Mozart in English

[Musicology]

The story of Wolfgang Amadeus Mozart (1756-91) is so amazing, has been so deeply embedded within the popular imagination by books and films and is believed to be such an integral and valid part of western music history that few have ever examined his life and achievements in critical detail. Certainly not in print. Nor have they been encouraged to do so. Such things are considered unnecessary. Thus, he dominates the western cultural landscape as an icon of unquestioned musical expertise and genius. As a member of musical and cultural pantheon, in fact. But facts are stubborn things. Here are some of the findings of modern research on Mozart’s early life and career. Part of an ongoing criticism of Mozartean convention as a whole. And of a musicology which has routinely ignored its own track record over the past two hundred years. Some details of which are supplied freely here to readers as part of a far larger examination of the Mozart phenomenon by Luca Bianchini of Italy and Robert Newman of England whose studies in these areas stretch back several decades. Samples below -


‘’KV 44’’

http://www.mediafire.com/?ccy3ch5s9d3h9h3

‘’Mozart, Munich and 1762’’

http://www.mediafire.com/?wl7x87jcoij23uw

‘’KV85 (Considerations on the Supposed Music Teaching of W.A. Mozart by Padre Martini of Bologna)’’

http://www.mediafire.com/?8agr218yx5ae8db

‘’The Golden Spur (Part 1)’’

http://www.mediafire.com/?ti1hxeknllp8exv

//

[lellyvigni]

Hi Robert

There is a ver important text written by Corrado Ricchi which Bianchini has cited in his paper refering to the events of 1770 in Bologna with Mozart. It is stated clearly there that the voting for Mozart was NOT unanimous. But we are always told he passed his examination with all white balls. Aren't we ? However, we see now, the actual records of the examination which Luca Bianchini has attached show the vote contained both black and white balls. What do you think ? What the hell have these scholars been teaching around the world on Mozart in the light of these facts ?

"Moreover, the judges of the Academy did not give them a great deal of insight. In their report of that day they stated that one Francesco Piantanada was admitted with all white votes (and also his relative Giovanni Piantanida) while, concerning Mozart, they make only a reserved and cold statement which, when allowing for the circumstances, his exam result was considered sufficient – ‘As the votes in his case were concerned it is certain they were not all white: but in any case the jury found in his favour’"
(Corrado Ricci)

[Musicology]

Hi there Lellyvigni,

Yes, you are completely correct. The documentary evidence of the exam taken by Mozart is crystal clear. Mozart's exam in 1770 Bologna was a failure according to various judges. The story that he was unanimously awarded the Diploma is fiction. Like so much else. The scale of exaggeration and falsehood on this one issue is huge. The writers of textbooks have simply ignored the facts. Have obscured and buried them. Exaggerating others. And inventing still others. The facts of which are published here for the first time by Luca Bianchini in detail. Mozart faked the exam itself (which was written for him by Padre Martini of Bologna).

In the next few days there can be other articles about the legend of Mozart. Of the same kind.

I will shortly post a link to the above article by Bianchini. Which has already been seen by thousands worldwide already. And stands uncontested as documentary fact.

Regards

Hi Robert

There is a ver important text written by Corrado Ricchi which Bianchini has cited in his paper refering to the events of 1770 in Bologna with Mozart. It is stated clearly there that the voting for Mozart was NOT unanimous. But we are always told he passed his examination with all white balls. Aren't we ? However, we see now, the actual records of the examination which Luca Bianchini has attached show the vote contained both black and white balls. What do you think ? What the hell have these scholars been teaching around the world on Mozart in the light of these facts ?

"Moreover, the judges of the Academy did not give them a great deal of insight. In their report of that day they stated that one Francesco Piantanada was admitted with all white votes (and also his relative Giovanni Piantanida) while, concerning Mozart, they make only a reserved and cold statement which, when allowing for the circumstances, his exam result was considered sufficient – ‘As the votes in his case were concerned it is certain they were not all white: but in any case the jury found in his favour’"
(Corrado Ricci)

[lellyvigni]

Hi Robert

The article by Bianchini is extremely important.
He shows by documentary and published evidence that for nearly 150 years biographers and musicologists have confused the piece known as 'Quaerite' made by Martini with that of Mozart.
The documents show that Mozart has signed this antiphon by Martini with his own name. He (and his father) claimed this work of Martini (a very famous composer of harmony and theory) was his own exam paper and that he had composed it there in 1770. His father Leopold copied this same antiphon and signed it with the name of Mozart also but added the wrong date when he did so.

