Word: mozartism
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Dates: during 1960-1969
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...trumpet. A shorter instrument than the modern trumpet, the baroque requires iron control and lungs like bellows. Even experts can rarely coax it into anything more than a banshee wail; Scherbaum produces a ringing, jubilant tone that is the joy of Bach lovers-and of Michael Haydn and Leopold Mozart fans as well. Of all the pieces he plays, the toughest is the Brandenburg No. 2: in the upper range it soars to G above high C, and wise conductors almost always cheat on the trumpet part and make do with an E-flat clarinet or a soprano saxophone...
Glyndebourne (rhymes with find horn) Opera has built a reputation for performances of Mozart and other composers that any opera house in the world might envy...
...acre estate, an old gentleman in tennis shoes sat in his 700-year-old manor house and reminisced. "Once I began to inherit family properties," he said, "it was really my job to build a better world. And besides, I always had so much sympathy for poor little Mozart...
Says General Manager Moran Caplat: "We don't like the star system. We want the audience to hear opera rather than see Miss X." Glyndebourne still is heaviest on Mozart (Marriage of Figaro has been done a record 114 times), but the house has also presented a good share of the Italian repertory plus the premieres of such contemporary works as Benjamin Britten's Albert Herring and Rape of Lucretia and the first English productions of Stravinsky's The Rake's Progress and Hans Werner Henze's Elegy for Young Lovers. The country opera gets...
Inspired Guess. Thus Spengler proposes that the music of Mozart and "the glad fairyland of Moorish columns that seem to melt in air'' are contemporary because they express the golden flowering of two comparable cultures (Western and Middle Eastern). In Western culture (which Spengler regards as entirely separate from Greco-Roman), Cecil John Rhodes's campaign to exploit Africa is made equivalent to Caesar's foray into Gaul. Both mark the start of expansionist drives that Spengter sees as the beginning of the culture's final decline...