Started by facehugger, April 06, 2007, 02:37:52 PM
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Quote from: k a rl h e nn i ng on May 18, 2009, 11:44:33 AMSo, Süssmayr really wrote the whole of the Requiem, didn't he?Or was it Walsegg?Van Swieten?
Quote from: Wolfgang Amadé MozartI still have to finish 6 Trios—which will bring me good money—and I still have to get my money from Le Gros and Duc de Guines—and, finally, the Mannheim court will be moving to Munich at the end of the month, and I would like to get there at the same time so that I can personally present my sonatas to the Electress. . . . I will also sell my 3 Concertos, the "Jeunehomme" and the "Litzau," as well as the one in B Minor, in cash to the engraver who did my sonatas. I'll do the same with my 6 difficult sonatas if I can; I won't get much, but it's better than nothing. One needs money on a trip. As far as my Sinfonias are concerned—most of them are not in the taste of the Parisians; if I have time I'll rearrange the violin Concertos—that is, I'll shorten them—because in Germany the taste is for longer concerts, but, in fact, short and good quality is better. . . .
Quote from: Mozartif I have time I'll rearrange the violin Concertos—that is, I'll shorten them—because in Germany the taste is for longer concerts, but, in fact, short and good quality is better. . . .
Quote from: Wolfgang Amadé MozartMon trés cher Pére! [sic]I beg you not to be angry with me for not having written for such a long time;—surely you know how busy I am these days!—I have gained much honor for myself with my 3 subscription concerts.—The concert I gave at the Theater was very successful as well.—I composed two grand Concertos and then a quintet which was extraordinarily well received;—I myself think it's the best I've written in my entire life.—It is written for 1 oboe, 1 Clarinetto, 1 Corno, 1 fagotto, and the Piano forte;—I so wished you could have heard it!—and how beautifully they played it! . . .
Quote from: k a rl h e nn i ng on May 19, 2009, 08:44:05 AM— from Vienna, a letter to his father in Salzburg, dated 10 April 1784(I'm guessing that the erroneous diacritics are from the source, and are not editorial errors on Speathling's part . . . in both cases, they should be accents graves, and not aigus.)
Quote from: ChamberNut on May 19, 2009, 09:35:28 AMWell, then this clearly means Wolfie did not compose it. $:)
Quote from: DavidRoss on May 19, 2009, 09:42:50 AMWho was it used to post things like,"Mozart was an overrated transitional figure between Haydn & Beethoven." Discuss.?
Quote from: Gurn Blanston on May 19, 2009, 09:45:46 AMQuite the antithesis, my dear Ray. Mozart's spelling in French was nearly as bad as it was in German. Leopold's was worse, pretty much phonetic. So the fact that he got an accent at all is a breakthrough! (if they were perfect, I would be very suspicious!)
Quote from: k a rl h e nn i ng on May 19, 2009, 09:55:24 AMThere are plenty of dubious spellings in the letters . . . chap was schooled at home (and, as you note, dad wasn't the most punctilious orthographer in the tray). Getting an accent of any sort (just the wrong direction, after all) on the correct vowels . . . well, he did go to Paris with his maman.So much more interesting to read the letters, than to read bloviatory reviews of the letters, wot? 0:)
Quote from: Gurn Blanston on May 19, 2009, 09:46:38 AMAh, the lovely and talented Michel. Splendid young man!
Quote from: DavidRoss on May 19, 2009, 10:09:04 AMGone but not missed forgotten.
Quote from: opus67 on May 19, 2009, 10:14:04 AMWhile we are on the topic of books filled with letters written by Mozart, I'd like to know if anyone has read this? If you have, I'd be grateful if you could post a brief review.
Quote from: Robt W GutmanIn this apartment [in the Rauhensteingasse] took place a legendary reading of Mozart's string quintet in D, K.593, of December 1790, with, tradition represents, Haydn and Mozart on the violas. Johann Tost, once a violinist in the Esterházy orchestra and, thanks to an inheritance, become a factory owner, commissioned the work, perhaps at Haydn's suggestion. A refined and intricate contrapuntal masterpiece, K.593 reflects Haydn-like material and devices to the point of constituting a homage to him (no less the case with regard to Mozart's next string quintet, the superb K.614 in E-flat, to be completed the following April).
Quote from: k a rl h e nn i ng on May 19, 2009, 11:01:19 AM(Gutman, Mozart: A Cultural Biography, pp.716-717)
Quote from: Gurn Blanston on May 19, 2009, 11:11:56 AMA book that I heartily recommend, BTW.
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