Mozart: the reign of love
At the earliest ages it was apparent that Wolfgang Mozart's singular imagination was at work in every direction. He hated to be bored and hated to be idle, and through his life he responded to these threats with a repertoire of antidotes mental and physical. Whether in his rabidly obscene mode...
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| Format: | Buch |
| Sprache: | English |
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New York, NY
Harper, an imprint of HarperCollinsPublishers
[2020]
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| Ausgabe: | First edition |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | At the earliest ages it was apparent that Wolfgang Mozart's singular imagination was at work in every direction. He hated to be bored and hated to be idle, and through his life he responded to these threats with a repertoire of antidotes mental and physical. Whether in his rabidly obscene mode or not, Mozart was always hilarious. He went at every piece of his life, and perhaps most notably his social life, with tremendous gusto. His circle of friends and patrons was wide, encompassing anyone who appealed to his boundless appetites for music and all things pleasurable and fun. Mozart was known to be an inexplicable force of nature who could rise from a luminous improvisation at the keyboard to a leap over the furniture. He was forever drumming on things, tapping his feet, jabbering away, but who could grasp your hand and look at you with a profound, searching, and melancholy look in his blue eyes. Even in company there was often an air about Mozart of being not quite there. It was as if he lived onstage and off simultaneously, a character in life's tragicomedy but also outside of it watching, studying, gathering material for the fabric of his art. Like Jan Swafford's biographies Beethoven and Johannes Brahms, Mozart is the complete exhumation of a genius in his life and ours: a man who would enrich the world with his talent for centuries to come and who would immeasurably shape classical music. As Swafford reveals, it's nearly impossible to understand classical music's origins and indeed its evolutions, as well as the Baroque period, without studying the man himself |
| Beschreibung: | xvi, 810 Seiten, 16 ungezählte Seiten Tafeln Illustrationen, Porträts |
| ISBN: | 9780062433572 |
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| 505 | 8 | |a Introduction -- Prologue -- Leopold -- Papa -- Das Königreich Rücken -- An instrument at the command of music -- Liars, slanderers, and envious creatures -- Tralaliera -- Exultate, jubilate -- Inertia -- Breaking -- No vacancy here -- Love and money -- Ashes -- A scoundrel, a lousy rogue -- Return -- Gnagflow and Znatsnoc -- Monstrous many notes -- Last return, last departure -- Long and laborious efforts -- The greatest composer -- If you want to dance, my little count -- This truest and best friend -- Viva la libertà -- With nothing you create nothing -- The truth of the moment -- Endings and beginnings -- An eternal crown -- Et lux perpetua luceat eis -- Epilogue | |
| 520 | 3 | |a At the earliest ages it was apparent that Wolfgang Mozart's singular imagination was at work in every direction. He hated to be bored and hated to be idle, and through his life he responded to these threats with a repertoire of antidotes mental and physical. Whether in his rabidly obscene mode or not, Mozart was always hilarious. He went at every piece of his life, and perhaps most notably his social life, with tremendous gusto. His circle of friends and patrons was wide, encompassing anyone who appealed to his boundless appetites for music and all things pleasurable and fun. Mozart was known to be an inexplicable force of nature who could rise from a luminous improvisation at the keyboard to a leap over the furniture. He was forever drumming on things, tapping his feet, jabbering away, but who could grasp your hand and look at you with a profound, searching, and melancholy look in his blue eyes. Even in company there was often an air about Mozart of being not quite there. It was as if he lived onstage and off simultaneously, a character in life's tragicomedy but also outside of it watching, studying, gathering material for the fabric of his art. Like Jan Swafford's biographies Beethoven and Johannes Brahms, Mozart is the complete exhumation of a genius in his life and ours: a man who would enrich the world with his talent for centuries to come and who would immeasurably shape classical music. As Swafford reveals, it's nearly impossible to understand classical music's origins and indeed its evolutions, as well as the Baroque period, without studying the man himself | |
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Datensatz im Suchindex
