Wolfgang Amadeus Mozart
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Amadeus by Peter Shaffer Directed by Paul Mason Barnes CONTENTS 2 the 411 Major Sponsor: 3 A/S/L & Vocab the Mary Ranken Jordan & Ettie A
2009—2010 SEASON AMADEUS by Peter Shaffer Directed by Paul Mason Barnes CONTENTS 2 The 411 Major Sponsor: 3 A/S/L & Vocab The Mary Ranken Jordan & Ettie A. Jordan 4 FYI Charitable Foundation 5 HTH 6 F2F 9 B4U 12 IRL 13 RBTL 14 SWDYT? At The Rep, we know MIHYAP: Top Ten Ways to that life moves Stay Connected at The Rep fast—okay, really 10. TBA Ushers will seat your school or class as a group, fast. But we also so even if you are dying to mingle with the group from the know that some all girls school that just walked in the door, stick with your things are worth friends until you have been shown your section in the theatre. slowing down for. We believe that live theatre is one of those pit stops worth making and are excited that you 9. SITD The house lights will dim immediately before the performance begins and then go dark. Fight off that oh-so- are going to stop by for a show. To help you get the most immature urge to whisper, giggle like a grade schooler or yell bang for your buck, we have put together WU? @ THE at this time and during any other blackouts in the show. REP—an IM guide that will give you everything you need to know to get at the top of your theatergoing game—fast. 8. SED Before the performance begins, turn off all cell You’ll find character descriptions (A/S/L), a plot summary phones, pagers, beepers and watch alarms. -
Classical Opera Ian Page (Conductor)
ZAIDE CLASSICAL OPERA IAN PAGE (CONDUCTOR) 7586_CO_Zaide_BOOKLET_FINAL.indd 1 13/06/2016 10:15 WOLFGANG AMADEUS MOZART (1756 - 1791) ZAIDE, K.344 Libretto by Johann Andreas Schachtner (1731 - 1795) ZAIDE SOPHIE BEVAN soprano Performance material: New Mozart Edition (NMA) By kind permission of Bärenreiter-Verlag GOMATZ ALLAN CLAYTON tenor Kassel · Basel · London · New York · Praha Recorded at the Church of St. Augustine, Kilburn, London, UK from 10 to 13 March 2016 ALLAZIM JACQUES IMBRAILO baritone Produced and engineered by Andrew Mellor Assistant engineer: Claire Hay SULTAN SOLIMAN STUART JACKSON tenor Post-production by Andrew Mellor and Claire Hay Design by gmtoucari.com Cover image by Debbie Coates OSMIN DARREN JEFFERY bass-baritone Photographs by Benjamin Ealovega German language coaches: Johanna Mayr and Rahel Wagner VORSINGER JONATHAN McGOVERN baritone Harpsichord technician: Malcolm Greenhalgh ZARAM DARREN JEFFERY Orchestra playing on period instruments at A = 430 Hz We are extremely grateful to George and Efthalia Koukis for supporting this recording. SKLAVEN PETER AISHER, ROBIN BAILEY, We are also grateful to the following people for their generous support: Kate Bingham and Jesse Norman, Sir Vernon and Lady SIMON CHALFORD GILKES, Ellis, John Warrillow and Pamela Parker, Kevin Lavery, Pearce and Beaujolais Rood, John Chiene and Carol Ferguson, and all ED HUGHES, STUART LAING, the other individuals who supported this project. NICK MORTON, DOMINIC WALSH Special thanks to: Mark Braithwaite, Anna Curzon, Geoff Dann, Chris Moulton, Verena Silcher, Alice Bellini, Léa Hanrot, Simon Wall and TallWall Media. THE ORCHESTRA OF CLASSICAL OPERA Leader: Bjarte Eike IAN PAGE conductor 2 MOZART / ZAIDE MOZART / ZAIDE 3 zaide7586_CO_Zaide_BOOKLET_FINAL.indd booklet FINALEsther.indd 2 2-3 09/06/2016 15:58:54 zaide booklet FINALEsther.indd 3 09/06/201613/06/2016 15:58:54 10:15 ZAIDE, K.344 ACT ONE Page 1 [Overture – Entr’acte from Thamos, König in Ägypten, K.345] 3’23 32 2 No. -
Mozart's Die Zauberflöte: a Kingdom of Notes and Numbers
MOZART’S DIE ZAUBERFLÖTE: A KINGDOM OF NOTES AND NUMBERS by Daemon Garafallo A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, FL May 2016 Copyright 2016 by Daemon Garafallo ii ACKNOWLEDGMENTS The author wishes to express his thanks to his committee members for their guidance, especially to his thesis advisor, Dr. Ken Keaton, for helping the author through a difficult time these past few years, and to Dr. Sandra McClain for going above and beyond in her dual role of committee member and academic advisor and for doing an excellent job at both. He also would like to acknowledge Dr. James Cunningham for his help and guidance throughout his degree. iv ABSTRACT Author: Daemon Garafallo Title: Mozart’s Die Zauberflöte: A Kingdom of Notes and Numbers Institution: Florida Atlantic University Thesis Advisor: Dr. Ken Keaton Degree: Master of Arts Year: 2016 Wolfgang Amadeus Mozart composed Die Zauberflöte in the last year of his life. It was intended in part to glorify Freemasonry as a new Emperor, more hostile to the Masons, took his office. After a brief survey of his life and works, this paper shows how Mozart used number symbolism in the opera, and will equip the reader with an understanding of this as practiced by the Freemasons. Further, it will show how Mozart associated the characters of the opera with specific musical tones. It will expose a deeper understanding of the question of meaning in word and text in his opera. -
