Wolfgang Amadeus Mozart God grant that some change may soon come to pass! In the mean time I shall certainly not be deficient in industry, trouble, and labor. My hopes are centred on the winter, when every one returns from the country. My heart beats with joy at the thought of the happy day when I shall once more see and embrace you. The day before yesterday my dear friend Weber, among other things, wrote to me that the day after the Elector’s arrival it was publicly announced that he was to take up his residence in Munich, which came like a thunder-clap on Mannheim, wholly, so to say, extinguishing the universal illumination by which the inhabitants had testified their joy on the previous day. The fact was also communicated to all the court musicians, with the addition that each was at liberty to follow the court to Munich or to remain in Mannheim, (retaining the same salaries,) and in a fortnight each was to give a written and sealed decision to the Intendant. Weber, who is, as you know, in the most miserable circumstances, wrote as follows:— “I anxiously desire to follow my gracious master to Munich, but my decayed circumstances prevent my doing so”. Before this occurred there was a grand court concert, where poor Madlle. Weber felt the fangs of her enemies; for on this occasion she did not sing! It is not known who was the cause of this.
Golden Deer Classics, Ludwig Van Bethoveen, Oscar Wilde, Emma Darwin, Vita Sackville-West, Virginia Woolf, Honoré de Balzac, Napoleon Bonaparte, John Keats, Lord Byron, Voltaire, Henri VIII, Leo Tolstoy, Gustave Flaubert, Nathaniel Hawthorne, Jack London, Johann von Goethe, James Joyce, Abigail Adams, Sullivan Ballou, Harriet Beecher Stowe, Pietro Bembo, Charlotte Brontë, Lewis Carroll, Catherine Of Aragon, Mark Twain, John Constable, Oliver Cromwell, Ninon de Lenclos, Alfred de Musset, Zelda Fitzgerald, Mary Wollstonecraft, Heloise, Count Gabriel Honore De Mirbeau, Lyman Hodge, King Henry IV, Franz Liszt, Katherine Mansfield, Wolfgang Amadeus Mozart, Thomas Otway, Ovid, Robert Schumann, Vincent van Gogh, Tsarina Alexandra & Laura Lyttleton If a picture speaks a thousand words, a love letter speaks a thousand more . . .
Even in this age of e-mail, faxes, and instant messaging, nothing has ever replaced the power of a love letter. Love letters express the spectrum of our emotions, offering a colorful glimpse into the soul of the writer, and of the writer's beloved. For passionate readers and lovers of words, a letter is irresistible.
List of letters included:
Ludwig van Bethoveen - The Immortal Beloved
Oscar Wilde to Lord Alfred "Bosie" Douglas
Emma Darwin to Charles Darwin
Vita Sackville-West & Virginia Woolf - Love Letters
Honoré de Balzac to Countess Ewelina Haska
Napoleon Bonaparte to Joséphine de Beauharnais
John Keats to Fanny Brawne
Lord Byron to Teresa Guiccioli
Voltaire to Olympe Dunover
Henry VIII to Anne Boleyn
Leo Tolstoy to Valeria Arsenev
Gustave Flaubert to Louise Colet
Nathaniel Hawthorne to Sophia Hawthorne
Jack London to Anna Strunsky
Johann von Goethe to Charlotte von Stein
James Joyce to Nora Barnacle
Abigail Adams to John Adams
Sullivan Ballou to Sarah Ballou
Harriet Beecher Stowe to Her Husband, Calvin
Pietro Bembo to Lucrezie Borgia
Charlotte Brontë to Constantin Heger
Lewis Carroll to Gertrude Chataway
Catherine Of Aragon to Henri VIII
Mark Twain to Olivia Langdon
John Constable to Maria
Oliver Cromwell to Elizabeth Cromwell
Ninon De L'Enclos to One Of Her Lovers
Alfred de Musset to Amantine Aurore Dudevant
Zelda Fitzgerald to F. Scott Fitzgerald
Mary Wollstonecraft to William Godwin
Heloise - Letter to Peter Abelard
Count Gabriel Honore de Mirbeau to Sophie
Lyman Hodge to Mary Granger, His Fiancee
King Henry IV Of France to Gabrielle d'Estrées
Franz Liszt to the Countess d'Agoult
Katherine Mansfield to John Middleton Murry
Wolfgang Amadeus Mozart to his wife Constanze
Thomas Otway to Mrs Barry
Ovid to his wife
Robert Schumann to Clara Wieck
Vincent Van Gogh to Theo, his brother
Tsarina Alexandra to Tsar Nicholas II Of Russia
Wolfgang Amadeus Mozart This manuscript, also known as Mozart’s Thematic Catalogue, is the record of his compositions in the last seven years of his life.
