MozartForum http://www.mozartforum.com/VB_forum A discussion site and library about Wolfgang Amadeus Mozart en Fri, 03 Sep 2010 00:09:54 GMT vBulletin 60 http://www.mozartforum.com/VB_forum/images/misc/rss.jpg MozartForum http://www.mozartforum.com/VB_forum Picture identification http://www.mozartforum.com/VB_forum/showthread.php?t=4543&goto=newpost Tue, 31 Aug 2010 15:49:10 GMT Can anyone identify either the painter or the approximate date of the attached image, which is one of about six such portrayals of Mozart's final death scene?

Dan Leeson
Attached Images
 
]]> MozartForum Discussion dnleeson http://www.mozartforum.com/VB_forum/showthread.php?t=4543 The Violin Sonatas http://www.mozartforum.com/VB_forum/showthread.php?t=4542&goto=newpost Sat, 28 Aug 2010 17:37:10 GMT Hi friends,

I don't know why, but I never found reason to buy or listen to the violin sonatas. They don't get much prominence in any of the biographies I've read, and so as a newcomer to Mozart, I've tended to concentrate mainly on his great piano works, operas and other chamber pieces, but not the violin sonatas.

But I want this to change! Can anyone recommend a "way in" to these works? Maybe recordings that inspire, or a list of the best ones? I know, vague question, but I'd like to get acquainted with these works and would like to know where to start. What are your experiences of these compositions?

Many thanks! ]]> MozartForum Discussion Kieran http://www.mozartforum.com/VB_forum/showthread.php?t=4542 Mozart Letters, ed. Anderson http://www.mozartforum.com/VB_forum/showthread.php?t=4541&goto=newpost Sat, 28 Aug 2010 05:33:24 GMT Hi, I'm a newbie here. I've just read the biographical details of the Moderators of this site and am impressed. I belong to one other classical music site and have merely looked at a couple of others. Some are not very good and seem to attract some ratbags who talk rubbish, but I'm hoping this one is much better! I'm a classical music "tragic" - Beethoven and Bach No. 1, Brahms and Handel No. 2, and Schubert and Mozart No. 3; the rest No. 4!!! I have Musicology major and play piano so an serious about discussions, but don't mind a bit of humour too.

I have the Complete Letters of Mozart, ed. Anderson. I guess lots of you have read these. Do members think Mozart had Aspurger's Syndrome, or similar? (I think I have the spelling correct). It seems that his tics and repetitions would suggest that, together with his nonsensical ramblings at times. What do others think? (I have some knowledge of the condition from my career as a high school teacher - now retired). ]]> MozartForum Discussion Counterpoint http://www.mozartforum.com/VB_forum/showthread.php?t=4541 Prague - Villa Betramka closed??? http://www.mozartforum.com/VB_forum/showthread.php?t=4540&goto=newpost Wed, 25 Aug 2010 19:07:44 GMT Dear Forumers,

I just have read on the internet that the Mozart Museum "Villa Bertramka" at Prague was closed on 1 November 2009. But they don't tell why.

Has anyone details? Thanks in advance.

Kind regards from

Bavaria ]]> MozartForum Discussion Bavaria http://www.mozartforum.com/VB_forum/showthread.php?t=4540 National Public Radio Broadcast http://www.mozartforum.com/VB_forum/showthread.php?t=4539&goto=newpost Wed, 25 Aug 2010 17:56:06 GMT National Public Radio in the United States and Canada puts on certain radio and tv programs on an area by area basis. Thus, if I see or hear a program in the Western part of the United States, it may have already been shown elsewhere, or perhaps not shown anywhere else. Last evening (8/24) was an... National Public Radio in the United States and Canada puts on certain radio and tv programs on an area by area basis. Thus, if I see or hear a program in the Western part of the United States, it may have already been shown elsewhere, or perhaps not shown anywhere else.

Last evening (8/24) was an absolutely perfect Mozart night. What was shown was a 2006 celebratory concert for the 250th birthday in Salzburg, consisting of a variety of fabulous singers (Thomas Hampson, Rene Pape, Michael Schade, Anna Netrebko, Patricia Petitbon, and others whose names I do not remember). Every one was in spectacular vocal estate. The arias included Parto, Parto from Titus, Se Il Padre Perdi and Elettra's aria, both from Idomeneo. Pape did the Madamina from Don G., and Hampson did an aria excised from Cosi, "Rivolgete a lui lo sgardo" and which was presented as a concert aria.

