Mozart's Amazing Musical Achievement
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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. -
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. -
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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. -
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 -
Mozart's Scatological Disorder
loss in this study, previous work has been descriptive Our study shows that there is a potential for hearing in nature, presenting the numbers of cases of hearing damage in classical musicians and that some form of loss, presumed to have been noise induced orcomparing protection from excessive sound may occasionally be hearing levels with reference populations.'7-8 Both needed. these descriptive methods have shortcomings: the former depends on the definition of noise induced 1 Health and safety at work act 1974. London: HMSO, 1974. 2 Noise at work regulations 1989. London: HMSO, 1989. hearing loss, and the latter depends on identifying a 3 Sataloff RT. Hearing loss in musicians. AmJ Otol 1991;12:122-7. well matched reference population. Neither method of 4 Axelsson A, Lindgren F. Hearing in classical musicians. Acta Otolaryngol 1981; 377(suppl):3-74. presentation is amenable to the necessary statistical 5Burns W, Robinson DW. Audiometry in industry. J7 Soc Occup Med 1973;23: testing. We believe that our method is suitable for 86-91. estimating the risk ofhearing loss in classical musicians 6 Santucci M. Musicians can protect their hearing. Medical Problems ofPerforming Artists 1990;5:136-8. as it does not depend on identifying cases but uses 7 Rabinowitz J, Hausler R, Bristow G, Rey P. Study of the effects of very loud internal comparisons. Unfortunately, the numbers music on musicians in the Orchestra de la Suisse Romande. Medecine et Hygiene 1982;40:1-9. available limited the statistical power, but other 8 Royster JD. Sound exposures and hearing thresholds of symphony orchestra orchestras might be recruited to an extended study. -
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. -
Did Mozart Suffer from Gilles De La Tourette Syndrome?ଝ
r e v c o l o m b p s i q u i a t . 2 0 1 7;4 6(2):110–115 www.elsevier.es/rcp Epistemology, philosophy of the mind and bioethics Did Mozart suffer from Gilles de la Tourette syndrome?ଝ a,∗ b Leonardo Palacios-Sánchez , Juan Sebastián Botero-Meneses , c d d Laura Daniela Vergara-Méndez , Natalia Pachón , Arianna Martínez , d Santiago Ramírez a Departamento de Neurología, Universidad del Rosario, Bogotá, Colombia b Grupo de Investigación en Neurociencia (NEUROS), Universidad del Rosario, Bogotá, Colombia c Departamento de Pediatría, Universidad del Rosario, Bogotá, Colombia d Semillero de Investigación en Neurociencia, Bogotá, Colombia a r t i c l e i n f o a b s t r a c t Article history: The personal and private lives of great men and women in history, like writers, painters Received 1 April 2016 and musicians, have been the subject of great interest for many years. A clear example Accepted 4 May 2016 of this is the vast scrutiny is cast over the famous composer, Wolfgang Amadeus Mozart. Available online 3 June 2017 What may have started as curiosity, rapidly evolved into extensive research, as the answers about the musician’s legendary talent may lie in the details of his life (his childhood, his Keywords: relationships, his quirks and his mannerisms). It is usually up to historians, anthropologists or philosophers to delve into the pages of old books, trying to grasp answers and clues. Tourette syndrome Movement disorders However, for some time, physicians have sought their own part in solving the puzzle. -
Social Studies: the Life of Mozart
Social Studies: The Life of Mozart Students Will • Read for information • Complete timelines • Research and communicate new information Copies for Each Student • “Our Composer, Wolfgang Amadeus Mozart” • Social Studies Activity Worksheet Copies for the Teacher • Article, “Our Composer, Wolfgang Amadeus Mozart” • Social Studies Activity Worksheet Getting Ready Gather pens, pencils, or other writing utensils for the lesson Guided/ Independent Lesson Depending on your time, grade level, and the ability of your students, you may choose to conduct this lesson as a whole class, small group, or partner activity. Remind students to ask for clarification of any unknown words or concepts. Depending on your time constraints, have the students read the article, “Our Composer, Wolfgang Amadeus Mozart” or review the timeline provide in Activity Worksheet Part I. Lead a discussion with your students about other things that took place during Mozart’s lifetime and have the students brainstorm events within his life learned during previous lessons. Determine which portion(s) of the Activity Worksheet you wish your students to complete. Remind students that by studying events that happened during the composer’s lifetime, one can gain a broader picture and more understanding of the times in which the composer lived. Read the directions and allow students time to complete the worksheet. Give students an opportunity to research events online and share the new information with classmates. Evaluation 1. Did students read the article, “Our Composer, Wolfgang Amadeus Mozart”? 2. Did students complete the Activity Worksheet? 2019-2020 Educational Programs page 1 of 6 The Magic Flute TEKS: Social Studies 6th grades (19) Social studies skills. -
