DOCSLIB.ORG

My Mozart Online

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
My Mozart Online VUIAb [Free and download] My Mozart Online [VUIAb.ebook] My Mozart Pdf Free Juliet Waldron DOC | *audiobook | ebooks | Download PDF | ePub Download Now Free Download Here Download eBook #1103275 in eBooks 2012-06-05 2012-06-05File Name: B0089F5X3C | File size: 60.Mb Juliet Waldron : My Mozart before purchasing it in order to gage whether or not it would be worth my time, and all praised My Mozart: 1 of 1 people found the following review helpful. Beautifully written historical fictionBy JennMJuliet Waldron's historical novel, My Mozart, is a romantic tale that focuses primarily on the last year of Mozart's life when he composed "The Magic Flute". The story is told through the eyes of Anna Gottlieb, the young soprano who first performed the role of Pamina.Nanina, as Anna is called among her friends, falls in deeply love with her brilliant, though much older, mentor. This part I believe it true - but the novel is fictional. I don't know how Ms. Waldron did it, but she made me believe completely in Anna and Mozart's story. I read "Mozart's Wife" and loved it - this book entranced me as well. The historical research that must have gone into this book is impressive, the setting, the people, and the customs of the time are painstakingly recordedl.An amazing novel for lovers of history and of Mozart. Highly recommended.0 of 0 people found the following review helpful. A beautiful story, brilliantly writtenBy A readerHere is an author of extraordinary talent, who brings the late 18th century so vividly to life that the reader feels entirely immersed in that milieu. Like her earlier work, Mozartrsquo;s Wife, this novel concerns Mozart the man more than Mozart the musical genius, although his music plays more of a role in this book than in the earlier one. While the previous book attempted to reconstruct Mozartrsquo;s actual private life through the eyes of his wife, this novel is a fictional exercise: the story of an imagined, passionate affair between Mozart in the final year of his life, and a much younger pupil, singer/dancer Nanina Gottlieb, who has adored him since she was a small child. The author includes some explicit sex scenes between Mozart and Nannina that are surprisingly effective and well writtenmdash; always a most difficult accomplishment for a writer. I must say I like her writing about sex MUCH better than most male attempts at same!5 of 5 people found the following review helpful. More Than Just a Teeny Bopper CrushBy Kathy Fischer BrownThere was a time in his short life when Mozart was the equal in status to any of today's rock stars or movie idols. Unfortunately, the court in Vienna grew tired of him and... Well, this is not Wolfgang's story. Rather, "My Mozart" is about a talented young woman, whose lifelong passion for The Maestro brings her to the heights of ecstasy and the depths of sorrow.From the tender age of nine, until Mozart's death when she was all of 18, Nanina Gotlieb has adored the kapellmeister. Talented and shy, she grows from child to woman to prima dona under Mozart's hands. Told through Nanina's point of view and filtered through the perspective of old age, a particularly evocative part of the book is a passionate account centering around a secluded house in the woods, where god and worshiper, genius and muse create "The Magic Flute."Juliet Waldron's descriptions of something as mundane as the stench of an outhouse or as uplifting as a Mozart duet sung with absolute perfection under a moonlit sky dragged me into this other world, with all its contradiction. This is a book that touches the senses and left me wondering, along with its narrator, "How much music was lost forever the night he died?" Mozart was her teacher, her mentor, her rescuer--and, finally, fatally, her lover. ..At dawn, in the marble palace of a Prince, a nine-year-old sings for Wolfgang Amadeus Mozart, then at the peak of his career. Always delighted by musical children, he accepts Nanina as a pupil. Gifted, intense and imaginative, she sees the great "Kapellmeister Mozartrdquo; as an avatar of Orpheus and her own, personal divinity.His lessons are irregular and playful, but the teacher/pupil bond grows strong. Mozart's The Marriage of Figaro premieres, and Nanina, now twelve, is given a solo part. For her, this is the beginning of a long stage career. For Mozart, it marks the start of his ruin. His greatest works will be composed in poverty and obscurity.During the composerrsquo;s last summer, his wife has left him. Chronically in debt and suffering the emotional isolation of genius, he takes refuge with