Life of Mozart

More documents

Recommendations

Info

'??X«^6^/7^//^
LIFE OF MOZARTBYOTTO JAHN.TRANSLATED FROM THE GERMAN BYPAULINE D. TOWNSEND.WITH A PREFACE BYGEORGE GROVE, Esq.,D.C.L.IN THREE VOLUMESVOL. III.LONDONNOVELLO, EWER & CO.1882.
Page 1 and 2: l^^SSSiSiSJSSSrS^^^SSJS!:^^^jMJ^mv-
Page 3: ';ä«i,'1»
Page 11 and 12: NEXTCHAPTER XXXIV.MOZART'S INSTRUME
Page 13 and 14: 5 Nissen, Nachtrag, p. 62.B 2—;MO
Page 15 and 16: ———QUARTETS, I785. 5biguous r
Page 17 and 18: MOZART'S AND HAYDN's QUARTETS. 7fea
Page 19 and 20: MOZART'S STRING QUARTETS. 9degree,
Page 21 and 22: —————SIX QUARTETS, I785.
Page 23 and 24: ;SIX QUARTETS, I785. I3They are cas
Page 25 and 26: ;LATER QUARTETS, 1786-1790. I5meet
Page 27 and 28: ——TRIO IN E FLAT, I788. 17Duets
Page 29 and 30: —THE QUINTET.IQrenders all the mo
Page 31 and 32: ——MOZART'S G MINOR QUINTET. 21i
Page 34 and 35: 24 MOZART S INSTRUMENTAL MUSIC.Anot
Page 36 and 37: ——20 MOZART'S INSTRUMENTAL MUSI
Page 38: 28 Mozart's instrumental music.This
Page 41 and 42: —THE D MAJOR SYMPHONY. 31The tole
Page 43 and 44: —SYMPHONIES, 1788. 33without any
Page 45 and 46: —G MINOR SYMPHONY, I788. 35mind t
Page 47 and 48: C MAJOR SYMPHONY. 37keenness of exp
Page 49 and 50: SYMPHONIES. 39puntal elaboration, a
Page 51 and 52: THE RIGHT MEANING OF THE SYMPHONIES
Page 53 and 54: :THE OPERA IN VIENNA. 43composers (
Page 55 and 56:
—DECLINE OF GERMAN OPERA. 45I oug
Page 57 and 58:
—" DER SCHAUSPIELDIRECTOR," I786.
Page 59 and 60:
—" DER SCHAUSPIELDIRECTOR," I786.
Page 61 and 62:
REVIVAL OF ITALIAN OPERA, 1783. 5Iu
Page 63 and 64:
——" l' oca del CAIRO," 1783. 53
Page 65 and 66:
——;by the treatment of the deta
Page 67 and 68:
'* l' oca del CAIRO," 1783. 57also
Page 69 and 70:
—!" LO SPOSO DELUSO, 1784." 59fin
Page 71 and 72:
—" LO SPOSO DELUSO," 1784. 61over
Page 73 and 74:
" LO SPOSO DELUSO," I784. 63restora
Page 75 and 76:
—CASTIDA PONTE. 65from Casti, " L
Page 77 and 78:
—'ADAPTATION OF '' FIGARO," I785.
Page 79 and 80:
—INTRIGUES AGAINST " FIGARO." 69b
Page 81 and 82:
:PERFORMANCE OF " FIGARO. 71II Cont
Page 83 and 84:
" LE MARIAGE DE FIGARO. 73play had
Page 85 and 86:
BEAUMARCHAIS' "FIGARO." 75nounced h
Page 87 and 88:
DA PONTE'S LIBRETTO. >]"]boxing his
Page 89 and 90:
;worsted and disgraced.DA PONTE S L
Page 91 and 92:
—MORAL TENDENCY OF FIGARO. ölThe
Page 93 and 94:
MUSICAL TREATMENT OF THE DRAMA. 83w
Page 95 and 96:
BASILIO. 85telling how he found the
Page 97 and 98:
——FIGARO.^yideas are afterwards
Page 99 and 100:
——:BARTOLO. 89opportunity of ve
Page 101 and 102:
THE COUNT. 91the enchanting duet wi
Page 103 and 104:
RONDO FOR SUSANNA. 93AI desio di ch
Page 105 and 106:
Itbecomes all the more observable.
Page 107 and 108:
CHERUBINO. 97excite her anger, and
Page 109 and 110:
—32 Dohrn, N. Ztschr, Mus., XL, p
Page 111 and 112:
ENSEMBLES.lOIments, but the musical
Page 113 and 114:
FINALES. . 103mated variety, moving
Page 115 and 116:
;FINALES. 105disposition of the cha
Page 117 and 118:
THE SESTET.IO7son being transferred
Page 119 and 120:
