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Honest confession is good for the soul, yes, Yanni ? The most 'heroic' of men under the sun knew it well. Ask Ignatius Loyola or W.A. Mozart.
Antonio Vivaldi
Aria
Compatisco il tuo fiero tormento
Opera
Ottone in Villa
1713
http://www.youtube.com/watch?v=HXZ_i...eature=related
Quote:
Originally Posted by yanni
You'll propably feel better once your windows are opened, Robert.
Quote:
Originally Posted by Musicology
Thank you Yanni. Opening the windows to what has been firmly closed shut for over 200 years is a very good idea.
In celebration of which fact (and since I have to finish some things by this weekend) I leave you with good wishes with the following. The first few paragraphs of
Quote:
Originally Posted by yanni
Symptom: Desperate efforts to expess oneself as if in a hurry, often incomprehensible and/or ending abruptly with incomplete sentences.
Diagnosis: Chronic asphyxia and/or accute diarrhoea.
Quote:
Originally Posted by Musicology
Manufacture of Mozart
Chapter 1
Thank you Yanni. I do not agree with your diagnosis.
The first paragraphs of the first chapter.
Regards
RN
(The whole chapter will be posted on an Italian website this weekend)
THE MANUFACTURE OF MOZART
Chapter 1
THE GENIUS OF MOZART
Wolfgang Amadeus Mozart (1756-1791) has been universally and almost unanimously described as ‘a musical genius’ by generations of musicologists, biographers and the consuming public and for so long his very name is considered to be synonymous with genius. At least musically. So the idea of writing a book that is critical of Mozart, his official career and iconic status has not surprisingly provoked a fair amount of controversy, offence, and disbelief amongst some who knew of it to some extent and who number themselves among his adoring faithful. Though the Mozart of convention is a figure who looms so large over our western musical and cultural landscape and has been so eulogised and revered by generations for so long that no-one can possibly deny he is a phenomenon. And, to be fair, if we examine the surviving records of his life and musical legacy (both of them still being intensively studied today as they have for almost 200 years) we surely find ourselves obliged to surrender to the fact of his genius ourselves. The silencing of theoretical, potential criticism, the neutralising of wayward critics (who may raise their ugly heads on individual points from time to time in studies on any great man) has been counter-acted in Mozart’s case by the facts of our education and the powers of conservatism and these have surely defied any such scenario occurring in a major sense in respect of the life and career of the Salzburg genius. His reputation considered to have been fortified behind banks of erudite and patina laden scholarship, whose verdict and attitude is supported by an adoring public and by a consensus on him and his music that is remarkable. Our conversion to the cult of Mozart is encouraged by musicologists, biographers and cultural commentators as it has been by their colleagues and predecessors for the better part of 200 years. The water of the sea is saline and, in the same way, W.A. Mozart, is a musical genius, a paradigm, and one of the great composers of western musical history. He is also, (we may observe) a privileged member of an elite pantheon who, biographically and musically is encouraged to dominate, even control a crucial period of musical history as we know it. Since Mozart and his music are assumed to be a vital, even integral part of it. Monuments must be protected. And, a study of the documentary evidence and our hearing of his music would surely show, beyond fair and reasonable doubt, that this almost unanimous and positive verdict on our subject has been a feature of Mozart studies since the time he and it entered in to the public consciousness. We may have different views on when our subject first transcended the private world of Mozart’s patrons and family and of those who oversaw and managed his rise to giant, even iconic status. But the fact that this extraordinary process occurred and did so with the approval and astonishment of the musical and public world is indisputable. Mozart - musical genius, phenomenon of nature and transcendentally gifted composer is believed in virtually every sense to be a verifiable and historical fact.
To criticise the conventional Mozart and even to begin what may seem an unpromising process of us doing so we must, to be fair, first give a description of what Mozartean convention is and must acknowledge, from the start, this phenomenon, is surely among the most successful examples of consensus that has ever existed between the academic, cultural and public sectors in a musical sense. We must also accept from the outset that if we would criticise Mozart we face a whole number of challenges of such size and complexity that our task may seem almost inconceivable. With its critics predicting that it would have an outcome of no real significance other than to consolidate tradition itself.
