The Creative World of Mozart

More than any other of the classic masters of music except perhaps Bach, Mozart continues to be the subject of intensive investigation.

The Creative World of Mozart

More than any other of the classic masters of music except perhaps Bach, Mozart continues to be the subject of intensive investigation. Every phase of this career and output, the workings of his mind, and his relations with other composers are being studied by scholars in various countries.

Mozarts Streichquintette

13 Erich Hertzmann , Mozart's Creative Process , in : The Musical Quarterly 43 ( 1957 ) , S. 187–200 , auch in : Paul Henry Lang ( Hrsg . ) , The Creative World of Mozart , New York 1963 , S. 17-30 . 14 Alfred Einstein , Mozart .

Mozarts Streichquintette

Im vorliegenden Sammelband sollen wesentliche, bislang in der Literatur weitgehend vernachlassigte Aspekte zur Sprache kommen, wobei freilich ein moglichst breites Spektrum an Fragestellungen und an behandelten Werken intendiert ist. Gerade die engen Beziehungen zwischen Quartett und Quintett werden mehrfach - und in erstaunlicher Konsistenz der Ergebnisse - thematisiert. Somit will vorliegendes Buch nicht allein neue Einblicke und Perspektiven vermitteln, sondern auch nachdruecklich zu weiterer Beschaftigung mit diesen wahrhaften Meisterwerken - aber auch mit ihrer Gattung im allgemeinen - anregen. "Es gibt gut gemachte Buecher und es gibt notwendige Buecher. In der Musikwissenschaft hat man nicht allzu oft den Gluecksfall, daa beides zusammenfallt. Mozarts Streichquintette stehen im Schatten anderer Gattungen, vor allem der Streichquartette. Hier galt es schon lange, eine Luecke zu schlieaen. Dankenswerterweise geschieht dies nun nicht etwa in Art eines besseren Konzertfuehrers, der die sechs Werke der Reihe nach vorstellt, sondern in einer Publikation, die die verschiedensten Aspekte, von der Satztechnik bis zur Werkueberlieferung, vom Stellenwert innerhalb von Mozarts Schaffen bis zum musikhistorischen Umfeld in sieben Aufsatzen zur Sprache bringt." Mozart-Jahrbuch "aauf diesem Weg sind den Artikeln dieses rundum attraktiven Bandes viele Leser zu wuenschen." Die Musikforschung "ader greife zu dieser konzentrierten, fundierten und gleichermaaen gut geschriebenen Aufsatzsammlung. Es lohnt sich." Osterreichische Musikzeitschrift "Der Band ist gleich in mehrfacher Hinsicht konkurrenzlos: In insgesamt sieben Aufsatzen bietet er nicht nur eine langst ueberfallige, wissenschaftlich kompetente Auseinandersetzung mit diesen zentralen Kammermusik-Werken Mozarts, sondern auch den ersten umfassenden Versuch, sie in einen eigenen, spezifischen Gattungskontext einzuordnen." Das Orchester .

Listening for Utopia in Ernst Bloch s Musical Philosophy

Ex. 6.7 Mozart, The Magic Flute: the two countersubjects in the chorale of the Armored Men “Singet dem Herrn ein neues ... Also see Frederick W. Sternfeld, “The Melodic Sources of Mozart's Most Popular Lied” in The Creative World of ...

Listening for Utopia in Ernst Bloch s Musical Philosophy

Korstvedt explains key concepts from Bloch's musical philosophy, making his complex ideas accessible for modern musical scholars.

The First Golden Age of the Viennese Symphony

12 vols . Vienna : Philharmonia / Universal Edition , 1963–68 . Landon , H. C. Robbins , and Mitchell , Donald , eds . The Mozart Companion . London : Norton , 1956 . Lang , Paul Henry , ed . The Creative World of Mozart .

The First Golden Age of the Viennese Symphony

More than 170 symphonies from this repertoire are described and analyzed in The First Golden Age of the Viennese Symphony, the first volume of the series to appear.

Interpreting Mozart

Mozart and Vienna . New York: Schirmer, 1991. Lang, Paul Henry, ed. The Creative World of Mozart . New York: W. W. Norton, 1963. Latcham, Michael. “Mozart and the Pianos of Anton Gabriel Walter.” Early Music 25, no. 3 (1997): 382–402.

