Leonard Bernstein once said, “Mozart is all music; there is nothing you can ask from music that he cannot supply…bathed in a glitter that could have come only from the eighteenth century...It is a perfect product of the age of reason – witty, objective, graceful, delicious. And yet over it all hovers the greater spirit that is Mozart’s – the spirit of compassion, of universal love, even of suffering – a spirit that knows no age, that belongs to all ages” (Kenyon 19-20). Mozart’s effervescent spirit is apparent in letters that he wrote to his family and friends. These letters show that Mozart lived a life full of family feuds, heartbreaks, romance, triumphs, and failures in the short span of thirty-five years. Mozart’s letters prove that he took the music of the eighteenth century and reinvented it using perspective gained in the course of events in his lifetime.
(Johann Chrysostom) Wolfgang Amadeus Mozart was born in Salzburg, Austria on January 27, 1756 to composer, violinist, and theorist Leopold Mozart and his wife Maria Anna (Sadie 276). Wolfgang was the ultimate definition of a child prodigy. He mastered one of his sister’s music books at the age of four and wrote his first compositions, Andante and Allegro K1a and 1b, at only five years old (277). The public first witnessed young Mozart’s talent when he performed a dancing role in Sigismundus Hungarie rex at Salzburg University in September of 1761 (277). Mozart flourished in the spotlight and began to tour Europe with his father and sister, Maria Anna (affectionately referred to Nannerl), in September of 1762 (277). Both children were extremely talented musicians and they often performed for the courts or gave public concerts (277). The family returned home to Salzburg ...
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"Mozart for Four." The Concert: A Classical Music Podcast . Web. 14 Feb 2010. .
On Sunday, December 07, 2003, I attended the Mozart and The Height of Classicism concert that was held in the Lincoln Theater of the New World Symphony orchestral academy. Conducted by Nicholas McGegan featuring pianist Robert Levin. There were two pieces of music during this concert, one of the movements was performed by the pianist alone as a solo, Mr. Robert Levin. The program’s title was Wolfgang Amadeus Mozart, Chaconne from Idomeneo. The first piece was Concerto No. 24 in C minor for Piano and Orchestra, K. 491, Allegro, Larghetto, and Allegretto. The second piece was Symphony No. 36 in C major, K.425, “Linz”, Adagio-Allegro spiritoso, Andante, Menuetto-Trio, and Presto. This concert was unique in that the focus seemed to be as much on the instruments as in the music itself. As the pianist and conductor expressed the form of improvisation as Mozart did, which I will explain further on my critique.
...Countess would never have been able to resurrect her spirit and rise up to help foil the Count’s plan. It is thanks to Susanna that the Countess rediscovers herself, and gratitude is owed to the Countess for helping the marriage of Susanna and Figaro to successful transpire. The letter aria is the pinnacle of their friendship, and “the only duet [written by Mozart] that portrays both females in a favorable light.”15 He sought to depict a state of equality between the two, despite social differences, in which they would “be defined by the nobility of their souls rather than their social rank.”16 Here we see the ideals of the Enlightenment shine through, as Mozart gives us a glimpse of a world without class barriers, where two people build a relationship on mutual respect, and judge each other by their actions in relation to their character, not their social station.