During this period, from February 1784 until December 1791, he composed many of his best-known works, including his five mature operas, several of his most beautiful piano sonatas, and his last three great symphonies, as well as several famous lesser works. It was a turbulent time of his life, with financial crises, family tragedy, and his ongoing unsuccessful search for a permanent court position.
Mozart organised the entries in the catalogue in the order in which they were completed. On the left-hand page he entered five compositions, each with its date, title, and often its instrumentation. He sometimes added further information such as the name of the singer, where it was composed, or who had commissioned the piece. He divided the right-hand page into five pairs of staves on which he wrote the opening bars of each work.
According to the description on the front cover, Mozart planned to include all his compositions, but there are a few minor omissions. Intriguingly, there are also entries in the catalogue for a number of works that have since been lost.
Mozart made his last entry in the catalogue just three weeks before his early death in December 1791. His last great work, a requiem, was not entered as it remained unfinished at his death.
This is an eBookTreasures facsimile edition, which includes specially-recorded music throughout the book, as well as text commentary on every page.
Wolfgang Amadeus Mozart & Simon Parke Wolfgang Amadeus Mozart, a child prodigy who became an adult genius, died in debt and was buried in an unmarked grave in his adopted home of Vienna.
Mozart needed no formal lessons in composition. He’d been composing since the age of five, and possessed astonishing musical memory, able to re-create whatever he heard or saw. He could mimic different styles and his travels, which were endless, gave him plenty to imitate whether sacred, dramatic or instrumental. As he said, ‘I can pretty well adapt or conform myself to any style or composition.’ He was not the tortured artist but could compose whilst playing billiards or skittles, ordering the musical ideas in his head so exactly that writing them down was a slightly mechanical affair, requiring little effort. The music was there in its entirety in his head.
Mozart struggled with relationships, revealing a strong sense of abandonment beneath the surface. Quick to judge, he possessed a sharp manner himself, but saw only the upset that others caused him. He had a long list of foes and his battles with them he describes in much detail. A difficult relationship with his controlling father Leopold was partially offset by a happy marriage to Constanze, a genuine oasis in a world he found frustrating. Mozart was a phenomenal performer as well as composer, enjoying moments of great adulation. But these never turned into financial security. For this reason, he was a reluctant piano teacher throughout his life.
‘Conversations with Mozart’ is an imagined conversation with the man behind the music who died largely unnoticed at the age of 35. But while the questions are imagined, Mozart’s words are not; they are all authentically his, taken from his many letters.
He was the eternal child. As his sister Nannerl said, ‘Outside of music he was, and remained, nearly always a child.’ But he was a child with a seat at the very top composers’ table; a conduit for the most perfectly shaped musical argument, sublime harmonies and with a deep understanding of drama and emotion. ‘There’s never a dull moment with Wolfgang,’ says Simon Parke. ‘He’s fascinating on the subject of music, and beguiling on the soap opera of his life. He understood music better than he understood himself, which brought suffering. But he was determined to be cheerful. Hope was always round the next corner for Wolfgang.’
Wolfgang Amadeus Mozart Authoritative, inexpensive volume contains all 19 sonatas and 4 fantasies, ranging from the relatively easy Sonata in C Major, K.545 to the profoundly moving Fantasy in D Minor, K.397. Reprinted from the reliable Breitkopf & Härtel's Complete Works. Indispensable for serious pianists at all levels.
Wolfgang Amadeus Mozart Premiering on September 30, 1791, Mozart’s The Magic Flute was first performed just two short months before the composer’s death in December 1791. An immediate success, the opera reached its 100th performance in November 1792. The play opens with Tamino, a young prince, being chased by a serpent. After a while, he faints from exhaustion. Three ladies find him and nurse him back to health. After seeing that the prince is very attractive, each of them tries to convince the others to leave. After some bickering, the three leave the prince alone. After Tamino recovers, he falls in love with a woman in a portrait. The Queen of the Night appears and tells the prince that the woman is her daughter, Pamina, and that she has been captured by the evil Sarastro. Tamino decides to rescue Pamina. He obtains a magic flute that can change men’s hearts and a chime that is said to protect him. Papageno, a man who claimed he had killed the serpent that had been chasing the prince, also accompanies him. After finding Sarastro’s temple and Pamina, Tamino finds himself captured. Sarastro tests Papageno and Tamino with a series of trials that require complete silence from both the men. Passing these tests, Tamino is finally reunited with Pamina after Sarastro sees that they are madly in love. Today, The Magic Flute has been adapted into films and plays in many countries and for audiences of different ages. Even over 200 years after its premiere, The Magic Flute is the fourth most frequently performed opera in the world.