Interpreting Mozart

Originally published in German as Interpreting Mozart on the Keyboard in 1957, this definitive work on the performance of Mozart's works has greatly influenced students and scholars of keyboard literature and of Mozart. Now, in a completely updated and revised edition, this book includes the last half century of scholarship on Mozart's music, addressing the elements of performance and problems that may occur in performing Mozart's works on modern instruments.

Mozart s Requiem

The Creative World of Mozart (New York, 1963), pp. 103-26, at 116-20; Arthur Hutchings, Mozart: The Man, the Musician (London, 1976), p. 118; Gruber, Mozart and Posterity, p. 244; Wolff, Mozart's Requiem, pp. 38, 40, 87-8, 90; ...

Mozart s Requiem

A fresh evaluation of Mozart's Requiem which focuses on historical and current understandings in fiction, drama, film, criticism and performance.

Mozart s Requiem

Nathan Broder . Musical Quarterly 47 ( 1961 ) : 147–69 ; rpt . in The Creative World of Mozart , ed . Paul Henry Lang , 103–26 . New York , 1963 . Brauneis , Walther . “ Exequien für Mozart . ” Singende Kirche 37 ( 1991 ) : 8–11 .

Mozart s Requiem

"'When was the score of the Requiem completed?' is a question that everyone has asked; . . .but Wolff goes on to ask: 'Where do the technical and stylistic premises for the Requiem lie, and to what extent could these be taken into account after Mozart's death?' This question is rich in implications, central to the uniqueness of the work, and virtually undiscussed in the Mozart literature."—Thomas Bauman, co-author of Mozart's Operas

Experiencing Mozart

In The Creative World of Mozart, edited by Paul Henry Lang, 103—26. New York: Norton, 1963. Branscombe, Peter. W. A. Mozart: Die Zauberflo'te. Cambridge: Cambridge University Press, 1991. All of the books in the Cambridge Opera ...

Experiencing Mozart

Titles in the Listener’s Companion Series provide readers with a deeper understanding of key musical genres and the work of major artists and composers. Aimed at nonspecialists, each volume clearly explains how to listen to works from particular artists, composers, and genres. Examining both the context in which the music appeared and its form, authors provide the environments in which key musical works were written and performed—from a 1950s bebop concert at the Village Vanguard to a performance of Handel’s Messiah in eighteenth-century Dublin. Wolfgang Amadé Mozart (1756–1791) remains as popular today as ever. His recordings fill iTunes playlists, and annual Mozart festivals are performed worldwide. His eminence as a musician has supported overseas guided tours, served as the subject of a cartoon series (Little Amadeus: twenty-nine episodes from 2006 to 2008), inspired movies and documentaries, and launched a French rock opera. In Experiencing Mozart: A Listener’s Companion, music historian David Schroeder illustrates how the issues Mozart cared about so deeply remain important to modern listeners. His views on politics, women, authority, and religion are provided, along with compelling analysis of selected great symphonies and sonatas, moving concertos and innovative keyboard works, and groundbreaking operas. Schroeder merges his vast knowledge of the great artist’s personal and professional life, late eighteenth-century European culture and society, and remarkable musicianship to guide listeners in the art of listening to Mozart. This work is an ideal introduction to readers and listeners at any level.

Mozart

6 Edward E. Lowinsky, 'On Mozart's Rhythm', Musical Quarterly 42 (1956), 162–86, reprinted in Paul Henry Lang (ed.) The Creative World of Mozart (New YorK.1963), 31–55. 7 Igor Stravinsky and Robert Craft, Conversations with Igor ...