The result of Mozart's discovered genius was not only the praise of hundreds across Europe during his childhood tour, but also the ever-watchful eye of Leopold Mozart, his ambitious and needy father. Because of Leopold's need to protect and constantly supervise his prized instrument, Mozart, Leopold grew dependent on his son and never ceased to remind Mozart of it. Eventually, like most child prodigies, the greater the parent's anxiety and the greater the pressure he puts on the child, the more internally resentful and conflicted the child becomes, stunting his transition into a grown man. In Leopold's letter to his wife and Mozart on September 25, 1777 from Salzburg, Leopold reminds Mozart to "ask for letters of recommendation and especially for a letter from the Bishop of Chiemsee." Leopold knows exactly how to reap profits and network through Mozart and doesn't fail to capitalize on that fact, even when Leopold is in Salzburg while Mozart is miles away on tour in Europe. After the tragic death of Maria Anna, Leopold Mozart's letter to his son on August 3, 1778 in Salzburg puts a large weight on Mozart, and even goes as far as to blame his son for Maria Anna's death. Realizing Mozart is no longer under strict scrutiny of a family member in close proximity, Leopold goes on to say, "rest assured, my dearest son, that if you stay away, I shall die much sooner." The situation Leopold presents his son is a complex one. Mozart is a young man seeking independence and fame now that his family is not following his every footstep, but his father has grown more dependent on Mozart than ever. Mozart is more internally conflicted between his ambitions and family obligations as ever, as he writes to his friend Abbe Bullinger on August 7, 1778: "You say that I should now think only of my father and that I should disclose all my thoughts to him with entire frankness and put my trust in him.
Wolfgang Amadeus Mozart is perhaps the most well-known composer of all time. Countless accounts of his life have been created through the years, and all of them approach the topic of his life with a slightly different perspective. Amadeus provides a humorous and insightful look into the life of Mozart through the flashbacks of an elderly Italian man named Salieri. In his old age, Salieri confesses to a priest that he felt God taunting him throughout life because he always had a profound appreciation for Mozart’s music, but yet could never produce anything like it. Therefore, he turned bitter and spent his life trying to ruin Mozart and his career. Through Salieri’s lense, the audience learns about Mozart’s unique personality. Mozart is shown in the movie as a musical prodigy with an impeccable ability to play and compose. However, Mozart also has a childish, socially awkward side that causes him to be misunderstood by many adults. He lacks practicality and appreciation for social graces, instead preferring to make inappropriate jokes and attend wild parties. Our class’s textbook, The Enjoyment of Music, also
"The Mozart Project- Biography." The Mozart Project. mozartproject.org, 25, Apr 1998. Web. 22 Jun 2010. .
Mozart’s father Leopold Mozart was a somewhat know composer and violinist who recognized Wolfgang’s talent for the piano early in his life. The father quit his job to make sure that his son could meet the best musical education possible, however he was not only thinking of the well-being of his son, he was also focusing on the financial benefits that could come from his young prodigy son. Wolfgang also had a very musically talented sister, Maria Anna; their father took them both on concert tours all over Europe, starting when Wolfgang was six years old. Maria Anna eventually decided to quit touring, possibly because she lived under her brothers shadow, and realized that, because she was a woman, her musical opportunities were limited. While Wolfgang was touring Europe, his mother became very ill...
At the age of the Enlightenment, Antonio Salieri becomes the most triumphant musician in the city of Vienna, however, without any warning his harmonious universe comes to an utter halt. Salieri’s absolute faith in the world, in himself, and in God is all at once diminished by this spontaneous child composer. When the two opposite ends meet, there emerges a fury, a rage, and a passion in Salieri to sabotage the boy that has secured Salieri’s deserved God given talent; to destroy the one pubescent child that has made him so mute and naked now in a world of discordance. Salieri’s entire reputation and boyhood prayer to attain fame thus rests on his ability to annihilate that child prodigy, Wolfgang Amadeus Mozart.In analyzing the two composers, Salieri and Mozart, there is a distinct line that clearly divides them. Salieri’s operas receive astounding receptions, making them the “talk of the city,'; shaking the roofs, buzzing the cafes, and even the name Salieri “sounds throughout all of Europe'; (2,3). The reason for Salieri’s success, as well as many musicians of the eighteenth century, is because they have become enslaved by the well-to-do and hence are “no better than servants'; (1,3). This applies especially to the king. For example, in Amadeus, His Majesty forbid any ballet in his operas. Imperial commands such as this are not to be interpreted in any way, in other words, they are to be merely obeyed without any dispute. Since operas tend to the needs of the high society in order to obtain recognition, the operas must communicate through the language of the nobility, that is, Italian. In addition, since the majority of the audience is made up of the upper class, the subject matter of the operas must consist of elevated themes. Such as, mythological heroes, kings, and queens, and so forth. According to the eighteenth century view, operas are supposed to be a sublime and an aggrandizing art. The elevated subject matter is then chosen in order to venerate and honor the nobility. It’s purpose is to “celebrate the eternal in man'; says Van Swieten (2,4). Meaning that there is an element in a noble person that lasts without any end, like God who is immortal. God represents the everlasting and the eternality of existence, thus God gives inspiration to operas that...