This book was created from a scan of the original artifact, and as such the text of the book is not selectable or searchable.
Wolfgang Amadeus Mozart Lady Grace Wallace has translated the letters of Mozart in this volume, which includes editorial comments and a narrative leading from one letter to the next. This volume, the first of two, also contains various portraits and illustrations. Originally, this text was written in German by Ludwig Nohl. The volumes are divided chronologically, the second spanning from 1781–1791, and includes an account of Mozart's death by Sophie Haibel.
This book was created from a scan of the original artifact, and as such the text of the book is not selectable or searchable.
Wolfgang Amadeus Mozart Mozart's 1787 masterpiece, Don Giovanni is considered by many to be his greatest opera. It is among the most often performed operas the world over, essential to the repertoire of every singer. This complete vocal score is ideal for rehearsals, study and concert performances. It is the lowest-priced vocal score edition now available. Features the Italian text.
Wolfgang Amadeus Mozart For a long time, Cosi fan tutte was considered scandalous - which is not entirely surprising, if you look at its story. After seeing their fiances, Guglielmo and Ferrando, go off to war, two sisters, Fiordiligi and Dorabella, all too rapidly overcome their grief and agree to marry two attractive strangers within the space of just a couple days. Little do the sisters know that the strangers are in fact those same fiances in disguise] The whole thing is a plot masterminded by a cynical old philosopher, Don Alfonso, and a clever maid, Despina. Scandalous or not, Cosi fan tutte has remained one of opera's most contemporary comedies.
Wolfgang Amadeus Mozart Mozart showed amazing talent from early in childhood. Already competent on the keyboard and violin, he started composing from the age of five and performed before European royalty. At 17, he was enlisted as a court musician in Salzburg, but grew restless of this and decided to travel in search of a better position, always composing abundantly.
The Requièm Mass in D minor was composed in Vienna in 1791 and was left unfinished when Mozart died on December 5th 1791. A completion dated 1792 by Franz Xaver Süssmayr was delivered to Count Franz von Walsegg, who had anonymously commissioned the piece for a requiem mass to commemorate the February 14th anniversary of his wife's death.
A facsimile sheet of music from the Dies Irae movement of the "Requiem Mass in D Minor" (K. 626) in Mozart's own handwriting. It is located at the Mozarthaus in Vienna.
Wolfgang Amadeus Mozart The AudiOpera Collection is not a “novelty”.
It’s a revolution in the world of lyrical art.
Like art books with no pictures, numerous and excellent dictionaries, anthologies and guides dedicated to opera are available. None of them offer the main interest of lyrical art: the joy of listening to the music.
Open this volume of the AudiOpera Collection.
Discover the first 100% interactive version of Puccini’s Tosca with Frenc Fricsay directing the Berlin Symphony Orchestra, Fischer-Dieskau as Papageno and Rita Streich as The Queen of the Night.
In a flash, grasp the plot, hear the most famous arias and gather the how’s and why’s of the work. Then, with the AudioSynopsis, listen to the complete masterpiece whilst understanding the course of events and the main lyrics.
During the intermissions, get quizzed, read the biographies and – an exclusive innovation – compare interpretations of the most famous arias by historical singers.
After the end, download a special surprise-gift, and discover a selection of the greatest available versions of Tosca.
In a 21st Century easy chair, you’ll experience a unique musical adventure, at the sole risk of becoming an opera maniac.
Wolfgang Amadeus Mozart This volume presents the complete scores for Wolfgang Amadeus Mozart's “Piano Sonatas No. 16-17”, which were composed between 1788 and 1789. Wolfgang Amadeus Mozart (1756 – 1791) was an extraordinarily prolific and seminal composer during the Classical era. He displayed astonishing musical ability from a very early age, composing and playing competently when just five years old. During his lifetime, Mozart composed over 600 original works, many of which are considered to be the apex of symphonic, concertante, chamber, operatic, and choral music. The “Piano Sonata No. 16 in C major, K. 545” was described by Mozart as a piece "for beginners," and it is sometimes referred to as “Sonata facile” or “Sonata semplice”. Featuring large, clear note heads and wide margins, this edition is perfect for studying and following the music, and is not to be missed by collectors. Classic Music Collection constitutes an extensive library of the most well-known and universally-enjoyed works of classical music ever composed, reproduced from authoritative editions for the enjoyment of musicians and music students the world over.