By Joseph Solman
Mozartiana is a shocking, eccentric, and captivating testomony to the genius of Wolfgang Amadeus Mozart. Artist Joseph Solman has accrued evaluations, remembrances, letters, and more-from Albert Einstein, Virginia Woolf, Friedrich Nietzsche, Leonard Bernstein, Maurice Sendak, and a few 2 hundred others-and mixed them along with his personal sketches and drawings of the good composer. the result's an excellent get together of Mozart's existence and paintings, and a special present to song fans everywhere.
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Additional info for Mozartiana: Two Centuries of Notes, Quotes, and Anecdotes about Wolfgang Amadeus Mozart
ANDRÉ GIDE, Journals One proven fact, we think, effects from our research: in Mozart's inventive life there has been not just improvement of approach; there has been additionally progress in idea. we're faraway from considering that nobody ahead of us had spotted the natural caliber of his paintings, thought of in time; not anyone who has soaked himself within the composer's song has didn't realize it. however the opinion that Mozart by no means grew up and purely repeated himself, with an unconsciousness that a few profess to discover captivating, throughout his lifestyles, is so sluggish in death that we're pleased to hold one more slab to its grave. —C. M. GIRDLESTONE, Mozart's Piano Concertos The previous isn't, as our jargon implies, a set volume; it truly is in circulation. . . . Mozart, for his contemporaries, used to be no longer the serene vintage, the apostle of degree and perfection that such a lot of of his 19th century admirers, or even a few this day, have beloved to conjure up. to the contrary, he was once for them a painter of excessive or even sombre canvases, of huge scope and colossal layout. —ROGER classes, Lectures inside residing reminiscence Mozart has became from a homosexual, superficial composer to a profound and tragic one. JACQUES BARZUN, The ranking journal now we have throughout the final half-century replaced our receptivity towards Mozart and Bach. Mozart, who in sheer good looks introduced tune to its purest sheen, has turn into extra mysterious. Bach, that magnificently problematic genius, has turn into extra "human. " —GEORGE MAREK, Beethoven Fifty years this [the concept that Mozart was once only a rococo composer] was once what most folk thought of him, and the idea used to be supported by means of terrible little plaster casts which made him glance the correct eighteenth-century dummy. i purchased a type of busts while i used to be in school, but if I heard the G minor Quintet, i spotted that it could actually no longer were written via the sleek, white personality on my mantelpiece and threw the bust within the wastepaper basket. . . . His formal perfection used to be used to precise features that have been very faraway from the rococo kind. one in all them used to be that extraordinary type of depression, a depression amounting virtually to panic, which so frequently haunts the isolation of genius. Mozart felt it particularly younger. the opposite attribute used to be virtually the other: a passionate curiosity in humans, and within the drama of human relationships. How frequently in his orchestral pieces—concertos or quartets—we locate ourselves engaging in a drama or discussion; and naturally this sense reaches its average end in opera. —KENNETH CLARK, Civilisation while Mozart wrote Don Giovanni, it used to be now not lovable and it used to be now not fascinating. for those who positioned your self again with the 1st viewers that heard that piece within the 1780s— tune of similar violence because the commencing notes of Don Giovanni had by no means been heard within the heritage of the area. That was once shattering tune for the viewers. And we now give some thought to Mozart as "a leisure for the soul" and "something stunning. " actually, for his first viewers it used to be difficult, it was once stunning, humans acknowledged this can be too highbrow, humans acknowledged this can be too forceful, it truly is too brutal, cannot or not it's a bit nicer?