By Joseph Solman
Mozartiana is a shocking, eccentric, and captivating testomony to the genius of Wolfgang Amadeus Mozart. Artist Joseph Solman has accrued evaluations, remembrances, letters, and more-from Albert Einstein, Virginia Woolf, Friedrich Nietzsche, Leonard Bernstein, Maurice Sendak, and a few 2 hundred others-and combined them together with his personal sketches and drawings of the nice composer. the result's an excellent get together of Mozart's lifestyles and artwork, and a distinct present to tune fanatics everywhere.
Preview of Mozartiana: Two Centuries of Notes, Quotes, and Anecdotes about Wolfgang Amadeus Mozart PDF
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Additional resources for Mozartiana: Two Centuries of Notes, Quotes, and Anecdotes about Wolfgang Amadeus Mozart
The court docket congratulated me and stated such great issues. . . . Adieu! one thousand kisses to Pimperl [the dog]. Your small composer. —MOZART, in a letter to Nannerl, January thirteen, 1775 IDOMENEO, KING OF CRETE (Idomeneo, Rèdi Creta) most well known: January 29, 1781, Munich i like to recommend you to imagine whilst at paintings not just of the musical but additionally of the unmusical public. you recognize that for each ten connoisseurs, there are 100 ignoramuses! don't forget the so-called well known. —LEOPOLD MOZART, in a letter to his son in regards to the writing of Idomeneo Idomeneo was once played basically two times in Mozart's lifetime and had lengthy been ignored whilst Richard Strauss staged it in Vienna in 1931. The paintings didn't achieve the USA till August four, 1947, in a Tanglewood construction; it premiered on the Metropolitan Opera in 1982. [In 1964] I sang the a part of Idamante at Glyndebourne and fell in love with the complete opera. It should be performed [right] for individuals to achieve how large and the way very important it's the performing is extreme, super inner. —LUCIANO PAVAROTTI, in Opera information [Electra], emerging to the problem of her wildly florid "D'Oreste, d'Ajace," went effectively berserk, to the purpose of falling down in a grand seizure.... most likely she used to be as a lot undone by means of the aria's 33 A-flats and 2 excessive C's as by way of jealousy and anger; however the impression used to be large simply an identical. —DONAL HENAHAN, in a overview within the manhattan occasions, 1986 it's possibly the main appealing ensemble ever composed for the level [of the Act III quartet, "Andro, ramingo e solo"]. . . . greater than ever now, in those instances of turmoil and confusion . . . we want the profound and noble sincerity of Idomeneo and the serene spirituality of The Magic Flute. —EDWARD J. DENT, Mozart's Operas: A serious research the kidnapping FROM THE SERAGLIO (Die Entführung aus dem Serail)Premiere: July sixteen, 1782, Vienna Herewith I enclose the unique [score] and word-books. right here and there, the trumpets and kettledrums, flutes, clarinets and the Turkish song are lacking, simply because i could not locate paper with that many staves. they're written on additional sheets; I presume the copyist has misplaced them. . . . the 1st act (when i used to be taking it someplace or other—Ican't be mindful the place] fell within the dust; that is why it is soiled. —MOZART, in a letter to his father, July 20, 1782 After the Vienna most desirable— EMPEROR JOSEPH: Too fantastic for our ears, and an incredible variety of notes, my expensive Mozart. MOZART: fust as many notes, Your Majesty, as are required. all of the distinctiveness passages comprise the Turkish track. . . . i do not believe they will have the ability to sleep via it, whether they have not slept the evening ahead of. —MOZART, in a letter to his father, concerning the overture to Abduction, September 26, 1781 whereas Mozart used to be in Berlin in 1789, Die Entführung used to be played there once more. at the night of the functionality the sixteen-year-old Ludwig Tieck, an admirer of Mozart's paintings, spoke to a small, ordinary-looking guy in a gray topcoat who used to be glancing over the music-desks within the orchestra whereas the auditorium used to be nonetheless empty.