—;:TREATMENT OF THE VOICE PARTS.l
Page 121 and 122:
THE ORCHESTRA.Illabstaining from ce
Page 123 and 124:
—THE ORCHESTRA—OVERTURE. 113for
Page 125 and 126:
"FIGARO AS AN OPERA BUFFA. II5porar
Page 127 and 128:
—VIENNA, 1786. 117sity of feeling
Page 129 and 130:
MUSIC IN BOHEMIA. II9the Bohemians,
Page 131 and 132:
——;MADAME DUSCHEK. 121him. She
Page 133 and 134:
—PERFORMANCE OF " FIGARO.I23were
Page 135 and 136:
—CONCERTS AND COMMISSIONS, 125The
Page 137 and 138:
—VIENNA, 1787—DITTERSDORF. I27i
Page 139 and 140:
——COMPOSITIONS IN 1787. 129shar
Page 141 and 142:
PERFORMANCE IN PRAGUE, 17S7. I3Ilov
Page 143 and 144:
—)SUCCESS IN PRAGUE. I33the appoi
Page 145 and 146:
SONG FOR MADAME DUSCHEK, 1787. I35s
Page 147 and 148:
)—PERFORMANCE IN VIENNA, 1788. 13
Page 149 and 150:
CRITIQUES ON " DON GIOVANNI.13gand
Page 151 and 152:
'•":^^—CRITIQUES ON " DON GIOVA
Page 153 and 154:
";STATISTICS OF PERFORMANCES.I43fir
Page 155 and 156:
THE LIBRETTO.I45it not at all for V
Page 157 and 158:
TIRSO DE MOLINA'S " CONVIDADO DE PI
Page 159 and 160:
:TIRSO DE MOLINA'S " CONVIDADO DE P
Page 161 and 162:
!—THE ITALIAN " CONVITATO DI PIET
Page 163 and 164:
—MOLIERE'S "festin de PIERRE.I53r
Page 165 and 166:
EON JUAN IN ENGLAND AND GERMANY. I5
Page 167 and 168:
——GLUCK'S ballet, " DON JUAN."
Page 169 and 170:
—GAZZANIGA's " CONVITATO DI PIETR
Page 171 and 172:
DA PONTE'S LIBRETTO.l6lhis characte
Page 173 and 174:
DA PONTE'S LIBRETTO. 163tance in di
Page 175 and 176:
!'of justice, and begs his friends
Page 177 and 178:
:GERMAN ADAPTATIONS. 167hero is con
Page 179 and 180:
— ——THE OVERTURE. 169breeze,
Page 181 and 182:
:LEPORELLO.I7Istriking as is his in
Page 183 and 184:
THE SESTET LEPORELLO. I73sestet, ho
Page 185 and 186:
DUET—LEPORELLO 175passage, wherei
Page 187 and 188:
•THECOMMENDATORE. I77terror he ha
Page 189 and 190:
—LEPORELLO—AIRS.I79as has his m
Page 191 and 192:
THE RAPID PARLANDO.l8laudience to l
Page 193 and 194:
DON GIOVANNI. 183terzet, again (Act
Page 195 and 196:
DON GIOVANNI—AIRS. 185unbridled p
Page 197 and 198:
;ZERLINA. 157maiden; and the little
Page 199 and 200:
—MASETTOZERLINA. 189airs of Don G
Page 201 and 202:
!—ELVIRA. 191not recognising her,
Page 203 and 204:
'ELVIRA—TERZET.I93unmasks Don Gio
Page 205 and 206:
ELVIRA—INSERTED AIR— FINALE.I95
Page 207 and 208:
DON GIOVANNI S CHARACTER. ig/with n
Page 209 and 210:
DONNA ANNA. 199unconscious exclamat
Page 211 and 212:
—DONNAANNAOTTAVIO. 201chieg-go,wi
Page 213 and 214:
—DONNA ANNAOTTAVIO.•203dispute
Page 215 and 216:
—DONNAANNAOTTAVIO. 205churchyard
Page 217 and 218:
—FIRST FINALE. 207when Zerlina as
Page 219 and 220:
DANCES. 209are in a position to exp
Page 221 and 222:
THE SECOND FINALE, 211which prepare
Page 223 and 224:
THE SECOND FINALE. 213from the gloo
Page 225 and 226:
——WORKS IN VIENNA, I788. 215of
Page 227 and 228:
MASKED BALLS. 217converted into the
Page 229 and 230:
"ARRANGEMENT OF HANDEL'S ORATORIOS.
Page 231 and 232:
;ARRANGEMENT OF HANDEL'S ORATORIOS.
Page 233 and 234:
THE " MESSIAH. 223portionate length
