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Updated: May 29, 2025
"Vienna was witness to these relations," wrote a contemporary of Mozart's and Constance's love for each other; and when Aloysia and her husband quarrelled and separated, the Emperor, meeting Constance and referring to her sister's troubles, said, "What a difference it makes to have a good husband."
That the Cherubino of Mozart's Nozze is quite different from Beaumarchais' Cherubin does not affect this question. He is a new creation, just because Mozart could not, or would not, conceive the character of the page in Beaumarchais' sprightly superficial spirit. He used the part to utter something unutterable except by music about the soul of the still adolescent lover.
It is not everybody that enters into the soul of Mozart's or Beethoven's harmonies; and there are vital symphonies in B flat, and other low, sad keys, which a doctor may know as little of as a hurdy-gurdy player of the essence of those divine musical mysteries. The Doctor knew the difference between what men say and what they mean as well as most people.
In order that the works may follow as nearly as possible in their proper order, I have marked the numbers to be placed on each, as follows: Solo Sonata, Op. 22. Symphony, Op. 21. Septet, Op. 20. Concerto, Op. 19. I will send you their various titles shortly. The arrangement of Mozart's Sonatas as quartets will do you much credit, and no doubt be profitable also.
'I am too much occupied in admiring to be awkward or in a tremble.... She kept me awake one night as a tune of Mozart's might do.... I don't cry to take the moon home with me in my pocket, nor do I fret to leave her behind me. But he was not a little touched, and found it easy to fill two pages on the subject of this dark beauty. She was a friend of the Reynolds family.
Stephen Heller remarked that this study reminded him of the first bar of the Kyrie rather the Requiem Aeternam of Mozart's Requiem. It is safe to say that the fifth study in E minor is less often heard in the concert room than any one of its companions. I cannot recall having heard it since Annette Essipowa gave that famous recital during which she played the entire twenty-seven studies.
Dannreuther see Finck's "Wagner and his Works" that "Mozart's music and Mozart's orchestra are a perfect match; an equally perfect balance exists between Palestrina's choir and Palestrina's counterpoint, and I find a similar correspondence between Chopin's piano and some of his Etudes and Preludes I do not care for the Ladies' Chopin; there is too much of the Parisian salon in that, but he has given us many things which are above the salon."
But though artistic conditions in opera change quickly and continually, though reputations are made and lost in a few years, and the real reformers of music themselves alter their style and methods so radically that the earlier compositions of a Gluck, a Wagner, or a Verdi present scarcely any point of resemblance to those later masterpieces by which each of these is immortalised, yet the attitude of audiences towards opera in general changes curiously little from century to century; and plenty of modern parallels might be found, in London and elsewhere, to the story which tells of the delay in producing 'Don Giovanni' on account of the extraordinary vogue of Martini's 'Una Cosa Rara', a work which only survives because a certain tune from it is brought into the supper-scene in Mozart's opera.
The conservatory of music executed a mass composed of selections from the best of Mozart's sacred pieces.
The family stayed five months in Paris; the children played before the Court at Versailles, exciting surprise and enthusiasm there and wherever they appeared. From Paris they traveled to London, in April, 1764. Leopold Mozart's first care on reaching the great English metropolis was to obtain an introduction at Court.
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