When another article on Mozart is ready please tell me because I understand there are several that are available for readers free of charge. I will certainly read these with great interest. Please give my regards to Luca Bianchini who has kindly shared these things with you and us.
Thanks.

[Emil Miller]

Wolfgang Amadeus Mozart (1756-91), a creature of popular culture and former citizen of Salzburg and Vienna, is to be discussed exclusively here in the English language. Thus avoiding the inelegancies and limitations of German, Italian, French, Dutch, and all other inferior languages from countries which the said Mozart travelled to and lived in. This in the interest of harmony and accuracy. For our eductional, cultural and musical benefit.

Always remembering that -

'Everything you've heard is true'

(Trailer to the film 'Amadeus')

Using a cast of thousands and two centuries of institutionalised folklore. In conformity to the rules and attitudes of students and teachers everywhere. And presided over by learned men and women whose only motivation is free speech.

Thank You

Musicology,

You are right in principle but not in practice. This site is owned by someone else and he has the perfect right to decide on how it is run.
I speak as someone who has also had threads terminated for violation of the rules. Ultimately, without rules there is no freedom, unless it is the freedom of the jungle and, on this basis, we must curtail our individual preferences to accommodate the requirements of others who we may not agree with; especially when they are monitoring the sight

[Musicology]

You are perfectly correct Brian. As you can see, there has been some flack from those who do not wish the facts surrounding Mozart to be publicly and freely appreciated. 200 years or so, to be more accurate.

So we have arrived here on this thread and are happy to post only in English.

Which, hopefully, will be of interest to musicians and lovers of music.

Regards

Musicology,

You are right in principle but not in practice. This site is owned by someone else and he has the perfect right to decide on how it is run.
I speak as someone who has also had threads terminated for violation of the rules. Ultimately, without rules there is no freedom, unless it is the freedom of the jungle and, on this basis, we must curtail our individual preferences to accommodate the requirements of others who we may not agree with; especially when they are monitoring the sight

[lellyvigni]

Musicology,

You are right in principle but not in practice. This site is owned by someone else and he has the perfect right to decide on how it is run.
I speak as someone who has also had threads terminated for violation of the rules. Ultimately, without rules there is no freedom, unless it is the freedom of the jungle and, on this basis, we must curtail our individual preferences to accommodate the requirements of others who we may not agree with; especially when they are monitoring the sight

Hi Brian

I am sorry I cannot write in Italian but I understand and accept the administrators here can decide as they please.

Thank You

[Mutatis-Mutandis]

Is there a rule against creating multiple accounts and then manufacturing false conversations?

[OrphanPip]

Is there a rule against creating multiple accounts and then manufacturing false conversations?

Why the powers that be choose to tolerate Musicology's odd antics is beyond me.

[Gilliatt Gurgle]

Hello Robert, hope all is well and welcome Lellyvigni.

Regarding Mozart’s schooling and the possible reason for the poor exam scores.

Mozart did not go to a school, but rather was homeschooled from the years 1761 to 1768 by the hermit Andiamo Burmudez de Azpeitia with support from Leopold. You may recall from my past discussions regarding Andiamo and his role in the hermit lend-lease program established between St. Maximus in Salzburg and Saints B____ and S____ in La Mancha and Azpeitia (Loyola), Spain respectively. Andiamo was sent to Salzburg in 1759 and took up residence in the St. Maximus hermitage located in the cliffs just above St. Peters of Salzburg.

Here’s a link regarding the St. Maximushole hermitage:

http://www.showcaves.com/english/at/misc/Maximus.html

Each Monday, Wednesday and Friday, Andiamo would emerge from the caves and make his way to the home of Leopold in Salzburg to administer lessons. Andiamo’s curriculum concentrated primarily on the “three R’s”, but some time was dedicated to teaching elementary music and calisthenics.

It is worth noting, that homeschooling had become a popular alternative to the Jesuit controlled public schools of the latter half of the 18th century. Many conservatives throughout the Bible belt region of Europe, such as Leopold, had grown despondent with the secular and humanistic curriculum instituted by the Jesuit controlled board of educators.

The “PDF” article you’ve been promoting on other threads makes no mention of Andiamo or Mozart’s homeschooling.

