The Cambridge Companion to Mozart by Simon P. Keefe

By Simon P. Keefe

Bridging the space among scholarly and renowned pictures of Mozart, this quantity presents accomplished assurance of all of his vital works; the reception of his track given that his loss of life; the contexts which tell his paintings and his importance as a performer. It paints a rounded but concentrated photo of 1 of the main respected artists of all time and complements readers' appreciation of his impressive output.

The Cambridge significant other to Mozart paints a rounded but focussed photo of 1 of the main respected artists of all time. Bringing the latest scholarship into the general public area, this quantity bridges the distance among scholarly and well known photographs of the composer, improving the readers' appreciation of Mozart and his notable output, despite their earlier wisdom of the track. half I situates Mozart within the context of overdue eighteenth-century musical environments and aesthetic tendencies that performed a pivotal position in his inventive improvement and examines his equipment of composition. half II surveys Mozart's works in all the genres within which he excelled and half III appears to be like on the reception of the composer and his tune in view that his demise. half IV deals perception into Mozart's occupation as a performer in addition to theoretical and sensible views on traditionally expert performances of his music.

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Gentlemen of the court performed the dances, which in part were inserted in the action as entr’actes. 10 Mozart’s sole contribution to the genre was Apollo et Hyacinthus, performed in 1767 between the acts of Rufinus Widl’s Latin tragedy Clementia Croesi. 11 Every year in August, in connection with the university’s graduation ceremonies, the students had a substantial orchestral work performed for their professors. Typically these serenades consisted of an opening and closing march and eight or nine other movements, among them two or three concerto-like movements for various instruments.

The three permissible processions were limited to fifteen minutes around the church. They were to begin from the church and no other place. They were to be held on the day of the feast itself and could not be postponed. Some non-liturgical devotions were banned altogether, such as blessings for good weather, pilgrimages and elaborate celebrations of Christ’s resurrection. The forty-hour prayer said during the three days of carnival was limited to churches in the larger cities and only to those that already had a tradition of performing this ritual.

On 12 February 1788 he pensioned off the aged Bonno and replaced him as Kapellmeister of the Hofkapelle with Salieri, who consequently gave up his position in the Kammer Musik, leaving Mozart as its sole composer. In the end, there were two composers at court: Salieri and Mozart. Salieri received 1200 gulden as Kapellmeister of the Hofkapelle and Mozart 800 gulden as composer in the Kammer Musik. Mozart’s duties were not defined in his letter of appointment, but for the time being they were practically non-existent, as Joseph went off to war at the end of February.

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