Mozart

Wolfgang Amadeus Mozart is one of the great icons of Western music. An amazing prodigy--he toured the capitals of Europe while still a child, astonishing royalty and professional musicians with his precocious skills--he wrote as an adult some of the finest music in the entire European tradition. Julian Rushton offers a concise and up-to-date biography of this musical genius, combining a well-researched life of the composer with an introduction to the works--symphonic, chamber, sacred, and theatrical--of one of the few musicians in history to have written undisputed masterpieces across every genre of his time. Rushton offers a vivid portrait of the composer, ranging from Mozart the Wunderkind--travelling with his family from Salzburg to Vienna, Paris, London, Rome, and Milan--to the mature author of such classic works as "The Marriage of Figaro", "Don Giovanni", and "The Magic Flute". During the past half-century, scholars have thoroughly explored Mozart's life and music, offering new interpretations of his compositions based on their historical context and providing a factual basis for confirming or, more often, debunking fanciful accounts of the man and his work. Rushton takes full advantage of these biographical and musical studies as well as the definitive New Mozart Edition to provide an accurate account of Mozart's life and, equally important, an insightful look at the music itself, complete with musical examples. An engaging biography for general readers that will also be an informative resource for scholars, this new addition to the prestigious Master Musicians series offers an authoritative portrait of one of the defining figures of European culture.

God and Evolution Creativity In Action

Chapter 9 – Is God Creative? 1. Williams, R. Keywords. London: Fontana, 1983. 2. Lang, P. H. “Introduction.” In P. H. Lang (Ed.), The Creative World of Mozart. New York: W.W. Norton & Co., 1963, p. 12. 3. Hertzmann, E. “Mozart's ...

God and Evolution  Creativity In Action

Atheism, this book argues, is unbelievable. The universe’s wonders couldn’t have come about by chance. Natural selection alone doesn’t produce evolution. Therefore since evolution resembles the creative process, especially in using trial-and-error, God’s creative activity is responsible and human creators reveal much about him. However that process is goal directed, so evolution must be as well. But the goal a Picasso or Darwin pursues is vague. They don’t know exactly where they’re going and make mistakes and so therefore must God. Thus Abra rejects the perfect God assumed by many religions and Intelligent Design. Why bring back God? To restore meaning and purpose to existence and faith’s many benefits. To better explain how the universe, scientific laws and life itself came about, and living things’ attractive but useless properties. Other discussions clarify both creativity and the creative God. Is there one kind of creativity or many? A sex difference? Are creators neurotic?

Fire in the Crucible

Gardner's argument for Mozart as “top down composer” appears in Gardner, Art. Mind and Brain (19), p. 365. Page 308 Evidence of Mozart's worksheets discussed in Erich Hertzmann, “Mozart's Creative Process” in The Creative World of ...

Fire in the Crucible

What makes geniuses different from the rest of us? What is the difference between a prodigy and a genius? Are geniuses born or made? What is creative vision and where does it come from? What are the secrets of talent? And why do great creators seem to have so many oppositions in their personalities? In this mind-expanding investigation of creativity, John Briggs reveals that there is no special trait of genius. Geniuses are not necessarily smarter or more talented than other people, but they give their attention to subtle nuances, contradictory feelings and perceptions that others experience and ignore. By focusing on sensory nuances, geniuses create themselves. Fire in the Crucible offers a compelling exploration of the roots of creativity and genius. Drawing on the lives and work of extraordinary scientists, artists, writers, composers, and inventors, Briggs shows how creative individuals exploit doubt and uncertainty, and the mental strategies and tactics they employ when they work. "In asking about creativity," he writes, "we are really asking about what is best, what is deepest in life." Fire in the Crucible draws the reader into an eye-opening journey through the inner workings of some of the greatest creative minds of all times -- and allows us to more deeply understand the nature of the creativity in our own lives and work.

The Idea of Creativity

Similar in some ways is the fluency reported of Mozart, whose subconscious seems to have been working on music the whole time. ... 22 See the account in Erich Hertzmann, “Mozart's Creative Process,” in The Creative World of Mozart, ed.

The Idea of Creativity

Seventeen philosophers, scientists and artists consider questions about the intriguing idea of creativity: Is creativity essentially mysterious? Is creativity essentially inspirational or rationalistic? What role does skill play in creativity? What are the criteria of creativity? Should we assign logical priority to creative persons, creative processes, or creative products? How do forms of creativity relate to different domains of human activity? How does creativity relate to self-transformation? How does our knowledge of the circumstances of creativity effect our appreciation of its products? Can a recipient of a creative work also be a creator of it? Contributors include: Margaret Boden, Larry Briskman, John M. Carvalho, David Davies, Berys Gaut,Rom HarrA(c), Carl R. Hausman, Albert Hofstadter, Arthur Koestler, Michael Krausz, Peter Lamarque, Thomas Leddy, Paisley Livingston, Michael Polany, Dean Keith Simonton, and Francis Sparshott.