I have personally seen the hermit caves during a visit to Salzburg back in 1988. Inside one of the hermit cells, one could view several slate tablets on display which Andiamo used as a teaching aid. Upon close examination of the slates, one could clearly discern musical notation such as staff lines, traces of quarter, whole notes, clefs and rests, etc. Samples of limestone “chalk” powder were removed from the slates and sent to the geology department at Utrecht University for source analysis. It was determined that the limestone matched the characteristics of limestone found in the region of La Mancha, Spain deposited during the waning years of the cretaceous period.

Now admittedly, young Amadeus’ did not excel in his musical studies under Andiamo’s tutelage which eventually led to the poor exam scores and eventual plagiarizing of Coronado, but we’ll let that sleep’n dog lie for now.

Respectfully submitted,

Gilliatt

[Mutatis-Mutandis]

Hello Robert, hope all is well and welcome Lellyvigni.

Regarding Mozart’s schooling and the possible reason for the poor exam scores.

Mozart did not go to a school, but rather was homeschooled from the years 1761 to 1768 by the hermit Andiamo Burmudez de Azpeitia with support from Leopold. You may recall from my past discussions regarding Andiamo and his role in the hermit lend-lease program established between St. Maximus in Salzburg and Saints B____ and S____ in La Mancha and Azpeitia (Loyola), Spain respectively. Andiamo was sent to Salzburg in 1759 and took up residence in the St. Maximus hermitage located in the cliffs just above St. Peters of Salzburg.

Here’s a link regarding the St. Maximushole hermitage:

http://www.showcaves.com/english/at/misc/Maximus.html

Each Monday, Wednesday and Friday, Andiamo would emerge from the caves and make his way to the home of Leopold in Salzburg to administer lessons. Andiamo’s curriculum concentrated primarily on the “three R’s”, but some time was dedicated to teaching elementary music and calisthenics.

It is worth noting, that homeschooling had become a popular alternative to the Jesuit controlled public schools of the latter half of the 18th century. Many conservatives throughout the Bible belt region of Europe, such as Leopold, had grown despondent with the secular and humanistic curriculum instituted by the Jesuit controlled board of educators.

The “PDF” article you’ve been promoting on other threads makes no mention of Andiamo or Mozart’s homeschooling.

I have personally seen the hermit caves during a visit to Salzburg back in 1988. Inside one of the hermit cells, one could view several slate tablets on display which Andiamo used as a teaching aid. Upon close examination of the slates, one could clearly discern musical notation such as staff lines, traces of quarter, whole notes, clefs and rests, etc. Samples of limestone “chalk” powder were removed from the slates and sent to the geology department at Utrecht University for source analysis. It was determined that the limestone matched the characteristics of limestone found in the region of La Mancha, Spain deposited during the waning years of the cretaceous period.

Now admittedly, young Amadeus’ did not excel in his musical studies under Andiamo’s tutelage which eventually led to the poor exam scores and eventual plagiarizing of Coronado, but we’ll let that sleep’n dog lie for now.

Respectfully submitted,

Gilliatt

Cool! Another one!

[JCamilo]

Why the powers that be choose to tolerate Musicology's odd antics is beyond me.

Because it is very funny?

[Musicology]

Ah, the usual suspects trying to wreck threads on the subject of W.A. Mozart ?

The reason threads are tolerated is because those who make them are producing hard evidence (documentary and other kinds) of the fake musical career of W.A. Mozart. And you, being employed to wreck threads everywhere, are trying to wreck this one.

Anything you can post on the life and career of W.A. Mozart will be appreciated by me, other readers of this thread and by its moderators. But you have nothing. As usual. We can see this clearly.

Amazing what people will do for 30 pieces of silver. Isn't it ?

Looking forward to your own posts on the life, career and iconic (dominant) status of Mozart, a project of mystification, exaggeration and musical and cultural falsehood. Presided over by the usual elites, fraternal fraudsters and 200 years of institutionalised folklore.



Because it is producing detailed, unanswerable facts on the real life and career of W.A. Mozart. From documented, verifiable, well researched sources.

As everyone can see.Hope you can contribute. If not, just keep reading. But where are the 'experts' when you need them ?

Always remember, 'Everything you've heard is true'

(Trailer to the film 'Amadeus')

Because it is very funny?

