Word: mozartism
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Dates: during 1960-1969
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...took refuge in neither self-indulgent derivativeness nor in the most modern romance of the despairing, artist. Everyone stresses Mahler's bitterness, his nervous, lachrymose nature; Yet he was one of the most disciplined, and magnanimous composer who ever lived, with the most sensitive ear for orchestral nuance since Mozart, and the most profound intuition of musical as drama since Beethoven. Regardless of the intensely personal nature of is musical thought, he composed as an act of prayer. He said, "All creation adorns itself continually for God." He was the sort of man who become despised because of his merciless...
Thus one of the few antitheses which as any applicability to Mahler is his disciplined, complex response to diversity while believing in an irreducible, if ultimately unvoiceable permanency in life. The milieu of is world may be suggested by the names Eichendorff, Haupmann, Strauss, Kant, Sclegel, Mozart, the Mass, and Goethe: a weird assemblage which yielded a mind disposed to mystical and ironical visions, but always wit a resilient core of innocent he is accused of innocent simplicity. And this is almost certainly the reason e is accused of parody. As Tovey wrote...
...Mozart String Quintet in G Minor K. 516 followed Schumann and was a big improvement. The addition of Isidore Cohen, who played well all evening, bolstered the violin sound immensely and the two violinists were very competent. Again, however, the piece got off to a slow start. An opening Allegro, thick in texture but still meant to move along easily and swiftly, was too slow. Furthermore the group slowed down perceptibly toward the end of the movement, as much as six to twelve beats a second. Then, as if the Schumann had not sufficiently apprized the audience of a certain...
After this nadir, the concert got under way in earnest. The last two movements of the Mozart went quite well. They chose exciting tempi and played with admirable feeling and expression. The final Allegro was particularly pleasing with a nice rhythmic drive, and exactness of nuance, and an attention to phrasing which deserve praise...
SALZBURG (July 26-Aug. 30) will not disappoint those who like the tried and true, though there will also be productions of some rarely heard operas. Emilio de' Cavalieri's The Representation of Body and Soul (1600), Giovanni Battista Pergolesi's La Serva Padrona (1733), and Mozart's Bastien und Bastienne spell Von Karajan's controversial production of Don Giovanni, and Beethoven's Fidelio under Karl Böhm's baton. The classics-heavy on Mozart, of course-will be given their due by the Vienna Philharmonic...