre, mercredi 12 février à 20 h et le jeudi 13 février à 10 h 30 au Grand Théâtre de Québec. Pour illustrer les œuvres de Wagenaar et Strauss interprétées par l’Orchestre, le remarquable comédien Emmanuel Bilodeau donnera vie aux célèbres vers d’Edmond Rostand et Tirso de Molina. Il nous livrera avec ferveur des extraits de Cyrano de Bergerac et le poème Don Juan, qui a inspiré Strauss pour composer son œuvre. Le charismatique violoncelliste Julian Steckel interprétera le Concerto de Dvořák, œuvre ultime d’une beauté et d’une sobriété exquises. Le concert du 12 janvier sera dédié à la mémoire de M. François Magnan. Julian Steckel Depuis sa moisson de prix au Concours international de l'ARD à Munich, en 2010, le violoncelliste allemand Julian Steckel s'est taillé une place de choix au sein du monde musical. On ne compte plus les orchestres importants qui l’ont invité à se produire comme soliste. En savoir plus. Prélude Dès 19 h, assistez au prélude qui sera animé par Irène Brisson. Cette rencontre vous permet d’approfondir la démarche de création et de poser un regard éclairé sur le contexte historique dans lequel les œuvres ont été composées. Le prélude sera suivi d’un préconcert où vous pourrez entendre des musiciens de la relève du Conservatoire de musique de Quebec ou de la Faculté de musique de l’Université Laval.
    [Show full text]
  • W. A. Mozart, Die Entführung 3 Es Darf Hier Nicht Verschwiegen Werden, Dass an Der Aus Dem Serail
    W. A . M O Z A R T Die Entführung aus dem Serail The Abduction from the Seraglio KV 384 Herausgegeben von / Edited by Gerhard Croll Urtext der Neuen Mozart-Ausgabe Urtext of the New Mozart Edition Bärenreiter Kassel · Basel · London · New York · Prag TP 311 VORWORT Mit dem Blick auf die ersten anderthalb Jahre vorangetriebene Arbeit ins Stocken kommen Mozarts in Wien (Mai 1781 bis August 1782) und sich dann so lange hinziehen. Zunächst erscheint uns die Entführung wie eingespannt die von Mozart für die Fertigstellung der drei zwischen zwei für Mozart lebensentscheidende Aufzüge mitgeteilten Daten: Daten und Ereignisse: Auf der einen Seite der 30. Juli 1781: Beginn der Arbeit (Brief vom Bruch mit dem Erzbischof, die Befreiung vom 1. August 1781). Salzburger Hofdienst (9. und 10. Mai 1781); auf 22. August 1781: „der erste Ackt von der opera der anderen die Hochzeit mit Constanze Weber ist nun fertig.“ (4. August 1782) und, wenn nicht ein „Bruch“, 7. Mai 1782: Mozart hat der Gräfin Thun den so doch ein Zerwürfnis mit dem Vater und, „2:t Ackt vorgeritten“ (Brief vom 8. Mai nach monatelanger Auseinandersetzung, die 1782). Loslösung von ihm. Schließlich – und das muss 30. Mai 1782: Mozart spielt der Gräfin Thun hier andeutend für den größeren biographi- „den 3:ten Ackt“ vor (Brief vom 29. Mai schen Zusammenhang genügen – fällt in die 1782). letzte Phase der Arbeit an der Entführung die für den Komponisten Mozart so wichtige Be- Anfangs hatte es so ausgesehen, als ob Mozart gegnung mit Musik von Händel und Bach bei die Musik zu dem ihm von Gottlieb Stephanie Gottfried van Swieten.
    [Show full text]
  • Leopold and Wolfgang Mozart's View of the World
    Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World by Thomas McPharlin Ford B. Arts (Hons.) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy European Studies – School of Humanities and Social Sciences University of Adelaide July 2010 i Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World. Preface vii Introduction 1 Chapter 1: Leopold Mozart, 1719–1756: The Making of an Enlightened Father 10 1.1: Leopold’s education. 11 1.2: Leopold’s model of education. 17 1.3: Leopold, Gellert, Gottsched and Günther. 24 1.4: Leopold and his Versuch. 32 Chapter 2: The Mozarts’ Taste: Leopold’s and Wolfgang’s aesthetic perception of their world. 39 2.1: Leopold’s and Wolfgang’s general aesthetic outlook. 40 2.2: Leopold and the aesthetics in his Versuch. 49 2.3: Leopold’s and Wolfgang’s musical aesthetics. 53 2.4: Leopold’s and Wolfgang’s opera aesthetics. 56 Chapter 3: Leopold and Wolfgang, 1756–1778: The education of a Wunderkind. 64 3.1: The Grand Tour. 65 3.2: Tour of Vienna. 82 3.3: Tour of Italy. 89 3.4: Leopold and Wolfgang on Wieland. 96 Chapter 4: Leopold and Wolfgang, 1778–1781: Sturm und Drang and the demise of the Mozarts’ relationship. 106 4.1: Wolfgang’s Paris journey without Leopold. 110 4.2: Maria Anna Mozart’s death. 122 4.3: Wolfgang’s relations with the Weber family. 129 4.4: Wolfgang’s break with Salzburg patronage.
    [Show full text]