his disreputable Volksoper friends, who want him to write a ldquo;peasant operardquo; for their audience. Nanina, now grown, and still in love with Mozart, is among their number. As he seeks solace among the women of the Volksoper, the charms of his young fan become increasingly alluring. No one, least of all the composer, understands the depth of her obsession or how a brief affair will permanently alter her life. "The more things change, the more they remain the same..." Patricia Martin, readerFrom the AuthorNanina came to me in dreams, at the height of my Mozart obsession. She cost me a job, simply because she kept me up all night talking, demanding that I "write it down". As a novelist, I've never had the experience of channeling before or since, but this young woman definitely knew she'd found a sympathetic ear for a long kept secret, onenbsp;which, during her lifetime, she'd often denied. Fellow devotees, one in spirit and one in flesh, we immolated ourselves uponnbsp;our Maestro's altar.About the Author"Not all who wander are lost." Juliet Waldron earned a B. A. in English, but has worked at jobs ranging from artist's model to brokerage. Thirty years ago, after thenbsp;boys left home, she dropped out of 9-5 and began to write, hoping to create a genuine time travel experience for herself--and fornbsp;her readers. She loves her grandkids and her kitties, likes to take long hikes, reads lots of non-fictionnbsp;as well asnbsp;books for review.nbsp;For summer adventure, she rides behind her husband of 50 years on his "bucket list" (black andnbsp;ridiculously fast) Hyabusa. [VUIAb.ebook] My Mozart By Juliet Waldron PDF [VUIAb.ebook] My Mozart By Juliet Waldron Epub [VUIAb.ebook] My Mozart By Juliet Waldron Ebook [VUIAb.ebook] My Mozart By Juliet Waldron Rar [VUIAb.ebook] My Mozart By Juliet Waldron Zip [VUIAb.ebook] My Mozart By Juliet Waldron Read Online.
Load more

Recommended publications
  • Der Stein Der Weisen and Die Zauberflöte
    Nota Bene: Canadian Undergraduate Journal of Musicology Volume 12 | Issue 1 Article 3 Magic and Enlightenment auf der Weisen: Der Stein der Weisen and Die Zauberflöte Mercer Greenwald Bard College Conservatory of Music Recommended Citation Greenwald, Mercer. “Magic and Enlightenment auf der Weisen: Der Stein der Weisen and Die Zaouberflöte.” Nota Bene: Canadian Undergraduate Journal of Musicology Vol. 12, no. 1 (2019): 30-45. https://doi.org/10.5206/notabene.v12i1.8145 Magic and Enlightenment auf der Weisen: Der Stein der Weisen and Die Zauberflöte Abstract This paper probes how the rational and the irrational interact in Enlightenment operatic plots, and explores the effect of this interaction on the Viennese public. To do this, I will investigate the fantastic worlds of two operas premiered by the same opera company, both with libretti written by Emanuel Schikaneder: Der Stein der Weisen oder Die Zauberinsel (1790) and Die Zauberflöte (1791). David J. Buch’s seminal book Magic Flutes and Enchanted Forests (2008) explores the intertextual threads of magical ideas in Der Stein der Weisen and Die Zauberflöte, that is, how librettists and composers translated and reprocessed magical themes. I will draw on Buch’s comparison to show how these intertextual connections can be read for their broad cultural resonances. In this paper, I will first establish the connections between Der Stein der Weisen and Die Zauberflöte in plot and in music. Then I will show how the later opera diverges from its predecessor and discuss how it manages to diminish the polarity of rationality and irrationality considered central to Enlightenment thinking. Ultimately, I argue, Die Zauberflöte facilitates its audience’s access to Enlightenment values by magical means.
    [Show full text]
  • Die Zauberflöte, Masonic Opera, and Other Fairy Tales Author(S): David J
    Die Zauberflöte, Masonic Opera, and Other Fairy Tales Author(s): David J. Buch Source: Acta Musicologica, [Vol.] 76, [Fasc.] 2 (2004), pp. 193-219 Published by: International Musicological Society Stable URL: http://www.jstor.org/stable/25071239 Accessed: 11/10/2010 08:38 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=inmuso. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. International Musicological Society is collaborating with JSTOR to digitize, preserve and extend access to Acta Musicologica. http://www.jstor.org Die Zauberfl?te, Masonic Opera, and Other Fairy Tales* David J.Buch Cedar Falls, Iowa The term 'Masonic opera' isoften applied to Mozart's Die Zauberfl?te to indicate per vasive Masonic content in the form of a hidden coherent allegory with a complex representation of the order's symbols and initiation rituals.