Page 235 and 236:
ADAPTATIONS OF EARLIER WORKS. 225pu
Page 237 and 238:
DRESDEN, 1789. 227phion," and in 17
Page 239 and 240:
LEIPZIG— POTSDAM, 178g. 229risen
Page 241 and 242:
;OFFER OF THE KING OF PRUSSIA.23IDu
Page 243 and 244:
CONCERT IN LEIPZIG, I789. 233grown
Page 245 and 246:
—LUDWIG TIECK AND MOZART. 235thea
Page 247 and 248:
—WORKS IN VIENNA, 1709. 237CHAPTE
Page 249 and 250:
—CHARACTERS AND PLOT. 239FiordiUg
Page 251 and 252:
LIBRETTO. 241love. Don Alfonso, ent
Page 253 and 254:
22A. M. Z., XXXIII., p. 222.R 2—P
Page 255 and 256:
ALTERATIONS IN THE LIBRETTO. 245pos
Page 257 and 258:
CRITICISM OF THE LIBRETTO. 247(whos
Page 259 and 260:
THE MUSIC ENSEMBLES."249opera affor
Page 261 and 262:
adieux from the shore, while Don Al
Page 263 and 264:
——DORABELLA. 253part and the mo
Page 265 and 266:
FERRANDO. 255is induced by her more
Page 267 and 268:
—FERRANDO—GUILLELMO. 257his arm
Page 269 and 270:
I^HII—GUILLELMO S AIR. 259treâ p
Page 271 and 272:
GUILLELMO. 201assurance of Fiordili
Page 273 and 274:
——DESPINA. 263boastful loquacit
Page 275 and 276:
—DON ALFONSO. 265no grand air is
Page 277 and 278:
II 11,^^î"^—IJI'II1 1 1THE OVERT
Page 279 and 280:
1——THE FIRST FINALE. 269duet fo
Page 281 and 282:
THE SECOND FINALE.27Ipredominated i
Page 283 and 284:
GENERAL CRITIQUE. 273after the same
Page 287 and 288:
MOZART S POSITION AT COURT, 179O. 2
Page 289 and 290:
EXPEDITION TO FRANKFORT, 179O. 277I
Page 291 and 292:
'"The lateRETURN JOURNEY TO VIENNA,
Page 293 and 294:
—!!!!—BADEN, 1791STOLL. 281the
Page 295 and 296:
—SCHIKANEDER. 283irretrievably in
Page 297 and 298:
—COMPOSITION OF THE " ZAUBERFLOTE
Page 299 and 300:
COMMISSION FOR THE REQUIEM. 287no e
Page 301 and 302:
—FIRST PERFORMANCE OF "TITUS," 17
Page 303 and 304:
PLOT OF TITUS. 29!Vitellia, daughte
Page 305 and 306:
—"TITUS —OVERTURE— ENSEMBLES.
Page 307 and 308:
" TITUS — SEXTUS. 295him one glan
Page 309 and 310:
*' TITUS " VITELLIA. 2g7and even th
Page 311 and 312:
" TITUS —ENSEMBLES. 299farewell o
Page 313 and 314:
CRITICISMS ON "TITUS." 3OIIn brilli
Page 315 and 316:
:^—DRAMATIS PERSONS. 303young man
Page 317 and 318:
—"OBERON — "lulu. 305Schikanede
Page 319 and 320:
THE LIBRETTO—RIVAL THEATRES. 307N
Page 321 and 322:
" KASPAR DER FAGOTTIST. 3O9supper b
Page 323 and 324:
———THE LIBRETTO.3IIher mother
Page 325 and 326:
———THE LIBRETTO. 313silence u
Page 327 and 328:
sfpII——ITHE OVERTURE. 315we thi
Page 329 and 330:
—THE OVERTURE. 317intended to be
Page 331 and 332:
—ACH GOTT VOM HIMMEL,3^9require i
Page 333 and 334:
—TAMINO. 321groundwork for the lo
Page 335 and 336:
CHORUSES. 323into closer contact wi
Page 337 and 338:
intense sympathy of the firstSARAST
Page 339 and 340:
—TAMINO. 327Sarastro's good tempe
Page 341 and 342:
PAMINA. 329initiation into the myst
Page 343 and 344:
——PAMINA—TERZET.33IPamina, in
Page 345 and 346:
——rTHE QUEEN OF NIGHT. 335deepl
Page 347 and 348:
THE THREE LADIES, 335only do we fin
Page 349 and 350:
f——THE MOOR— PAPAGENO. 337sam
Page 351 and 352:
—Ztg., 1793, p. 151)-Z 2PAPAGENO.