The concert ended with the Vienna Phil (Daniel Harding conductor) in much reduced form, performing the Prague symphoy.

That was some night!!

Dan Leeson ]]> MozartForum Discussion dnleeson http://www.mozartforum.com/VB_forum/showthread.php?t=4539 Mozart Against Violence http://www.mozartforum.com/VB_forum/showthread.php?t=4538&goto=newpost Wed, 25 Aug 2010 16:23:10 GMT I appologize for bringing this up once more. But I can’t help feeling this is one the many divine moments in Mozart’s art that can stand a repetition or two: Music annihilating violence! The first clip is from Bergman’s film version of The Magic Flute. The second from Covent Garden’s production... I appologize for bringing this up once more. But I can’t help feeling this is one the many divine moments in Mozart’s art that can stand a repetition or two: Music annihilating violence! The first clip is from Bergman’s film version of The Magic Flute. The second from Covent Garden’s production some years ago.
http://www.youtube.com/watch?v=4E9Y3JwxopQ
http://www.youtube.com/watch?v=KrwcAqUEBJI ]]> MozartForum Discussion Bjorn Hovik http://www.mozartforum.com/VB_forum/showthread.php?t=4538 NY Times exlpores the death of Mozart http://www.mozartforum.com/VB_forum/showthread.php?t=4537&goto=newpost Tue, 24 Aug 2010 19:07:23 GMT from 8/24/10:

http://www.nytimes.com/2010/08/25/ar...h.html?_r=1&hp ]]> MozartForum Discussion larryb http://www.mozartforum.com/VB_forum/showthread.php?t=4537 Davide Penitente http://www.mozartforum.com/VB_forum/showthread.php?t=4536&goto=newpost Tue, 24 Aug 2010 14:35:21 GMT http://www.nytimes.com/2010/08/23/ar...nitente&st=cse

This link should take you to the New York Times of Monday, Aug. 23, within which is an interesting review of a rarely heard Mozart cantata, Davide Penitente, produced as part of New York's Mostly Mozart festival. According to the reviewer (the Times very best, in my opinion), the program notes indicated that the Italian text for the cantata is by Lorenzo Da Ponte.

For some time, Da Ponte's contributions to Mozart's music were suggested to have gone beyond the three operas for which Da Ponte served as the librettist, and it is often said that he made several other textual contributions as well. I do not know of any proof that he composed the text for Davide Penitente, but it is quite possible that he did so.

The cantata contains music that Mozart recycled from the unfinished c minor mass. As such, when various arrangers have tried to complete the mass -- for example, Robert Levin's most interesting completion, now both published and recorded -- they look to the cantata for possible source material.

Dan Leeson ]]> MozartForum Discussion dnleeson http://www.mozartforum.com/VB_forum/showthread.php?t=4536 <![CDATA[Absurd Mozart 'idealizations']]> http://www.mozartforum.com/VB_forum/showthread.php?t=4535&goto=newpost Mon, 23 Aug 2010 11:49:59 GMT Hello,

I went into a specialist classical music store last week and saw a bust of 'Mozart' with Hollywood-style 'chiseled' features (no pun int). Are we still such a primitive people that we need our artists to be so perfect-looking? Is that why the British public were so overwhelmed with shock that Susan Boyle could, let's face it, 'carry a tune'? Since when have talent and looks been analogous traits?

By all accounts, Mozart had a large head, pockmarked face, rather a large nose and prominent forehead. But what does that have to do with talent? ]]> MozartForum Discussion jimallanmusic http://www.mozartforum.com/VB_forum/showthread.php?t=4535 <![CDATA[Question about "parody" mass settings]]> http://www.mozartforum.com/VB_forum/showthread.php?t=4534&goto=newpost Sun, 22 Aug 2010 10:00:04 GMT Good day,

while browsing through the entries in the RISM database I came across a "parody" mass based on movements from Mozart's piano concertos, compiled by a certain H. Wieser.

My question is if there are any other mass settings of such kind? So far I have read only about the so-called "Cosi fan tutte"-mass.

