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Jessica Waldoff. Since its beginnings, opera has depended on recognition as a central aspect of both plot and theme. Employing both literary and musical analysis, and drawing on critical thought from Aristotle to Terence Cave, this book explores the ways in which the themes of.
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- Wolfgang Amadeus MOZART - the music of Mozart
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- Wolfgang Amadeus Mozart
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For much of the s he was settled in Salzburg, excursions including to Munich in —5 for La finta giardiniera. His move to Vienna in , where he taught, composed and preformed, heralded his most successful years. His many other great late works include the clarinet concerto, the final two string quintets and the unfinished Requiem. Mozart excelled in every musical form current in his time, including sacred, chamber, symphonic, dance and operatic works. His early facility matured into an inspired synthesis of Italian and south German traditions. Recognized as a great artist in his time, he is now considered perhaps the most consummate artist in Western music.
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Wolfgang Amadeus MOZART - the music of Mozart
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New York: Penguin Books, Lydia Goehr, Daniel Herwitz, eds. New York: Columbia University Press, Piero Melograni. Wolfgang Amadeus Mozart: A Biography.
Chicago: University of Chicago Press, In , the year of the bicentenary of Mozart's death, readers in search of something completely different about the Divine One might have picked up Anthony Burgess's On Mozart: A Paean for Wolfgang , which begins with a celestial dialogue between Ludwig van Beethoven and Felix Mendelssohn. Since arriving in heaven, Beethoven has regained his hearing but developed an unfortunate habit of saying "Ach" at the start of every sentence, and Mendelssohn has converted back to Judaism.
Mendelssohn has also taken charge of organizing centennial tributes to dead composers--Burgess's sly reference, presumably, to Hector Berlioz's quip that Mendelssohn was "a little too fond of the dead.
Wolfgang Amadeus Mozart
Yet it saw the publication, and re-publication, of many a useful work of scholarship or welcome piece of synthesis and interpretation. The handful of works under review here represent an arbitrary sampling of last year's offerings and have in common, besides Wolfgang Amadeus Mozart himself, only a desire to reach a readership not composed solely of musicologists.
Of these, by far the most elegant is Peter Gay's short biography for the Penguin Lives series, which is pocket-sized, pithy, and manages in its brevity to convey the character of Mozart's life, works, and times more fully than Piero Melograni's wordier but oddly jejune account of all the above. Indeed, it remains something of a mystery of this Mozart year why the University of Chicago Press saw this translation project, from the Italian, as necessary. To be sure, Melograni's style is readable and his self-representation, as a journeyman writer who happens to love Mozart and "studied piano and singing as a boy," is disarming p.
He does a splendid job of working with the letters and of describing the life in terms of the many and varied relationships that helped to define it--with the father of course , the mother, the sister, the wife, but also with the many other contemporaries on whom Mozart commented and with whom he worked. Still, one must ask what Melograni brings to the, presumably, not limitless market for Mozart biographies beyond what is already there for the reading in Julian Rushton's deeply informed biography in the Oxford Master Musicians series or Robert Gutman's more popular but still richly detailed "cultural biography.
One might, for instance, have hoped for a more nuanced account of the places and circumstances of Mozart's musical world.
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To take one example, Melograni's analysis of Mozart and the marketplace is simple and even glib--built out of truisms like "musical compositions were considered mere entertainment" or Mozart "possessed the talent and the courage that permitted him to break with tradition" p. This is, in other words, a biography not just for non-musicologists but for non-scholars of any sort.
Historians in particular will find its characterization of the late eighteenth-century world disappointingly flat. Volker Braunbehrens's Mozart in Vienna , also a work written for a commemorative year, , for the non-specialist market, achieved far greater originality and depth of analysis than does this new biography, while managing to remain highly accessible. The book of that most successfully offers up the findings of musicologists to "musicians and amateurs," and I would add, to cultural historians, is David Cairns's Mozart and his Operas.