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. -
Download Program Notes
Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair ALL-MOZART PROGRAM enerations of listeners have found spe- ey management — in recent years he had Gcial poignancy in the music Wolfgang turned to friends to help him weather dry Amadeus Mozart composed in 1791, the year spells in his cash flow — but he was in no in which he celebrated his 35th birthday way impoverished, and his family was living and, ten and a half months later, was buried in a generally comfortable middle-class life. He an unmarked grave. The pathos is all but irre- had good reason to feel positively about the sistible, and in retrospect one finds it tempting direction his career was taking. Since late to imagine that his music of that year foretells 1787 he had enjoyed a salaried appointment the tragedy that lay around the bend. Howev- (with few obligations) as composer to the er, until his very last weeks Mozart had no rea- Imperial-Royal Chamber Music of Emperor son to imagine that he would be dying anytime Joseph II. What’s more, in May 1791 he was soon. Many of his works from that year are not appointed assistant music director of St. Ste- at all melancholy, including some charming phen’s Cathedral, the major church in Vien- songs, a pleasant set of keyboard variations, a na. That brought him no immediate income, couple of pieces for mechanical musical clock, but it set him up to take over the music di- the String Quintet in E-flat major, and no fewer rectorship should the position open up — than 35 genial minuets, German dances, con- which seemed imminent given the age and tradances, and Ländler. -
The Magic Flute Who’S Who
G LYNDEBOURNE Opera Experience E DUCATION Th e Magic Flute Wolfgang Amadeus Mozart Opera in two acts Libretto by Emanuel Schikaneder First performed at the Theater auf der Wieden, Vienna September 1791 Written by Glyndebourne Education This programme is generously funded by 4 The Magic Flute Who’s who Tamino A prince, who at the start of the opera finds himself lost and in the gardens of The Queen of the Night. He is honest and brave and it is his journey to Enlightenment that dominates the opera. Tenor Queen of the Night Admired and feared by her people, she is rarely seen, but is known to possess many magical powers. She was married to the High Priest in the Temple of Wisdom, but is now a widow. She is arrogant and her music suggests from the start that she is not quite as virtuous as she would have us believe. Soprano Pamina The daughter of The Queen of the Night has been kidnapped by Sarastro and his men, and is being imprisoned in his castle. She is pure of heart and brave. Soprano The Three Ladies The Servants of The Queen of the Night. They follow her orders closely, and like the queen have magical powers. They are frivolous, vain and sensual. Soprano, soprano, mezzo-soprano The Three Boys These three benevolent spirits, initially sent by the Queen of the Night, act as guides for Tamino and Papageno on their journey to Sarastro's Palace and will return to assist the characters throughout the piece. T r e b l e , t r e b l e , a l t o Papageno The Queen of the Night's bird catcher. -
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. -
Chamber Music