A. ]]> MozartForum Discussion Agrell http://www.mozartforum.com/VB_forum/showthread.php?t=4534 Caricaturist asking your advice http://www.mozartforum.com/VB_forum/showthread.php?t=4533&goto=newpost Sat, 21 Aug 2010 16:22:31 GMT Hi, Friends!

I've been working on a caricatures collection of great historical figures. Mozart will be include, as some other major musicians, so I thought you might be curious to see it.
Now, I need some feedback about the drawings and some advice about some options of the business that are still open. So, I prepared a brief presentation of the idea, with some few direct questions about it.
For those of you who are willing to help me, here is my caricatures presentation. It will take just 2 or 3 minutes.

I would be most appreciated if you give me your advice! :)
Thank you! ]]> MozartForum Discussion Frederico Rogeiro http://www.mozartforum.com/VB_forum/showthread.php?t=4533 Franz Sales Kandler http://www.mozartforum.com/VB_forum/showthread.php?t=4532&goto=newpost Sat, 21 Aug 2010 15:34:06 GMT In Anton Herzog's history of the Requiem, he writes, "Wallsegg asked me if I knew a Herr Franz Sales Kandler of Vienna. I replied that I did not know Herr Kandler personally but that I had read some articles about music by him in the old Wiener Musikalische Zeitung. Whereupon, the Count said that when he was in Baden the previous summer, Herr Kandler had come to him for information about the origins of the Requiem. I said, 'Did you give it to him, your Excellency?' Upon which, he replied, 'They are just as wise as before.' "

Kandler (1792-1831) was an Austrian who wrote about music and I wonder if anyone knows if his writings actually contain something about Wallsegg discussing the history of the Requiem with him?

Dan Leeson ]]> MozartForum Discussion dnleeson http://www.mozartforum.com/VB_forum/showthread.php?t=4532 <![CDATA[Mozart's "meeting with Beethoven".]]> http://www.mozartforum.com/VB_forum/showthread.php?t=4531&goto=newpost Sat, 14 Aug 2010 01:54:47 GMT From his own account, it is certain that Beethoven heard Mozart perform piano a number of times, later telling his pupil Czerny that Mozart had "a fine but choppy way of playing, no legato". Given Beethoven's strength of character, it also seems very likely that he'd have forced his way to the front to meet Mozart, and probably did manage to get to play play for him.

But I wonder how much evidence there really is for the following story:

"From his earliest days as a prodigy in Bonn, Ludwig van Beethoven's great ambition had been to travel to Vienna to meet - and take lessons with - the man he knew was the greatest living composer, Wolfgang Amadeus Mozart.

It happened, when Beethoven was 16 years of age, thanks largely to the intervention of his patron Count Waldstein with Elector Max Franz.

At around March 20 he left Bonn on six months' leave of absence from the court orchestra, and arrived in Vienna on 20 April. Armed with a letter of introduction from Max Franz, whom Mozart knew, he gained entry into Mozart's home and was ushered into the music room to meet his great idol.

Mozart was in no mood to receive him. His health was plaguing him - his untimely death at the age of 35 was less than five years away - and he did not relish having to stop work to listen to a child prodigy from somewhere hundreds of miles away.

"Play something," he told Beethoven. Beethoven played the opening of Mozart's C minor Piano Concerto. "Not that," said Mozart. "Anybody can play that. Play something of your own."

Beethoven did. When the young man had finished, Mozart walked into the adjoining room where his wife Constanze was entertaining friends.

"Stanzi, Stanzi," he said, pointing back into the music room, "watch out for that boy. One day he will give the world something to talk about."

He agreed to take Beethoven on as a pupil, but when Beethoven returned to his lodgings there was an urgent telegram from his father telling him to return to Bonn by the next stage - his mother was seriously ill with consumption and doctors feared for her life.

Beethoven had no choice but to leave. Less than two weeks after arriving in Vienna for what promised to be a trip that would change his life, he left for Bonn - without ever achieving his ambition of taking lessons with Mozart.

By the time he returned to Vienna in November 1792, Mozart was dead."