Research Materials in Music

The Letters of Mozart and His Family. 2 v. London: Macmillan; N.Y.: St. Martin's Press, 1966. Angermiilier, R. and O. Schneider, comps, Mozart-Bibliographic, 1976-3980. Kassei: Barenreiter, 1982. ... The Creative World of Mozart.

Research Materials in Music

This text was developed for use in a standard college-level "introduction to graduate studies" course in musicology that I taught for thirty-three years at the University of Redlands.

Classical Form

A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven William E. Caplin. Laufer, Edward. ... In The Creative World of Mozart, ed. ... “The Recapitulation Transition in Mozart's Music.

Classical Form

Introducing a new theory of musical form for the analysis of instrumental music of the classical style. The book provides a broad set of principles and a comprehensive methodology for analysing phrases and themes to complete movements. Illustrated with over 250 annotated musical examples by Haydn, Mozart and Beethoven.

The Idea of Authorship in Copyright

Creative Process«, in PH Lang (ed.), The Creative World of Mozart (New York: Norton, 1991) 17. 183 See also Weisberg (n 115 above) 221-230. 184 Ibid 46. The composer Bach is another good example that composition necessitates reliance on ...

The Idea of Authorship in Copyright

As information flows become increasingly ubiquitous in our post digital environment, the challenges to traditional concepts of intellectual property and the practices deriving from them are immense. The romantic understanding of the lone author as an endless source of new creations has to face these challenges. In order to do so, this work presents a collectivist model of intellectual property rights. The core argument is that since copyright works enjoy profit from significant public contribution, they should not be privately owned, but considered to be a joint enterprise, made real by both the public and author. It is argued that every copyright work depends on and is reflective of the author's exposure to externalities such as language, culture and the various social events and processes that occur in the public domain, therefore copyright works should not be regarded as exclusive private property. The study takes its organizing principle from John Locke, defining and proving the fatal flaw inherent in debates on copyright: on the one hand the copyright community is eager to arm authors with a robust property right over their creation, while on the other this community totally ignores the fact that the exposure of the individual to externalities is what makes him or her capable of creating material that is copyrightable. Just as Locke was against the absolute authority of kings, the expressed view of the study is against the exclusive right an author can claim.

A History of the Concerto

A Composer's World: Horizons and Limitations. Garden City, N.Y.: Doubleday & Co., ... A Companion to Mozart's Piano Concertos. 2nd ed. London: Oxford University Press. 1973. ... The Creative World of Mozart. New York: W. W. Norton.

A History of the Concerto

This guide to the concerto consists of four parts corresponding to the major periods of music-baroque, classical, romantic and 20th century-through which the concerto evolved. Within these sections, attention is given to geographical regions where different approaches to concerto style are found.

Mozart

The Mozart Companion: A Symposium by LeadingMozart Scholars. New York: 1969. Lang, Paul Henry. George Frideric Handel. New York: 1966. ——. Music in Western Civilization. New York: 1941. Lang, Paul Henry, ed. The Creative World ofMozart.

Mozart

Mozart: A Cultural Biography is a fresh interpretation of a musical genius, meticulously researched and gracefully written. It places Mozart's life and music in the context of the intellectual, political, and artistic currents of eighteenth-century Europe. Even as he delves into philosophic and aesthetic questions, Robert Gutman keeps in sight, clearly and firmly, the composer and his works. He discusses the major genres in which Mozart worked - chamber music; liturgical, theatre, and keyboard compositions; concerto; symphony; opera; and oratorio. All of these riches unfold within the framework of the composer's brief but remarkable life.With Gutman's informed and sensitive handling, Mozart emerges in a light more luminous than in previous renderings. The composer was an affectionate and generous man to family and friends, self-deprecating, witty, winsome, but also an austere moralist, incisive and purposeful.Mozart is both an extraordinary portrait of a man in his time and a brilliant distillation of musical thought.