    [Show full text]
  • Durham E-Theses
    Durham E-Theses The work of Emanuel Schikaneder and the tradition of the old Viennese popular theatre Batley, E. M. How to cite: Batley, E. M. (1965) The work of Emanuel Schikaneder and the tradition of the old Viennese popular theatre, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9998/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 120 EHIAMJEL SCHISMEDER IN VIEMA (1789-^1812) 121 MUSIC IN THE FKEaHAUSTHBATER AMD THE THEATER AN DER WIEN ERRATA p. 129.; St)r 'Two hundred' read 'two hundred', etCoo. Po 152. For *R>rty-.four* read 'forty-four*. Po 204. For 'durchgestrleljenen* read *durchgetrle'benen* 122(a) lo ESc po 72. 2,. ibido ppo 1^6-151. Das Freihaustheater. y 3o ' cf.9 pp, 57-119- 4. cfo, rjTA. 179^. p.
    [Show full text]
  • Diplomarbeit
    Diplomarbeit Titel der Diplomarbeit Der singende Schauspieler am Burgtheater Tradition und Praxis im Spannungsfeld zwischen Sprechen und Singen Verfasser Christian Fleisch angestrebter akademischer Grad Magister der Philosophie (Mag.phil.) Wien, Januar 2015 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Diplomstudium Theater-, Film- und Medienwissenschaft Betreuerin: Ass.-Prof. Dr. Isolde Schmid-Reiter Inhaltsverzeichnis Vorwort .............................................................................................................................. 4 Danksagung ....................................................................................................................... 6 1. Einleitung ...................................................................................................................... 8 2. Singen am Burgtheater von 1741 bis 1976 .................................................................. 11 2.1 Das Alte Burgtheater als Opernbühne (1741 bis 1810) ........................................ 11 2.2 Vom Alten zum neuen Burgtheater (1810 bis 1888) ............................................ 19 2.3 Das neue Haus am Ring (1888 bis 1976) ............................................................. 25 3. Spielplanbetrachtung von 1976 bis 2014 .................................................................... 30 3.1 Achim Benning (1976 bis 1986) ........................................................................... 33 3.2 Claus Peymann (1986 bis 1999) ..........................................................................
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 51,1931-1932
    SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES . Branch Exchange Telephones, Ticket and Administration Offices, Commonwealth 1492 iO O&ly INC. Dr. SERGE KOUSSEVITZKY, Conductor FIFTY-FIRST SEASON, 1931-1932 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1932, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. BENTLEY W. WARREN President ERNEST B. DANE Treasurer ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL WILLIAM PHILLIPS M. A. DE WOLFE HOWE EDWARD M. PICKMAN FREDERICK E. LOWELL HENRY B. SAWYER BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 937 THE KETTLEDRUM 1 HE Percussion family is divided into two groups — the "Autophonics " and the " Membranes." The latter group includes "the drums," and is itself divided into in- struments of definite pitch — the kettledrums; and instruments of indefinite pitch — the bass drum, side drum, and tambourine. In the I 3 th century the Crusaders introduced into Europe an Arabian instrument called naggareh, the true ancestor of the kettle- drum. We all know those huge copper kettles, not alone for their deep rolls, long crescendos or diminuendos, but also for the picturesqueness they add to the appearance and setting of the Orchestra. Beethoven discovered the real possibilities of the kettledrum and changed its tuning. He even raised it to the rank of a solo instru- ment. Composers have never hesitated to call for many changes of tuning, yet they always allow a performer sufficient bars of rest to bring the head to the desired pitch. The parchment head of the kettledrum is tuned by tightening or loosening its T-head screws.