Incidentally, I've heard different story where Beethoven asked Mozart for a theme on which to improvise. ]]> MozartForum Discussion jimallanmusic http://www.mozartforum.com/VB_forum/showthread.php?t=4531 Vicente Martín y Soler http://www.mozartforum.com/VB_forum/showthread.php?t=4530&goto=newpost Thu, 12 Aug 2010 16:44:35 GMT I have searched in the forum looking for some post on Vicente Martin y Soler as contemporary of Mozart. Nevertheless, only I have found some posts isolated on CD or performances. Having been one of the musicians who coexisted with Mozart, and seeing the absence of a basic reference, I have... I have searched in the forum looking for some post on Vicente Martin y Soler as contemporary of Mozart. Nevertheless, only I have found some posts isolated on CD or performances.

Having been one of the musicians who coexisted with Mozart, and seeing the absence of a basic reference, I have taken the freedom of posting these words on my compatriot and fellow-citizen.

I apologize in advance for my English, and I hope that is understable. I will accept with gratitude any comment, correction, critique or complement that help us to know a bit more of this musician.

A very cordial greeting. (The text is in four parts, and the footnotes are at the end of each part)

VICENTE MARTÍN Y SOLER.-

ORIGINS.-

Atanasio Martín Ignacio Vicente Tadeo Francisco Pelegrín Martin y Soler [1] was born on May 2 [2], 1754 in St. Martin Abbey Street (Calle de la Abadía de San Martín) in the Spanish city of Valencia, being baptized in the church of the same name (St. Martin Church). His father, Francisco Javier Martín, was a tenor in the choir of the Cathedral of the city, and his mother, Magdalena Soler, was unrelated to the music [3]. The child had to show some musical talent, because at 6 years of age was introduced as a chorister in the choir of the Cathedral [4], while his father instructed him on the harpsichord. Little else is known of his childhood. Apparently he got the job of organist in the city of Alicante [5], or went to it to study the instrument, being a teenager. But it fell that post their aspirations as a composer, so he left to go to the capital of the Spanish Empire: Madrid.

MADRID: FIRST SUCCESS.-

Is in the 1770s when it occurs the arrival of Martin y Soler in the Spanish capital, and it is the only thing that we can say about it. There, stranger, is dedicated to transcribe successful Italian operas in Europe to be represented in the theaters of Madrid, in some cases changing the words and adapting the music, and later writing new parts to be inserted in the operas.

Without doubt, the compositions of Martin y Soler had to be of a certain quality, as the Prince of Asturias, the future King Carlos IV, appointed him Kapellmeister [6]. And this is how, after writing songs, ballets and other works, in 1775 premiered his first opera: Il Tutore burlato, at 21 years old, premiered at the Royal Site of San Ildefonso in Segovia, near Madrid. It was a recomposition of the libretto by Filippo Livigni for Paisiello's opera La Frascatana, released in 1774. The opera was a resounding success, proof of which is that three years after its premiere Martin y Soler had to translate into Spanish opera and zarzuela shape with the name of El Tutor burlado o La Madrileña.

Also attributed to Martin y Soler is a 1776 opera, I due Avari, score now lost and that recent studies doubt belongs to the work of the Spanish composer.

Musician's fame was important in Spain, but Madrid was becoming a small town for his talent. Therefore, in November 1777, with his wife, the singer Olivia Masini, gone to the birthplace of opera: Naples.

MARTINI LO SPAGNUOLO.-

Naples was a thriving city economically and artistically. It was ruled by the third son of King of Spain (Carlos III), King Ferdinand IV and his wife Marie Caroline of Austria (sister of Emperor Joseph II). It is here when he come in contact with the French dancer and choreographer Charles Lepicq (1744 or 1749-1806) [7], with which premiered at the Teatro San Carlo on January 20, 1778 the ballet Li Sposi Novelli Persiani, represented as intermezzo of the Ignazio Platania’s opera Bellerofonte. The ballet began to give prominence in the city, but especially after the premiere of his Sinfonia Strepitosa on July 21, 1778 to celebrate the birthday of King. Outdoors, and near the Napolitan port of Mergellina, was executed this concert which, in the final cadence, 20 guns were being fired in unison, corresponding to the Monarch to shot some of them.