This work, however, will criticise the Mozart of convention. But not before our subject is described and until convention itself has first been described. The aim of this first chapter is to do both. To justify that process. And to show what may seem to be ‘inconceivable’ is a standard product of musicology, of academic integrity, and even of necessary criticism.
We are, in this particular area of study (and always have been) much impressed by documents. These carry great weight in the Mozartean world and we are accustomed to believe the evidence they provide is conclusive. So let’s begin by imagining ourselves invited to a rather special event. To a forum. Where we are invited to witness a process whose aim is to establish the truth or otherwise of the Mozart phenomenon. Biographically and musically. With we as members of an invited audience about to take our seats with interested experts of various kinds and amateurs, journalists, biographers, students and others, all attracted to deliver our individual verdict on the outcome of those proceedings. And all of us sharing in common the fact we are lovers of music. And now take our seats before a stage on which a number of tables and chairs are seen, together with a dias from which various speakers will shortly speak. Allowing these issues on Mozart to be fairly and honestly presented and defended to a modern audience by numerous speakers, these having been specially invited by a chairman who will open proceedings from the dias with a speech within the next few minutes. A string of witnesses will then be called to appear in sequence who will speak and be allowed to be cross-examined on their views in a respectful and public way. These proceedings to be presided over by the chairman. With no expense having been spared in obtaining for this event copies of the entire body of Mozart literature (musical and biographical - and with many of them considered to be prime sources) which have been shelved and can be seen prominently in great rows at the back of the stage. And which may be accessed by anyone who contributes. This event having a duration of as many days as there are chapters in this book. Our united aim being to establish the truth or otherwise of the W.A. Mozart of convention. The success of these proceedings is made more probable by general agreement that such a scenario is almost ideal for that specific purpose. Audio recordings of all music attributed to W.A. Mozart are also available and these may be accessed at any time on request by the numerous speakers and contributors to this rare and important event.
//
Etc
:)
Thank you Yanni,
Here are a few more lines added. In celebration of your muted applause ! LOL :smilielol5:
Regards
Manufacture of Mozart
Chapter 1
THE GENIUS OF MOZART
Wolfgang Amadeus Mozart (1756-1791) has been universally and almost unanimously described as ‘a musical genius’ by generations of musicologists, biographers and the consuming public. For so long, in fact, that his very name is considered to be synonymous with genius. At least musically. So the idea of writing a book that is critical of Mozart, of his official career and even of his iconic status has not surprisingly provoked a fair amount of controversy, offence, and disbelief even amongst some who have known of its appearance to some extent and who number themselves among his adoring faithful. Though the Mozart of convention is a figure which looms so large over our western musical and cultural landscape and has been eulogised and revered for all that time, so that no-one can possibly deny we are dealing with a phenomenon. And, to be fair, if we examine surviving records of his life and musical legacy (both still being intensively studied as they have for almost 200 years) we will surely find ourselves obliged to surrender to the fact of his genius for ourselves. The silencing of theoretical, potential criticism, the neutralising of wayward critics (who may dare to raise their ugly heads on individual points of his life and legacy from time to time are considered no more important an issue, in a fundamental sense, than studies on any great man and his life). So those minor matters have rarely dented the seamless robe of Mozart studies nor shaped in any way our education and innate conservatism. The critics of convention have been prevented from being par of any critical assessment of the life and career of the Salzburg genius. His reputation considered to be fortified behind banks of erudite, self-correcting and patina laden scholarship, whose verdict is supported by an adoring public and by a consensus on him and his music that is remarkable. Our conversion to the cult of Mozart has been encouraged by musicologists, biographers and cultural commentators themselves as it has been by their colleagues and predecessors for the better part of 200 years. The water of the sea is saline and, in the same way, W.A. Mozart, is a musical genius, a paradigm, and one of the great composers of western musical history. He is also, (we may observe) a privileged member of an elite pantheon of composers who, biographically and musically have grown to dominate, even control our understanding and appreciation of a crucial period of musical history as we know it. Since Mozart and his music are assumed to be a vital, even integral part of it. Monuments must be protected. And, a study of the documentary evidence and our hearing of his music is said to confirm, beyond fair and reasonable doubt this almost unanimous and positive verdict on our subject which has been a feature of Mozart studies virtually since the time he and it first entered in to the public consciousness.