Leopold Mozart, the Rationalist? Humanism and Good Taste in Eighteenth-Century Musical Thought Katherine H
Yale Journal of Music & Religion Volume 3 | Number 2 Article 4 2017 Leopold Mozart, the Rationalist? Humanism and Good Taste in Eighteenth-Century Musical Thought Katherine H. Walker Hobart and William Smith Colleges Follow this and additional works at: http://elischolar.library.yale.edu/yjmr Part of the Arts and Humanities Commons Recommended Citation Walker, Katherine H. (2017) "Leopold Mozart, the Rationalist? Humanism and Good Taste in Eighteenth-Century Musical Thought," Yale Journal of Music & Religion: Vol. 3: No. 2, Article 4. DOI: https://doi.org/10.17132/2377-231X.1084 This Article is brought to you for free and open access by EliScholar – A Digital Platform for Scholarly Publishing at Yale. It has been accepted for inclusion in Yale Journal of Music & Religion by an authorized editor of EliScholar – A Digital Platform for Scholarly Publishing at Yale. For more information, please contact [email protected]. Leopold Mozart the prolific voices of the pre-Kantian rationalistic Enlightenment, provides undeniable evidence Rationalist? of secularization. Nonetheless, as recent his- Humanism and Good Taste in toriographies have shown, the assumption that the Philosophes’ writings reflect the broader Eighteenth-Century Musical intellectual climate of the Enlightenment is Thought simply not supported by evidence.3 Notwith- Katherine Walker standing the tenor of those writings, the Enlightenment was, it turns out, deeply and Twenty years after Dale Van Kley’s The broadly informed by religion. Religious Origins of the French Revolution, which The religious turn in eighteenth-century situated Catholic theology, in general, and studies has created opportunities to revisit and Jansenist-related controversies, in specific, at refine some of our most entrenched narratives the heart of French Revolutionary politics, it is about this period in history. -
M I T T E I L U N G S B L a T T
M I T T E I L U N G S B L A T T DER UNIVERSITÄT MOZARTEUM SALZBURG Studienjahr 2020/2021 Ausgegeben am 20.05.2021 41. Stück 78. Kundmachung der Wissensbilanz 2020 der Universität Mozarteum Salzburg _______________________________________________ 78. Kundmachung der Wissensbilanz 2020 der Universität Mozarteum Salzburg Der Universitätsrat hat in seiner Sitzung vom 17.05.2021 die vom Rektorat vorgelegte Wissensbilanz 2020 der Universität Mozarteum Salzburg gemäß § 21 Abs. 1 Z 10 iVm § 13 Abs. 6 UG genehmigt. Die nachfolgende Wissensbilanz 2020 der Universität Mozarteum Salzburg kann zudem unter http://www.uni-mozarteum.at/files/pdf/uni/berichte/wb_2020.pdf eingesehen werden. Rektorat Druck und Verlag: Universität Mozarteum Salzburg Mirabellplatz 1, 5020 Salzburg, Tel. 0662/6198-0 Redaktionsschluss: 20.05.2021 www.moz.ac.at Seite 1 von 1 UNIVERSITÄT MOZARTEUM SALZBURG Wissensbilanz 2020 Für den Inhalt verantwortlich: Rektorat Redaktion: Abteilung für Qualitätsmanagement und Entwicklungsplanung Universität Mozarteum Salzburg Mirabellplatz 1 5020 Salzburg, Austria Tel: +43 662 6198-0 www.uni-mozarteum.at DIE UNIVERSITÄT MOZARTEUM SALZBURG Die Universität Mozarteum Salzburg bietet 82 ordentliche künstlerische und pädagogische Studien aus den Bereichen Musik, Darstellende und Bildende Kunst an. An die 2.000 junge Künstler*innen aus aller Welt erfahren hier eine umfassende Qualifizierung in zahlreichen Instrumentalfächern, in Komposition, Dirigieren, Gesang, Musiktheater, Schauspiel, Regie, Bühnenbild, Kostüm, Ausstellungsarchitektur und Film, Musik- und Tanzpädagogik, Kunst- und Werkpädagogik sowie in Musikpädagogik und Musikwissenschaft. 639 Lehrende, viele davon international renommierte Künstler*innen sowie Expert*innen aus den Bereichen Pädagogik und Wissenschaft, engagieren sich in Forschung, Lehre sowie der Entwicklung und Erschließung der Künste. Zusammen mit den Studierenden und allen Angehörigen der Universität wird auch das Haus selbst in seiner Mission und Ausstrahlung, seinen Möglichkeiten und Potenzialen stetig weiterentwickelt. -
What Motivates Composers to Compose?