But Martin y Soler was not fireworks, was a musician, and knew he was in the birthplace of opera. Martín y Soler won the full support of the Court of Naples [8], which he commissioned, between 1778 and 1781, the composition of several ballets, always in collaboration with Lepicq [9]. But above all the operas which he is renowned throughout Italy. His first Naples opera Ifigenia in Aulis, released on the occasion of the carnival at the Teatro San Carlo on January 12, 1779, with libretto by Luigi Serio. This success followed by other operas, such as Hypermestra (May 30, 1780, Naples) [10], Andromaca (1780, premiered in Turin), L'amore geloso (1782, Naples), Partenope (February 1782, Naples), In amor ci vuol destrezza (1782, Venice's Teatro San Samuel), Astartea (1782, Lucca), Vologeso (1783, Turin), L'accorta cameriera (1783, Turin), Le burle per amore (1784, Venice), and La Vedova spiritosa (1785, Parma). From 1782 he had moved to Venice, where he had success with comic operas.

All the works were a success. Italy identified the composer as "Martini, lo Spagnuolo" and also "il Valenziano" [11] to distinguish it from two other "Martinis": the noted and respected Padre Martini in Bologna (Spanish composer took lessons from him) and Martin Schwanzendorf (1741-1816), called "Martini il Tedesco." Martin y Soler was then, therefore, a composer of known fashion and fame. The logical step was to go to the global music capital: Vienna.

VIENA.-

Is not clear, apart from its success, why Martín y Soler went to Vienna. Some speak of Nancy Storace, with whom he had contacted in Venice, convinced him to go there [12]. Other sources cite that was the wife of the Spanish ambassador [13] in Vienna, Isabel Arce Parreño, Marquise of Llano, who convinced the fellow to go to Vienna. And still others cite the Emperor Joseph II himself, who, after talking with her sister and patron of the composer Maria Carolina of Austria (or the Spanish ambassador's wife cited above), requested the presence of the composer in the Austrian capital, which may arise this initiative of Emperor voluntarily after hearing some of Martin y Soler operas during his trip to Italy in December 1783 to March 1784.

Anyway, in 1785, with 31 years, Martin y Soler is filed with the city of music with a background of over 12 operas with success and the confidence that gives to be a composer of with prestige in Italy. He was presented to the Emperor as Kapellmeister of the Prince of Asturias and future King of Spain.

Most importantly, however, is coming into contact with librettist Lorenzo Da Ponte, whose first opera was a failure [14]. Da Ponte, in his Memoirs, relates that "at that time Salieri would cut before the fingers that had touched another verse of mine. Paisiello went to Italy and I still did not know Mozart. This young composer, but Spanish-born, had exquisite taste for Italian music, and although it was most appreciated for his ballets, was little known in Vienna as a composer for the voice. He was wanting to write an opera for the theater in Vienna and his friends advised him to come to me for the text."

The result of this first contact is the opera Il burbero di buon cuore, whose libretto was based on the work of Goldoni Le Bourru Bienfaisant, premiered at the Burgtheater in Vienna on January 4, 1786, with Nancy Storace as Angelica, Francesco Benucci as Ferramondo and Maria Mandini as Marina in the lead roles [15]. The opera is a success, at least if we believe what the Emperor Joseph II said to Da Ponte and that he has in his Memoirs: "The opera was performed and from the beginning to the end was applauded. It was noted that many spectators, among them the Emperor, sometimes even applauded the recitatives. [...] In the morning I ran to the palace. As I entered his room, the prince told me with great joy. "Bravo, Da Ponte! I like both music and words. [...] Go home: cheer up and give us another opera with music by Martin. We must work while the iron is hot." Both public and critics welcomed the Spanish first Viennese opera. [16]

However, the opera was nearly derailed by the conspiracies of the librettist Casti, who circulated the rumor that the opera was boring before being released. Joseph II then tells Da Ponte: "your friend Casti says that the Burbero not make the audience laugh." "Majesty," said Da Ponte, “we need to wait and see. It will be equally good for me if it makes he mourn."

We have other stories about the opera. Thus, the Wiener Realzeitung says that "After three performances it can be concluded that the piece did not get the unanimous approval of the public, but in general also failed. The music has a lot of new, and some particularly beautiful passages. Madame Storace has eminently distinguished not only by the excellence of his singing but also for her portrayal of Angelica as naive." La Gazzetta di Napoli noted that "the show was widely applauded, and admired the bravery of Ms. Storace." Count Zinzendorf write in his diary on January 4, that "Storace sang well, Benucci Mandini acted perfectly and showed us her beautiful hair" and on the 11th that "opera bores me a bit."