[ERS]

In light of recent discussions about Mozart, I remember the usual names I grew up with as a classically-trained musician: Mozart, Haydn, Beethoven, etc. As a Horn player I have long ordered scores and parts from Kalmus (“If it’s classical, it’s Kalmus.”). I did a search for works of some of the unfamiliar and obscure composers: Gyrowetz, Pichl, Clementi, Gossec, Pleyel, Wranitsky, Myslievecek, Krommer, Herschel, Kraus, Baguer, Vanhal, etc. I found perhaps one or two orchestral scores at best. When I was at conservatory, these obscure composers were treated as pariahs. There was virtually no interest in the performance of their works, the study of their lives, or their influence on history. The usual “warhorses” were heralded, given High Mass, and were performed to the scent of incense and the sight of statues.

I have experienced this prejudice first-hand.

For instance, how many know that Herschel wrote 24 symphonies, was a renowned astronomer, and discovered one of the planets of our solar system? That Clementi helped to refine the design of the piano as we know it today - and his music is virtually unperformed to this day? To me, the real shame is that these obscure composers wrote some really fine music, yet they are STILL being ignored. It seems that “history” would have us believe that while Mozart and Haydn were plying their trade and pumping out masterpiece after masterpiece, all these other composers were scratching their backsides and rubbing sticks together. By the way, isn’t it interesting that some of Gyrowetz’s works were published under Haydn’s name?

I’m seeing a pattern here.

A note of comedy: on the Amazon site, check out the Bamert “Contemporaries of Mozart” CD reviews for the Salieri disc. One bright bulb impugns Salieri based on the plot line of the movie “Amadeus!” I suppose if “everything we've heard is true,” it is. To the Myths.
We are being short-sheeted on a scale that beggars belief.

[Pyras]

I am also musician and taught music. Excuse my English is not so good.

I agree with you, ERS.
I know there is so much beautiful music, of many authors, but often no one notices about that, just because throughout the nineteenth and twentieth century all the interest was concentrated on Haydn, Mozart and Beethoven.
In the case of Mozart it seems to me that there are many doubts about the studies of counterpoint that Mozart did and also about his first compositions. Styles in compositions of early years are completely different the ones respect to the others. One seems to be 1400, the other 1500, the other 1600, another one Bach, Martini and so on, another one Sammartini, Nardini etc. According to German musicologists Mozart wrote a lot of early music in all styles, and perfectly, without also the possibility to have studied them. How it would be possible that a genius is genius without a school? Then some musicologists have realized that some of those pieces were not by Mozart. I bought discs carrying Mozart's name with music that Mozart didn't compose (for example the first piano concertos). Mozart has just copied them. Perhaps it is time to make things clear. The thread is interesting. If Mozart did not resolve the exam, then he didn't study also with Padre Martini. WHo then was his Master, except Leopold, who was also without a Master?

In light of recent discussions about Mozart, I remember the usual names I grew up with as a classically-trained musician: Mozart, Haydn, Beethoven, etc. As a Horn player I have long ordered scores and parts from Kalmus (“If it’s classical, it’s Kalmus.”). I did a search for works of some of the unfamiliar and obscure composers: Gyrowetz, Pichl, Clementi, Gossec, Pleyel, Wranitsy, Myslievecek, Herschel, Kraus, Baguer, Vanhal, etc. I found perhaps one or two orchestral scores at best. When I was at conservatory, these obscure composers were treated as pariahs. There was virtually no interest in the performance of their works, the study of their lives, or their influence on history. The usual “warhorses” were heralded, given High Mass, and were performed to the scent of incense and the sight of statues.
I have experienced this prejudice first-hand.
For instance, how many know that Herschel wrote 24 symphonies, was a renowned astronomer, and discovered one of the planets of our solar system? That Clementi helped to refine the design of the piano as we know it today and his music is virtually unperformed today? To me, the real shame is that these obscure composers wrote some really fine music, yet they are STILL ignored. It seems that “history” would have us believe that as Mozart and Haydn were plying their trade and pumping out masterpiece after masterpiece, all these other composers were scratching their backsides and rubbing sticks together. By the way, isn’t it interesting that some of Gyrowetz’s works were published under Haydn’s name?
I’m seeing a pattern here.
A note of comedy: on the Amazon site, check out the Bamert “Contemporaries of Mozart” CD reviews for the Salieri disc. One bright bulb impugns Salieri based on the plot line of the movie “Amadeus!” I suppose if “everything I’ve heard is true,” it is. To the Myths.
We are being short-sheeted on a scale that beggars belief.