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Updated: May 29, 2025
However, next minute he was forced to admit the fact, for there fell on his ear the sublime strains of Mozart's "Il mio tesoro tanto" from Don Juan. "Well, now," said the geographer to himself, "let the Australian birds be as queer as they may, and even granting the paroquets are the most musical in the world, they can't sing Mozart!"
Accepting the lists of the last two decades as a criterion, "Don Giovanni" is the oldest Italian opera, save one. That one is "Le Nozze di Figaro," and it may, therefore, be said that Mozart's operas mark the beginning of the repertory as it exists at the present time in America.
Der Tod und das Mädchen is sad; so is Les Larmes in Werther.... But a very great deal of supermusic is neither grand nor sad. Haydn's symphonies are usually as light-hearted and as light-waisted as possible. Mozart's Figaro scarcely seems to have a care.
Mozart's organization was obviously of the finest and tenderest texture; but he had also many advantages in his nurture, and, among others, the inestimable blessing of a happy home, where harmony reigned in the hearts, as well as upon the lips and fingers of the inmates.
There was the school orchestra, in which he was able to take a prominent place. There was daily practise, in which the boys learned the overtures and symphonies of Mozart and Haydn, and even Beethoven. He loved best Mozart's "Symphony in G minor," in which he said he heard angels singing.
Now for the story and with your permission it shall begin back a year or more. "The winter before last, Mozart's health caused me much anxiety, on account of his increasing nervousness and despondency. Although he was now and then in unnaturally high spirits when in company, yet at home he was generally silent and depressed, or sighing and ailing.
Her works consist chiefly of display pieces for the piano, a set of twelve concert études receiving high praise from Schumann. Julie von Baroni-Cavalcabo, who flourished in the last century, was another brilliant pianist, numbering among her teachers one of Mozart's sons. She seems to have won the esteem of Schumann, who dedicated his humoreske to her, and gave high praise to many of her works.
Consequently, just as Mozart's "Don Giovanni" became the playground of the Italian prima donna, so has "Fidelio" become the playground of that terrible apparition, the Wifely Woman Artist, the singer with no voice, nor beauty, nor manners, but with a high character for correct morality, and a pressure of sentimentality that would move a traction-engine.
This image was associated in my brain with that of Shakespeare; in ecstatic dreams I met both of them, saw and spoke to them, and on awakening found myself bathed in tears. It was at this time that I came across Mozart's Requiem, which formed the starting-point of my enthusiastic absorption in the works of that master. His second finale to Don Juan inspired me to include him in my spirit world.
Richard now began to realize the need of solid work, and settled down to study music seriously, this time under Theodor Weinlig, who was cantor in the famous Thomas School. In less than six months the boy was able to solve the most difficult problems in counterpoint. He learned to know Mozart's music, and tried to write with more simplicity of style.
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