The Cambridge Companion to Bartók (Cambridge Companions to Music)
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Travels to Vienna with Leopold 14 July—26 September in an unsuccessful attempt to procure a post. Select compositions: Bassoon Concerto, K. Returns to Salzburg from Munich 7 March. Select compositions: serenade K. Select compositions: piano concertos K. Select compositions: piano concerto K. His mother dies 3 July. Unable to procure employment, he leaves for Salzburg 26 September , passing through Strasbourg, Mannheim and Munich.
The Cambridge Companion to Bartok
He stays with the Weber family in Munich, but is rejected by Aloysia. Arrives back in Salzburg 15 January. Takes a position as court organist at a salary of gulden per annum. His responsibilities include teaching, playing in church and at court and composing sacred and secular music as required.
Select compositions: symphony K. Idomeneo is successfully premiered 29 January with Leopold and Nannerl in attendance. Mozart arrives in Vienna 16 March to begin his career as a freelance performer and composer. Select compositions: opera seria, Idomeneo, re di Creta, K. Mozart marries Constanze Weber, sister of Aloysia 4 August.
Visits Salzburg with Constanze 29 July—27 October.
Stopping in Linz on the return trip, he hastily writes a symphony, K. Select compositions: keyboard sonatas K. Presents a series of subscription concerts at xvi Chronology the Trattnerhof March featuring newly composed piano concertos and boasts about the large number of subscribers to his father. In addition, he gives numerous private performances and a concert at the Burgtheater March—April. His son Carl Thomas is born 21 September; d. Select compositions: Singspiel, Der Schauspieldirektor, K.
Meets the sixteenyear-old Beethoven in Vienna April. Leopold dies in Salzburg 28 May. Select compositions: horn concerto K.
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A new daughter, Anna Maria, dies soon after birth 16 November. His son Franz Xaver Wolfgang is born 26 July; d. He travels to Prague with Constanze for the premiere of La clemenza di Tito 6 September , possibly conducting a performance of Don Giovanni a few days earlier. Introduction s i m o n p. What a radiance streams from his name!
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We pronounce his name and behold! For Mozart captures the popular imagination in a more pronounced fashion than any other composer of the classical tradition; relentless marketing has turned him into the principal standard-bearer for classical music. In spite of this state of affairs, could it 2 Simon P. Keefe be credibly argued that Mozart does not deserve his elevated status, that he is not a touchstone for musical greatness?
In short, his place in the artistic pantheon is as secure as those of Shakespeare, Raphael and Goethe. Like its illustrious predecessor from an earlier era, The Mozart Companion,3 The Cambridge Companion to Mozart brings new, up-to-date scholarship into a public arena. Each of the four sections of The Cambridge Companion to Mozart aligns with a major area of Mozart research; moreover, the sections together paint a balanced portrait of the composer. Part II, considering the most important genres in which Mozart excelled, likewise paves the way for discussions in Part III of how his works — indeed his career as a whole — have been received in critical, cultural and compositional contexts.
If a common theme runs through this Cambridge Companion — in fact through the Mozartian secondary literature as a whole — it is that Mozart and his music demand repeated scrutiny and interpretation. Three times the sweet melody ended, and three times it began again. It was the glockenspiel in the tower across from the Residenz which regularly at seven and eleven in the mornings, and at six in the evenings, played a well-chosen melody.
Cambridge Companions to Music: The Cambridge Companion to Bartók (2001, Paperback)
We tried, as often as we could, to listen in the square. Off the beaten track2 and set at the foot of the Alps, it boasted natural beauties and a rich history: the city owed its post-Roman origin to the founding of the abbey of St Peter by St Rupert of Worms in and of the cathedral by St Virgil in What the anonymous visitor to Salzburg praised so highly was the mechanical clock tower facing what is now the Mozartplatz. Constructed in the early eighteenth century, it was renovated in the s to include music by the Kapellmeister Johann Ernst Eberlin and the court violinist Leopold Mozart. The works were published in by Lotter of Augsburg, together with a lengthy description of the Salzburg fortress, a short history of the city, and a charming, engraved cityscape.
For local musicians, work at the court was full of vexations. Schrattenbach was often lavish in his support of the court music, exhibited a keen interest in instrumental works, sent his composers and performers to Italy to study, and rewarded composition with 8 Cliff Eisen generous presents.
What is more, Colloredo was far less interested in the court music than many of his predecessors. To judge by traditional Mozart biographies, Colloredo was a narrowminded tyrant. And to judge by the Mozart family letters one of the richest sources of information concerning music in the archdiocese music making was more or less restricted to the court and cathedral. But the situation was not so simple.
Although he was hampered in these attempts by an unattractive personality, by his aloofness, and by his general unpopularity,5 his reforms nevertheless favoured some aspects of local cultural life: a new sense of toleration and freedom of the press in particular attracted prominent writers, scientists and teachers to the court. For the court music establishment, these reforms represented a dilution of musical life and a source of dissatisfaction.
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It was not Colloredo who was primarily responsible for their misery, but the Mozarts themselves. The Salzburg court music was a sprawling institution and when Leopold joined as fourth violinist in its organization was much the same as it had been at the time of its founding in The chief duty of the court music proper, together with the cathedral music and the choirboys, was to perform at the cathedral.