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|---|---|
| adam_text | CONTENTS Introduction.................................................................................................... ix Prologue......................................................................................................... 1 Parti Chapter 1: LEOPOLD...........................................................................................................7 Chapter 2: PAPA.................................................................................................................29 Chapter 3: DAS KÖNIGREICH RÜCKEN...................................................................... 52 Chapter 4: AN INSTRUMENT AT THE COMMAND OF MUSIC..................................72 Chapter 5: LIARS, SLANDERERS, AND ENVIOUS CREATURES............................93 Chapter 6: TRALALIERA ................................................................................................116 Chapter 7: EXSULTATE, JUBILATE.............................................................................. 146 Partii Chapter 8: INERTIA......................................................................................................... 165 Chapter 9: BREAKING.....................................................................................................186 Chapter 10: NO VACANCY HERE................................................................................ 203 Chapter 11: LOVE AND MONEY...................................................................................219 Chapter 12:
ASHES........................................................................................................ 249 Chapter 13: A SCOUNDREL, A LOUSY ROGUE........................................................285
viii Contents Partili Chapter 14: RETURN........................................................................................................331 Chapter 15: GNAGFLOWAND ZNATSNOC........................................ 350 Chapter 16: MONSTROUS MANY NOTES..................................................................... 381 Chapter 17: LAST RETURN, LAST DEPARTURE...................................................... 407 Chapter 18: LONG AND LABORIOUS EFFORTS........................................................ 430 Chapter 19: THE GREATEST COMPOSER..................................................................460 Chapter 20: IF YOU WANT TO DANCE, MY LITTLE COUNT..................................483 Chapter 21: THIS TRUEST AND BEST FRIEND.........................................................521 Chapter 22: VIVALA LIBERTÀ........................................................................................551 Chapter 23: WITH NOTHING YOU CAN CREATE NOTHING................ 580 Chapter 24: THE TRUTH OF THE MOMENT...............................................................612 Chapter 25: ENDINGS AND BEGINNINGS................................................................ 643 Chapter 26: AN ETERNAL CROWN............................................................................ 676 Chapter 27: ETLUXPERPETUA LUCEATEIS............................................................. 711 Epilogue........................................................................................................................... 734 Appendix: Musical Forms in Mozart’s
Time...............................................741 Notes.............................................................................................................. 745 Works Cited...................................................................................................769 Index ofMusical Compositions................................................................ 777 General Index........................................................................................... 783
|
| adam_txt |
CONTENTS Introduction. ix Prologue. 1 Parti Chapter 1: LEOPOLD.7 Chapter 2: PAPA.29 Chapter 3: DAS KÖNIGREICH RÜCKEN. 52 Chapter 4: AN INSTRUMENT AT THE COMMAND OF MUSIC.72 Chapter 5: LIARS, SLANDERERS, AND ENVIOUS CREATURES.93 Chapter 6: TRALALIERA .116 Chapter 7: EXSULTATE, JUBILATE. 146 Partii Chapter 8: INERTIA. 165 Chapter 9: BREAKING.186 Chapter 10: NO VACANCY HERE. 203 Chapter 11: LOVE AND MONEY.219 Chapter 12:
ASHES. 249 Chapter 13: A SCOUNDREL, A LOUSY ROGUE.285
viii Contents Partili Chapter 14: RETURN.331 Chapter 15: GNAGFLOWAND ZNATSNOC. 350 Chapter 16: MONSTROUS MANY NOTES. 381 Chapter 17: LAST RETURN, LAST DEPARTURE. 407 Chapter 18: LONG AND LABORIOUS EFFORTS. 430 Chapter 19: THE GREATEST COMPOSER.460 Chapter 20: IF YOU WANT TO DANCE, MY LITTLE COUNT.483 Chapter 21: THIS TRUEST AND BEST FRIEND.521 Chapter 22: VIVALA LIBERTÀ.551 Chapter 23: WITH NOTHING YOU CAN CREATE NOTHING. 580 Chapter 24: THE TRUTH OF THE MOMENT.612 Chapter 25: ENDINGS AND BEGINNINGS. 643 Chapter 26: AN ETERNAL CROWN. 676 Chapter 27: ETLUXPERPETUA LUCEATEIS. 711 Epilogue. 734 Appendix: Musical Forms in Mozart’s