We may have different views on when our subject first transcended the private world of Mozart’s patrons and family and of those who oversaw and managed his rise to giant, even iconic status. But the fact this extraordinary process occurred and did so with the approval and astonishment of the musical and public world is indisputable. Mozart - musical genius, phenomenon of nature and transcendentally gifted composer is believed in virtually every sense to be a verifiable and historical fact.
To criticise this Mozart of convention and even to begin what may seem an unpromising process of doing so we must first, to be fair, remind ourselves of what Mozartean convention is. And must acknowledge, from the start that this phenomenon is certainly among the most successful examples of consensus that has ever existed between the academic, cultural and public sectors in a musical sense. Since any who would criticise Mozart in any meaningful sense will face a whole number of challenges of such size and complexity that their task may seem to the conservative mind almost inconceivable. With critics predicting in advance that it would have an outcome of no significance other than to consolidate tradition.
This work, however, criticises the Mozart of convention. But not before our subject has been described and not until convention has first been described. The aim of this first chapter is to do both. To justify that process. And to show that what may seem ‘inconceivable’ is a standard, even necessary product of musicology and of academic integrity. Especially in a case where our entire knowledge of 18th century music and of the music which followed it, is so clearly monopolised by the pantheon of which Mozart is a leading member.
PRELUDE
We are, in this particular area of study (and always have been) much impressed by documents. These, not surprisingly, carry great weight in the world of Mozart studies and we are accustomed to believe the evidence they are able to provide is conclusive. Nothing, we are told, is more natural. So let’s begin by imagining ourselves invited to a rather special event. To a conference. Where we are invited to witness a process whose aim is to establish the truth or otherwise of the Mozart phenomenon. Biographically and musically. With we, now members of a large and invited audience are about to take our seats in the hall with interested experts of various kinds and amateurs, journalists, biographers, students and others, all attracted to deliver our individual verdict on the outcome of those proceedings. All sharing in common the fact we are lovers of music. We now take our seats before a stage on which a number of tables and chairs are seen, together with a lectern from which various speakers will shortly speak. Allowing the subject of Mozart to be fairly and honestly presented and defended to a modern audience, the speakers having been specially invited by a chairman who will open the conference within the next few minutes. A string of witnesses will then be called to appear who will speak on their findings and be allowed to be cross-examined in a respectful and public way. These proceedings to be presided over by the chairman. Himself a man of some integrity. With no expense having been spared in obtaining for this event copies of the entire body of Mozart literature (musical and biographical - many of which are considered to be prime sources), these having been shelved on the stage before us and which can be seen prominently lined in great rows at the back of the stage. These documents being able to be accessed by anyone who contributes. And this event scheduled to have a duration of as many days as there are chapters in this book. Our united aim being to establish the truth or otherwise of the W.A. Mozart of convention. The success of these proceedings made more probable by general agreement that such a scenario is almost ideal for its specific purpose. And audio recordings of all music attributed to W.A. Mozart also available which may be accessed at any time on request by these numerous speakers and contributors to this rare and important event.
(With the hall now filled and delegates and the audience having arrived and taken their places for the first session the chairman arrives and gives his opening speech of greeting. After which a series of experts in Mozart studies begin to remind us of Mozart’s legendary life and musical achievements, supplementing their comments and recent findings on the subject by reference to textbooks, journal articles and from the source literature mentioned above. In several cases movements of his music being played, to general applause. As illustrations of his achievements. The morning of the first day of this conference may even be described as a celebration of convention, endorsed by each of the speakers who had taken their seats on stage before and after their speeches. Lunch arrives. And so also the prospect of the afternoon session of that day. In which the critics of convention are due to speak, having declined cross-examination of earlier speakers during that morning session. And, following a fine lunch, the conference resumes as the chairman introduces the first speech from Mozart’s critics. This preluded by muted applause from the audience as the first speaker of the opposition stands and makes his way to the microphone) -
'' Mr Chairman, Fellow Delegates, Ladies and Gentlemen,
It is to the credit of Mozart research that this conference has attracted such a great crowd of expert defenders and admirers as yourselves in a modern re-assessment of his reputation and achievements. And especially on this rare occasion when his life and musical career are open to such criticism. Though I am happy to think we are all of equal value in this process. That we are sufficiently well educated, good willed and cultured to be here. With you fortified behind the reinforced archives, opinions and publications of 200 years. And especially since we are surrounded by biographical and musical jewels of Mozart’s legacy and the published fruits of those who have devoted their lives and careers to his study over these past several centuries. (Whose books and articles are assembled behind me thanks to the kind efforts of our chairman. With scores of the music). Without a doubt there are assembled here today more experts on our subject per cubic metre of airspace than have ever been assembled on Mozart since perhaps October 1770 - at which time, as you know, he graduated for membership of the Accademia Filarmonica in Bologna. Equal expertise is here today, quantitatively, to that which heard the Sistine Choir sing the ‘Misirere’ of Gregorio Allegri (1582-1652) in that same year in Rome, when the same Wolfgang was credited by experts of that city and elsewhere with writing its music down from memory.