Page 353 and 354:
——LOVE OF MAN AND WIFE.34Isugge
Page 355 and 356:
ENSEMBLES. 343fail to appear in the
Page 357 and 358:
FANTASTIC AND MYSTIC ELEMENTS. 345a
Page 359 and 360:
;THE ORCHESTRA. 347form the basis o
Page 361 and 362:
'*Zauberflöte." ''^PERFORMANCES AN
Page 363 and 364:
PERFORMANCES AND IMITATIONS. 351oth
Page 365 and 366:
SAD FOREBODINGS. 353afterwards how
Page 367 and 368:
—;SERIOUS ILLNESS. 355winter supp
Page 369 and 370:
THE END. 357tongue— I taste death
Page 371 and 372:
INTERMENT AND GRAVE. 359as he was,
Page 373 and 374:
—COMPLETION OF THE REQUIEM. 361re
Page 375 and 376:
;süssmayr's work. 363He had not se
Page 377 and 378:
süssmayr's work. 36:no longer be a
Page 379 and 380:
PUBLICATION.3Ö7score note for note
Page 381 and 382:
süssmayr's share in the work. 369A
Page 383 and 384:
KYRIE— INTROITUS. 371time much fr
Page 385 and 386:
KYRIE. 373could have written such "
Page 387 and 388:
—HANDEL'S INFLUENCE. 375been quit
Page 389 and 390:
DIES IR^. 377Dies iras, which is ge
Page 391 and 392:
DIES IRM. 379ness of the Redeemer a
Page 393 and 394:
DIES IRM. 381punctuated passage for
Page 395 and 396:
—! IhkJDIES IR^. 383for what was
Page 397 and 398:
OFFERTORIUM. 385may be carried into
Page 399 and 400:
parts of the firstsüssmayr's share
Page 401 and 402:
süssmayr's share in the work. 389t
Page 403 and 404:
GENERAL REVIEW OF THE WORK.39Iwe ha
Page 405 and 406:
SYMPATHY FOR THE FAMILY. 393express
Page 407 and 408:
COMMEMORATIONS. 3951842, a few hour
Page 409 and 410:
MEMORIALS OF MOZART, 397a lyre. The
Page 411 and 412:
CONCLUSION. 399musicians, with Hayd
Page 413 and 414:
MARIANNE MOZART.40IAPPENDIX I.MARIA
Page 415 and 416:
MARIANNE MOZART. 403gang's correspo
Page 417 and 418:
—;!MARIANNE MOZART. 405I forget,
Page 419 and 420:
:ARRANGEMENTS OF MOZART's CHURCH MU
Page 421 and 422:
—ARRANGEMENTS OF MOZART'S CHURCH
Page 423 and 424:
—PORTRAITS OF MOZART. 411The last
Page 425 and 426:
——PORTRAITS OF MOZART. 413effec
Page 427:
PORTRAITS OF MOZART. 415ably from t
Page 430 and 431:
"Ave4i8APPENDIX IV.KBchel,142 Tantu
Page 432 and 433:
—;.:420 APPENDIX IV.Köchel.582 A
Page 434 and 435:
422 APPENDIX IV.Eichel250 Serenade
Page 436 and 437:
.2.Köchel,Ki;chel,155 Quartet for
Page 438 and 439:
._426 APPENDIX IV.24851791802641245
Page 440 and 441:
Ij'I.i428 APPENDIX IV.Küchel,62 Ca
Page 442 and 443:
;;430 INDEX.Auf der W:eden, theatre
Page 444 and 445:
;432 INDEX.Dalberg, Heribert von, e
Page 446 and 447:
;•434 INDEX.wine as a stimulant t
Page 448 and 449:
;436 INDEX." L' Arbore di Diana," o
Page 450 and 451:
he;;438 INDEX.Paris, II. 45 concern
Page 452 and 453:
;440 INDEX.Operetta, German, an aft
Page 454 and 455:
.442 INDEX.Seeau, Count, I. 351, 35
Page 456 and 457:
LONEONPRINTED BY NOVELLO, EWER & CO
Page 459 and 460:
^/U^L-Wr-M«^ ^^cHî^ ^-§Y^-,wSll^
Page 461:
7i?î
Page 464 and 465:
i^•^^^^'''',,*'-r \"\ ''1'^ ' d"\
Page 470 and 471:
404a.
Page 472:
^^m^wsssm^w^^\.->'^\N»aäaaBHM
show all

Life of Mozart

Create successful ePaper yourself

Delete template?

Save as template?