Time.741 Notes. 745 Works Cited.769 Index ofMusical Compositions. 777 General Index. 783 |
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| contents | Introduction -- Prologue -- Leopold -- Papa -- Das Königreich Rücken -- An instrument at the command of music -- Liars, slanderers, and envious creatures -- Tralaliera -- Exultate, jubilate -- Inertia -- Breaking -- No vacancy here -- Love and money -- Ashes -- A scoundrel, a lousy rogue -- Return -- Gnagflow and Znatsnoc -- Monstrous many notes -- Last return, last departure -- Long and laborious efforts -- The greatest composer -- If you want to dance, my little count -- This truest and best friend -- Viva la libertà -- With nothing you create nothing -- The truth of the moment -- Endings and beginnings -- An eternal crown -- Et lux perpetua luceat eis -- Epilogue |
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| spelling | Swafford, Jan 1946- Verfasser (DE-588)121029336 aut Mozart the reign of love Jan Swafford First edition New York, NY Harper, an imprint of HarperCollinsPublishers [2020] xvi, 810 Seiten, 16 ungezählte Seiten Tafeln Illustrationen, Porträts txt rdacontent n rdamedia nc rdacarrier Introduction -- Prologue -- Leopold -- Papa -- Das Königreich Rücken -- An instrument at the command of music -- Liars, slanderers, and envious creatures -- Tralaliera -- Exultate, jubilate -- Inertia -- Breaking -- No vacancy here -- Love and money -- Ashes -- A scoundrel, a lousy rogue -- Return -- Gnagflow and Znatsnoc -- Monstrous many notes -- Last return, last departure -- Long and laborious efforts -- The greatest composer -- If you want to dance, my little count -- This truest and best friend -- Viva la libertà -- With nothing you create nothing -- The truth of the moment -- Endings and beginnings -- An eternal crown -- Et lux perpetua luceat eis -- Epilogue At the earliest ages it was apparent that Wolfgang Mozart's singular imagination was at work in every direction. He hated to be bored and hated to be idle, and through his life he responded to these threats with a repertoire of antidotes mental and physical. Whether in his rabidly obscene mode or not, Mozart was always hilarious. He went at every piece of his life, and perhaps most notably his social life, with tremendous gusto. His circle of friends and patrons was wide, encompassing anyone who appealed to his boundless appetites for music and all things pleasurable and fun. Mozart was known to be an inexplicable force of nature who could rise from a luminous improvisation at the keyboard to a leap over the furniture. He was forever drumming on things, tapping his feet, jabbering away, but who could grasp your hand and look at you with a profound, searching, and melancholy look in his blue eyes. Even in company there was often an air about Mozart of being not quite there. It was as if he lived onstage and off simultaneously, a character in life's tragicomedy but also outside of it watching, studying, gathering material for the fabric of his art. Like Jan Swafford's biographies Beethoven and Johannes Brahms, Mozart is the complete exhumation of a genius in his life and ours: a man who would enrich the world with his talent for centuries to come and who would immeasurably shape classical music. As Swafford reveals, it's nearly impossible to understand classical music's origins and indeed its evolutions, as well as the Baroque period, without studying the man himself Mozart, Wolfgang Amadeus 1756-1791 (DE-588)118584596 gnd rswk-swf Mozart, Wolfgang Amadeus / 1756-1791 Composers / Austria / Biography Austria Biographies (DE-588)4006804-3 Biografie gnd-content Mozart, Wolfgang Amadeus 1756-1791 (DE-588)118584596 p DE-604 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032538426&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Swafford, Jan 1946- Mozart the reign of love Introduction -- Prologue -- Leopold -- Papa -- Das Königreich Rücken -- An instrument at the command of music -- Liars, slanderers, and envious creatures -- Tralaliera -- Exultate, jubilate -- Inertia -- Breaking -- No vacancy here -- Love and money -- Ashes -- A scoundrel, a lousy rogue -- Return -- Gnagflow and Znatsnoc -- Monstrous many notes -- Last return, last departure -- Long and laborious efforts -- The greatest composer -- If you want to dance, my little count -- This truest and best friend -- Viva la libertà -- With nothing you create nothing -- The truth of the moment -- Endings and beginnings -- An eternal crown -- Et lux perpetua luceat eis -- Epilogue Mozart, Wolfgang Amadeus 1756-1791 (DE-588)118584596 gnd |
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