Countless dozens of Ph.D theses must be written about Mozart's The Magic Flute and yet it is so lively with elements of fantasy and free-flying imagination that it is often the first opera to which children are taken. It has a plot of such complexity that it takes several viewings for all but the most studious opera buffs to sort out the characters and follow the ins and outs of the multilevel story. At the same time it has so much easily accessible charm and so many glorious Mozart tunes that even the novice will be captivated.
His life had already been a journey. His father had died just a year ago and he had lost three children with his wife Constanze. Mozart created music that reflected his life. Constanze felt like it was hard to deal with her problems because she felt pregnant all the time and the stress of money. Mozart was not guaranteed an income. He would borrow money from friends and send letters months after months saying he could not pay them right now and that he was not financially able. Mozart’s father as well as Constanze’s mother did not like them together at all. His father opposed the marriage and said her family was not worthy of Wolfgang. Constanze’s mother tried her hardest to keep the two separated. She went as far as banning her daughter from seeing him. Neither Leopold nor Constanze’s mother attended their wedding. After the marriage, Wolfgang tried to repair the gap that was between him and his father. He sent a letter saying he would come and visit sometime and invited him and his sister to attend his performance of C Minor that was wrote for Constanze. Before Wolfgang and Constanze got married, she was sick with an illness. But Mozart made a promise with god. His promise was that if she got better and married him, he would create a religious piece of music. He did and it became one of the greatest religious works he had ever written. Constanze said she found it hard to love her father and sister in-law. She would have loved to have a
The primary source that I want to assign to my students is a letter from Mozart to his cousin Maria Anna Thekla Mozart on November 5, 1777. This letter was one of the evidences that shows Mozart's love towards his cousin, and his “humor” towards some of the dirty jokes. It will give us a better understanding in his music. For an example, in the letter he wrote “...I now wish you a good night, shit in your bed with all your might, sleep with peace on your mind, and try to kiss your own behind...” It showcases Mozart's interest in dirty jokes and it allows the students to have a better understanding of Mozart's personal life and its inspiration towards his compositions.
As an adult Mozart his career was not as successful as when he was younger. But he kept on composing anyway hoping one people would appreciate his work. He lived in poverty for the great majority of his life. In 1769 he became a concertmaster to the archbishop of Salzburg, which was another one of his jobs that afforded him little financial security. In 1777, he left on another concert tour. But, the courts of Europe ignored Mozart ‘s search for a more beneficial assignment. In 1782 he earned a living by selling compositions, giving public performances, and giving music lessons, which once again was a low paying job. The composer never did find a well paying job. The bizarre thing was is that even that he had ton of trouble finding jobs, he was still considered one of the leading composers of the late 1700s.
The 1984 film Amadeus, directed by Miloš Forman, told the story of Wolfgang Amadeus Mozart story in such a way that an individual watching more than likely would have never imagined such a brilliant musician’s life having been the way it was portrayed in the film. When many people think of Mozart today, the thought of his skill to compose musical masterpieces is probably the first of many things to come to mind – his work speaks for itself; Mozart’s operas and symphonies are beautiful, so comparing it to the eighteenth century Classical era, Mozart’s work had to have been much loved and appreciated, right? Well, according to Amadeus, this was not necessarily the case.