But there was such a failure, proof of which is that the opera spread throughout Europe: Prague premiere the same year; Venice, Trieste and Dresden in 1789; Rome and Bologna in 1790; Paris in 1791 and London in 1794. Da Ponte himself has much to thank this success, since, as he himself says, "suddenly I started receiving many requests from various composers to write works for them, but all were only two who liked and I liked artist: Martini [Martín y Soler] and Mozart, whom I knew at that time."

But the best result of the collaboration between Da Ponte and Martin y Soler had yet to arrive, and would not take too long.


FOOTNOTES.-
[1] Or simply Vicente Martin y Soler. Vicente is the name, and the surname is Martín y Soler.

[2] Other sources set the date in the June 18 of that year.

[3] Born in Barcelona, his family was in silver craftsmanship.

[4] On August 1, 1760, leaving the institution on September 10, 1764. Giuseppe de Matteis points, however, that was a choirboy until age 15.

[5] Town located 166 km south of Valencia.

[6] "Maestro di Capella al servicio di S.M.R. il Principe d'Asturias." Martín y Soler apparently came into contact with the Prince of Asturias through a Neapolitan tenor named Domenico Guglietti. He retained this position until 1788.

[7] He studied with Jean-Georges Noverre (1727-1810). It was the choreographer of the Teatro San Carlo in Naples. The Baron von Grimm says of him in his literary correspondence of 1771 that he had "a lovely face, thinner waist, the most easy and graceful movements, the purest style, lively and natural ... the "Apollo of the dance" is the most talented dancer in Europe, more than any other dancer in the narrative, the gestures pathos, sensitivity and fluidity of movement."

[8] Such support was not limited to artistic patronage. The King of Naples intervened twice in favor of the composer by issues of debt, one of whom was in prison.

[9]This are La Griselda (1779), I ratti sabini (1780), La bella Arsene (1781), Tamas Kouli-Kan (1781) and Il barbiere di Siviglia (1781).

[10] With 19 performances became the most represented opera in the season.

[11] Martín y Soler signed many of his works as Vincenzo Martin, Martini, Martini lo Spagnuolo, and Martini il Valenziano.

[12] Nancy Storace joined the Imperial Opera of Vienna in the spring of 1785.

[13] Jose Agustin Llano y De La Cuadra (1722-1794), was appointed ambassador to Spain in Vienna in 1786 and in office until 1794. He was awarded the title of First Marquis de Llano in 1788.

[14] This is the opera Ricco d'un giorno, released in December 1784 with music by Antonio Salieri.

[15] For a replacement on November 9, 1789 in Vienna, will include two arias in this opera from Mozart's hand: K.582 'Chi sa, chi sa, and K.583 "Vado, ma dove?".

[16] The opera was performed 20 times this season. In Spain they are known as first performances of this opera of the May 30, 1792 at the Teatro de Los Caños del Peral (Madrid), and October 14, 1794 at the Teatro de Santa Cruz de Barcelona. On February 22, 1791, was performed in París.

ATTACHED IMAGES

01 Vicente Martin y Soler at the age of 33

02 King Carlos IV of Spain, previously Prince of Asturias.

03 Fernando IV of Naples

04 Maria Carolina of Austria, wife of Fernando IV.

05 The Marquise of Llano

06 Catalina II of Russia
Attached Images
      
]]> MozartForum Discussion Jose Miguel http://www.mozartforum.com/VB_forum/showthread.php?t=4530 Can anyone recommend used CD stores in Vienna? http://www.mozartforum.com/VB_forum/showthread.php?t=4529&goto=newpost Thu, 12 Aug 2010 15:05:04 GMT I visited a couple decent ones in November 2007, and I'd like to stop by them again in October when I'm in Vienna again, but now I'm having trouble finding information about them. Maybe they've closed, as have so many other brick-and-mortar music stores.

The better one was just off Mariahilfer Strasse, probably a few streets away from Haydn's Gumpendorfer house.

The other was smaller and might have been within walking distance of the Naschmarkt -- I seem to remember walking there after visiting the apartment in which Schubert died.

Anyway, thanks for any suggestions from Forum members "in the know," especially those in Vienna!

andy ]]> MozartForum Discussion Andy B http://www.mozartforum.com/VB_forum/showthread.php?t=4529