    [Show full text]
  • Die Zauberflöte History
    Wolfgang Amadeus Mozart’s Die Zauberflöte HISTORY Premiere September 30, 1791, at Theater-auf-der-Wieden (Vienna), with the following cast: Pamina, Anna Gottlieb; Queen of the Night, Josepha Hofer; Papagena, Barbara Gerl; Tamino, Benedikt Schack; Monostatos, Johann Joseph Nouseul; Papageno, Emanuel Schikaneder; Sarastro, Franz Xaver Gerl; Speaker, Herr Winter North American Premiere March 7, 1832, in Philadelphia Last Performed by Washington National Opera April 2005, in the Kennedy Center Opera House, directed by Sir Peter Hall (Original Director) and Stanley M. Garner (Stage Director) and conducted by Heinz Fricke, with the following cast: Pamina, Andrea Rost; Queen of the Night, Amanda Pabyan/Lorraine Ernest; Papagena, Amanda Squitieri; Tamino, Michael Schade; Monostatos, Robert Baker; Papageno, Rod Gilfry/Lee Poulis; Sarastro, Kwangchul Youn; Speaker, Kyle Ketelsen Wolfgang Amadeus Mozart’s Operas Apollo et Hyacinthus, May 13, 1767, University of Salzburg La finta semplice, May 1, 1769, Archbishop’s Court, Salzburg Bastien und Bastienne, 1768, Vienna Mitridate, Rè di Ponto, December 26, 1770, Teatro Regio Ducal, Milan Ascanio in Alba, October 17, 1771, Teatro Regio Ducal, Milan Il sogno di Scipione, May 1, 1772, Archiepiscopal Residence, Salzburg Lucio Silla, December 26, 1772, Teatro Regio Ducal, Milan La finta giardiniera, January 13, 1775, Redoutensaal, München Il rè pastore, April 23, 1775, Archiepiscopal Residence, Salzburg Zaide, January 27, 1866, Frankfurt (incomplete) Idomeneo, January 29, 1871, Court Theatre, München Die
    [Show full text]
  • The Magic Flute Draw It out Draw a Picture Using the Same Characters from the Opera
    VICTOR DeRENZI, Artistic Director RICHARD RUSSELL, Executive Director Teacher Resource Guide Table of ContentS The Cast ............................................ 1 The Story ............................................ 2-3 Behind the Story ............................... 4-5 Guide Contributors & Editors The Librettist ...................................... 5 Ben Jewell-Plocher The Composer .................................. 6-7 Director of Education Listening & Viewing ........................... 8-10 Jesse Martins Sing-Along ......................................... 11-12 Youth Opera Music Director World Timeline .................................. 13-14 Greg Trupiano The Enlightenment ............................. 15-16 Director of Artistic Administration The Freemasons ................................. 17-18 The Fairytale Connection ................... 19-21 George Hemcher Build Your Own Flute ......................... 22-24 Youth Opera & Music Administration Assistant Costume Design ............................... 25-26 Nick Saldivar What Is Opera? .................................. 27-29 Theater Teacher, Tuttle Elementary What To Expect .................................. 30 Opera Terms ..................................... 31 Opera Jobs ....................................... 32 Special thanks to the Post-Performance Activity .................. 33-35 Sarasota Opera House ....................... 36 following organizations Sarasota Opera .................................. 37 for the use of articles Sarasota Youth Opera .......................
    [Show full text]
  • Seventeenth Rehearsal and Concert
    SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES : : : Telephone, 1492 Back Bay TWENTY-SIXTH SEASON, 1906-1907 Uoaton ^ympl|0njj (§vt\}tatv^ DR. KARL MUCK, Conductor Seventeenth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, MARCH 8 AT 2.30 O'CLOCK SATURDAY EVENING, MARCH 9 AT 8.00 O'CLOCK PUBLISHED BY C. A. ELLIS, MANAGER }28f PROFESSOR WILLY HESS Concert-master of the Boston Sym- phony Orchestra, founder and First Violin of the Boston Sym- phony Quartet, one of the world's greatest violinists, a musician through and through, writes as follows of the PIANO Boston, February 25, 1907» Mason & Hamlin Co., Boston, Mass. Gentlemen : I write to offer you my sincere congratulations on the manufacture of your very beautiful pianos: they are to nie matcJiless. As you are jgyare, I have heard the Mason & Hamlin piano at many concerts given by my quartet, with orchestra, and it has been my constant companion at my home. It has never failed to meet all the demands, however ex- acting, made upon it, and I believe that the Mason & Hamlin pianos excel all others in the essential qualities which go to make up an artistic piano of the very first quality. \ (M y truly yours, (Signed) WILLY HESS. 128« Boston Symphony Orchestra PERSONNEL TWENTY=SIXTH SEASON, 1906-1907 Dr. KARL MUCK. Conductor Willy Hess, Ccncertmeister, and the Members of the Orchestra in alphabetical order. Adamowski, J. Hampe, C. Adamowski, T. Akeroyd, J. Bak, A. Bareither, G. Barleben, C. Barth, C. Berger, H. Bower, H. Brenton, H.
    [Show full text]