And I admit that as I ate lunch just now a moment of panic almost overwhelmed me - by the awful realisation that I and a few others invited here to speak would shortly call in to question what most of us consider to be a foundational fact of western musical and cultural history. By daring to suggest, and to argue with our learned colleagues over these days, that the Wolfgang Amadeus Mozart of academic and cultural convention is little more, in fact, than childish nonsense.
(Gasps of astonishment from the audience)
etc.
//
Etc
Yanni,
Athanasius Kirchner SJ (Jesuit Order) lived between 1602-1680 and was author of an evil occultist work that was used a century later for manufacture of the higher degrees, (around 33rd degree onwards) of occultist Freemasonry and this from around 1780 onwards. Which corresponded with the rise of the so-called Illuminati and which became known as the Rite of Mizraim. That influential publication began to be spread across Europe from around that date (1780) amongst the elites of Europe by the later fool known as Cagliostro.
Cagliostro was a con man. He wrote nothing. And my next door neighbour's cat wrote more music than he. Claims of Cagliostro being this or that are childish nonsense. 200 year old nonsense that has clearly fogged your brain and made it impossible for you to post anything truthful. The fact that men spend their lives in service to such arcane nonsense for 30 pieces of silver and that others believe it is proof there are fools who will follow anything. And do so. They are men who never grew up. Slaves of globalism. And of the usual corrupt elites.
This stuff has been exposed for over two centuries.
It is unbecoming for young men to utter maxims.
Aristotle
Both Aristotle and Plato wanted to have slave states run by elites. That's exactly the nonsense that was revived in the Renaissance. And it's pagan world nonsense. It was even taught to the ruling elites of Europe for centuries and is irrelevant in the real world of today. It was taught to the shareholders of the British Empire, to the hieararchies of the Holy Roman Empire and is still taught to the lost souls of globalist movement. People who still believe that stuff are ill and want to enforce their cardboard empires on others. They should be exposed. Let's grow up and put away childish philosophies. The human race knows better.
JS Bach
Concerto BWV 1042/2
http://www.youtube.com/watch?v=fwKC9...4691B0&index=4
Quote:
Originally Posted by yanni
Robert, I applaud you on completing your work and wish you success, but success can only come about by holding fast to the truth. It is my expectation that Coronado's role in Mozart's manufacture will be addressed accordingly in your "modern re-assessment".Quote:
Originally Posted by Musicology
Regards
Gilliatt
Best of luck to you and Mozart both, Robert.
Whenever you decide to write a novel on JSBach as well, do not neglect to read Ruth Hacohen's: 'The dramaturgy of religious enotions in Bach's cantatas: Aristotelian processes in Neoplatonic* Frames'.
http://www.bachnetwork.co.uk/ub4/hacohen.pdf
Ta-ta!
*http://en.wikipedia.org/wiki/Neoplatonism
Quote:
Originally Posted by Musicology
Thanks Yanni,
I accept your suggestion. If I ever write a 'novel' on JS Bach I will read Ruth Hacohen's 'Dramatury of Religious Emotions in Bach's Cantatas: Aristotelian processes in Neoplatonic Frames'.
:)
Quote:
Originally Posted by yanni
'Two parts, then, of the Plot- Reversal of the Situation and Recognition- turn upon surprises. A third part is the Scene of Suffering. The Scene of Suffering is a destructive or painful action, such as death on the stage, bodily agony, wounds, and the like.'
Aristotle.