Hermann Abert's classic biography, first published in German more than eighty years ago and itself based on the definitive mid-nineteenth century study by Otto Jahn, remains the most informed and substantial biography of Mozart in any language. The book is both the fullest account of the composer’s life and a deeply skilled analysis of his music. Proceeding chronologically from 1756 to 1791, the book interrogates every aspect of Mozart’s life, influences, and experience; his personality; his religious and secular dimensions; and the social context of the time. In "a book within a book,” Abert also provides close scrutiny of the music, including the operas, orchestral work, symphonies and piano concertos, church music and cantatas, and compositions for solo instruments. While the tone of Abert’s great work is expertly rendered by Stewart Spencer, developments in Mozart scholarship since the last German edition are signaled by the Mozart scholar, Cliff Eisen, in careful annotations on every page. Supported by a host of leading Mozart scholars, this immense undertaking at last permits English-language readers access to the most important single source on the life of this great composer.
The pieces in this book are arranged roughly in chronological order. They include the best of Mozart's childhood compositions through late works such as the famous "Sonata in C Major," K. 545. Unique features of this volume include an excellent discussion of pianos in Mozart's day, as well as directives on how to improvise ornaments in Classic keyboard music. The Alfred Masterwork CD Editions conveniently combine each exceptional volume with a professionally recorded CD that is sure to inspire artistic performances. 64 pages.Pianist Scott Price is the chair of the Piano Department at the University of South Carolina and holds a doctorate in piano performance from the University of Oklahoma. He has given master classes and recitals throughout the United States and Southeast Asia. His recordings are featured in Alfreds Premier Piano Course.
At once the most light-hearted and most disturbing of Mozart and Da Ponte's Italian comic operas, Così fan tutte has provoked widely differing reactions from listeners for more than two centuries. Bruce Alan Brown offers several paths toward a closer understanding of the work, providing a detailed account of the libretto's complex origins in myth and Italian literary classics. The Handbook also reveals surprising new information on the role played by Mozart's rival Salieri. It contains a full synopsis, performance history, illustrations from key productions, and a bibliography,
Mozart's brilliant piano technique and his intimate knowledge of beautiful singing is combined to create cameos of human psychology such as reverence, infatuation, humor, jealously, and playfulness, all in masterful songs. Includes word-by-word translations of the Italian, French, and German text as well as a translation into the International Phonetic Alphabet.
This analysis of the opera, as well as its social, cultural and musical context, progresses to an exploration of the comic possibilities of the classical style and opera buffa in the 1770s and 1780s.
This addition to the Cambridge Opera Handbooks series is also the first full-length study of Mozart's Die Entführung aus dem Serail. It aims to familiarize the reader with all aspect of the work: Mozart's writing of the opera and its literary antecedents, its plot, its musical structure, its reception and performance history. The reader will find much that is new in Thomas Bauman's study. He discusses the opera in relation to other Oriental operas, in the light of eighteenth-centruy apprehensions of the East, and as an attempt to reconcile the conventions of German opera in the early 1780s with Viennese taste and Mozart's own maturing operatic aesthetic. The text is well illustrated with pictures and music examples and a full discography lists the available recordings of the opera. This will be essential reading for all who have an interest in Mozart's operas, whether as student, scholar or opera-lover.
The 1200 or so letters of Mozart and his family form the most fascinating correspondence by any artist of the eighteenth century or earlier, and Mozart himself ranks high among letter writers of any age or occupation. A vivd and amzingly detailed picture emerges of Mozart's career as performer, teacher and composer, as well as a lively account of contemporary musical politics in the courts and opera houses of Europe. The inclusion of letters from his father, a dominant but loving parent determined to supervise his son's career evern after he had grown up, highlights the problems which Mozart encountered in breaking with his provincial background, as well as providing a glimpse of the social and domestic details that tell us so much about the kind of person Mozart was and how he lived. The correspondence ends with the pathetic begging letters of his last years and the touching, adoring yet protective letters to his wife. This edition is being published in May 2006 to coincide with the 250th anniversay of Mozart's birth. The selection has been made from the classic translation by Emily Anderson.
La Flute Enchantee de Mozart, arrangee pour violon et violoncelle par Marianne RAMBERT (Partie de Violon). Comprend: Ouverture, 18 Airs parmi les plus celebres, Final. Duree d'execution: 52 min. Arrangement realise a partir de l'Urtext, en respectant les tonalites originales. Format US Letter (21.59 cm X 27,94 cm). Reliure avec dos carre-colle. Il existe egalement une version pour Violon et Alto.
Even Mozart had to learn how to play the piano. This collection of easy works includes pieces composed by both young Mozart and by his father, for his piano lessons. Including pieces from the volume Notebook for Wolfgang alongside popular pieces by Mozart such as Ah vous dirai-je Maman (variations) and themes from Sonata in A major KV 331 and Sonata in C major KV 545. All pieces can be played with or without pedal.
'They wanted me to give a concert; I wanted them to beg me. And so they did. I gave a concert.' Entertaining, touching and sharp-tongued letters between the great eighteenth-century composer and his mentor father.
This thesis examines the iterations of Orientalism and cosmopolitanism as they surface in two of Wolfgang Amadeus Mozart's greatest German Singspiel, the 1782 Die Entführung aus dem Serail (The Abduction from the Seraglio) and the 1791 Die Zauberflöte (The Magic Flute). By examining the interplay between the libretti and the scores for these operas, the way in which Mozart represented his characters along the lines of race, social class, and gender elucidates his worldview as a product of his childhood travelling across the continent of Europe. These analyses are further contextualized by studies of Habsburg-Ottoman relations in the century before the premiere of Die Entführung aus dem Serail and Freemasonry in eighteenth-century Europe, two important political currents to consider among other sociopolitical factors in the commissioning and composition of these two operas. The research concluded that Mozart's Orientalism surfaced most prominently in the characters of Osmin and Monostatos, whose abhorrent behavior strongly juxtaposes the virtuousness of Mozart's European heroes and precludes them from participating in each opera's celebratory cosmopolitan finale. By contrast, the Pasha Selim and high priest Sarastro illustrate Mozart's cosmopolitan worldview with their inclusion in a Western-oriented value system through their magnanimity, goodness, and virtue despite their Oriental origins. The study of these four Orientals and their interactions with the Western characters concludes that Mozart illustrated the importance of goodness and virtue in his cosmopolitan worldview through his Orientalist representations.