New Mozart Edition VIII/23/2 Sonatas and Variations for Keyboard & Violin WOLFGANG AMADEUS MOZART Series VIII CHAMBER MUSIC WORK GROUP 23: SONATAS AND VARIATIONS FOR KEYBOARD AND VIOLIN · VOLUME 2 PRESENTED BY EDUARD REESER 1965 International Mozart Foundation, Online Publications III New Mozart Edition VIII/23/2 Sonatas and Variations for Keyboard & Violin Neue Mozart-Ausgabe (New Mozart Edition)* WOLFGANG AMADEUS MOZART The Complete Works BÄRENREITER KASSEL BASEL LONDON En coopération avec le Conseil international de la Musique Editorial Board: Dietrich Berke Wolfgang Plath Wolfgang Rehm Agents for BRITISH COMMONWEALTH OF NATIONS: Bärenreiter Ltd. London BUNDESREPUBLIK DEUTSCHLAND: Bärenreiter-Verlag Kassel SWITZERLAND and all other countries not named here: Bärenreiter-Verlag Basel As a supplement to each volume a Critical Report (Kritischer Bericht) in German is available The editing of the NMA is supported by City of Augsburg City of Salzburg Administration Land Salzburg City of Vienna Konferenz der Akademien der Wissenschaften in der Bundesrepublik Deutschland, represented by Akademie der Wissenschaften und der Literatur Mainz, with funds from Bundesministerium für Forschung und Technologie, Bonn and Bayerisches Staatsministerium für Unterricht und Kultus Ministerium für Kultur der Deutschen Demokratischen Republik Bundesministerium für Unterricht und Kunst, Vienna * Hereafter referred to as the NMA. The predecessor, the "Alte Mozart-Edition" (Old Mozart Edition) is referred to as the AMA. International Mozart Foundation, Online -
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. -
Mozart Reimagined
Mozart ReReimagined CAST & CREW Wolfgang Mozart............................................................ Kyle Syverson Aloysia Weber................................................................... Emma Johnson Maria Anna Mozart....................................................... Olivia Guselle Constanze Weber............................................................. Kelsey Ronn Saskatoon Symphony Orchestra Chamber Ensemble Danika Lorèn, Director Maria Fuller, Conductor Jackie Latendresse (FreeFlow Dance), Choreographer Simeon Taylor, Videographer/Cinematographer Darrell Bueckert, Audio Technician Spencer McKnight (Saskatoon Opera), Producer Mark Turner (SSO), Creative Producer Karen Raynaud (SSO), Production Manager Shelby Lyn Lowe, Stage Manager Yash Kathrotia, Production Assistant Matthew Praksas, Production Assistant Director's Note "Neither a lofty degree of intelligence, nor imagination, nor both together go to the making of genius. Love, love, love, that is the soul of genius!" W. Mozart Over the past year, I have reflected on what it means to be a creative professional. None of us c an do it alone, and no one ever has! So what can we learn when we look at the people who supported one of history’s most vibrant composers? A depth of colour and character that supports and challenges Mozart’s vibrancy, and a more complete landscape of his world. But we can’t stop there; the stage is not a museum! How can we bring new life and a modern spirit into the picture? By embracing the "what if"s of our imaginations, by welcoming and celebrating every artist as they are, and by stepping out of the box with pride and passion! I hope you have fun watching our show; it has been madDe wiathn loivke! a Lorèn RMeozart Reimamamge ined Progr SYMPHONY NO. 10, iii. Allegro W A Mozart Letter: ~1770 from Mozart to Maria Anna, Part I AMORETTI.. -
Wolfgang Amadeus Mozart Austrian Composer (1756-1791)
Wolfgang Amadeus Mozart Austrian Composer (1756-1791) Wolfgang Amadeus Mozart was born to Leopold and Anna Maria Pertl Mozart in 1756 in what is now Salzburg, Austria. His father Leopold Mozart was a choir master, a minor composer and an experienced teacher. When Mozart's sister Nannerl was seven she began keyboard lessons with her father while the three year old Wolfgang watched with fascination. At age 4 Wolfgang himself began keyboard lessons playing without fault and with great sensitivity, and by age 5 he was composing short pieces which his father wrote down for him. In the following year Wolfgang and Nannerl began traveling through Europe with their father giving concerts in the courts of Europe. While touring, Mozart learned to play the violin and the organ. At the age of 8 Wolfgang published his first two sonatas for the harpsichord. His skills as a composer continued to develop, and by the age of 13 he had composed his first opera at the request of an emperor. By the time Mozart was in his mid-twenties he had established himself as one of the most accom- plished keyboard players in Vienna, and was recognized as an talented composer. Some of his most famous pieces include Eine Kleine Nachtmusik for string orchestra, which means 'A Little Night Music', and Ah vous dirais-je, Maman* for piano solo, which is a set of twelve variations on a french tune that Mozart would have known as a young boy. On December 5, 1791, Mozart died at 35 years of age, leaving behind a collection of more than 600 compositions, including works for the symphony, the piano, and the opera.