Word: mozartian
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This new biography by Hildesheim, an esteemed Mozartian, was widely acclaimed on its publication in Germany five years ago. Written in a fresh, distinctive style, this account refutes much previous speculation about the great composer's life and music, replacing it with scholarship and practical judgement. Much of the enjoyment in reading the biography derives from its flexible approach and its lack of a didactic single answer to the enigma. Hildesheimer freely admits that his work is only a contribution to the "concert of diverse voices," yet he hopes to alter that concert with his voice. He considers "the reader...
...indulge in "fecal comedy." The crude giggly figure of Mozart seen in Peter Sheffer's play "Amadeus" is, it seems, part of the unsavory reality of history. Other half-truths are taken up along the way and variously dispensed with: for anyone but a keen follower of trends of Mozartian interpretation, such discussion obtrudes more than it adds...
...being celebrated this year, conducted the premiere of The Rake in Venice in 1951, and the work has acquired the status of a classic among the composer's admirers. But Russell, ever the iconoclast, has turned it upside down. The jejune quality of Stravinsky's cool, mock-Mozartian music is engulfed in a rush of theatrical inventiveness that is often sensitively analytical, at times tasteless and, in the end, dramatically convincing-not an easy task with this opera...
...separate them and to stifle their career plans, but who are finally vanquished by good fortune--a reunion acene brings the lovers back together again for the happy ending. Or during the opera parody, the music might structure itself around a Puccini-type love duet and a Mozartian recitative, accompanying the Romeo and Juliet-type plot formula that stands behind an avalanche of imitative narrative detail...
...sacred to Aphrodite. It was from this delectable abode of profane love that the 18th century painters of the féte champétre drew their inspiration. Rubens' outdoor courts of pagan love became Watteau's exquisite assemblies of lovers and Pierrots, at dusk, beside the Mozartian stone statue. This vision of a society of the elect united by love (which is equally the root of the paradise myth) continued through Watteau's colleagues and imitators, Fragonard, Jean-Baptiste Pater - in The Dance (circa 1730) - Nicolas Lancret and the rest. Nor was it altogether lost with...