University of New Hampshire University of New Hampshire Scholars' Repository Honors Theses and Capstones Student Scholarship Spring 2014 What Motivates Composers to Compose? Brian Fanning University of New Hampshire - Main Campus Follow this and additional works at: https://scholars.unh.edu/honors Part of the Music Commons Recommended Citation Fanning, Brian, "What Motivates Composers to Compose?" (2014). Honors Theses and Capstones. 160. https://scholars.unh.edu/honors/160 This Senior Honors Thesis is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Honors Theses and Capstones by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. Brian Fanning 1 What Motivates Composers to Compose? Composers must be motivated in order to produce music. Although the expression of oneself is at the crux of the content of compositions, the idea of the composition in the first place does not necessarily start with motivation. Composers may be commissioned by others, moved to respond to an event or disaster, or motivated strictly monetarily by their employer (either a corporation or royal court, depending on the era). This paper poses the question: What motivates composers to compose? The thesis will be drawn out in two examples: Paul Hindemith’s late sonatas and Wolfgang Amadeus Mozart’s Oboe Quartet in F. The theory of basic desires to motivation proposed by Steven Reiss will be used to explain each of the composers’ desires to compose. Paul Hindemith (1895–1963) was born in Hanau, Germany which is near Frankfurt. -
JOURNÉE INTERNATIONALE DES DROITS DE LA FEMME 8 Mars 2019
JOURNÉE INTERNATIONALE DES DROITS DE LA FEMME 8 mars 2019 « C’est au cours de plusieurs réunions avec les femmes du Cap que tous ces noms d’exception ont émergé. Nous avons sélectionné 40 femmes venues de tous horizons. Chacune d’entre elles ayant marqué le cours de l’histoire quant à l’émancipation de droits des femmes. Ces 40 femmes viendront prendre leur place sur chaque porte de chambres du CHRS le Cap AJD afin de leur rendre hommage. » Laura HUERTAS & Gaëlle HERVE Personnalité forçant l'admiration, Aimee Mullins est une femme dont la vie a commencé par une épreuve qui semblait insurmontable, l'amputation de ses deux jambes. Aujourd'hui, cette Américaine de 34 ans peut être fière d'être une femme engagée, mannequin notamment pour Alexander McQueen, athlète médaillée et actrice pour Oliver Stone parmi d'autres. Marie Skłodowska-Curie, ou simplement Marie Curie, née Maria Salomea Skłodowska le 7 novembre 1867 à Varsovie et morte le 4 juillet 1934 au sanatorium de Sancellemoz situé à Passy (Haute-Savoie, France), est une physicienne et chimiste polonaise, naturalisée française. Marie Curie et Pierre Curie — son époux — reçoivent une moitié du prix Nobel de physique de 1903 (l'autre moitié est remise à Henri Becquerel) pour leurs recherches sur les radiations. En 1911, elle obtient le prix Nobel de chimie pour ses travaux sur le polonium et le radium. Scientifique d'exception, elle est la première femme à avoir reçu le prix Nobel, et à ce jour la seule femme à en avoir reçu deux. Elle reste à ce jour la seule personne à avoir été récompensée dans deux domaines scientifiques distincts.