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Re: Mozart Dissing
Here, here (or is it hear, hear?) to all of this. I agree
with everything you said. Particularly with respect to the
relationship between form and classicism.
Except maybe the movie "Amadeus." This is meant as a work
of fiction drawing loosely from real-life characters.
(There are also some unintended historical inaccuracies, but
there has been some very important scholarship since that
movie was made and I'm not sure it would be written exactly
the same way today.) My primitive understanding, from the
theatrical reviews I have read, is that the stage version
was much more clearly presented as a fictional work, almost
as a murder mystery. (Salieri is a murderer in the movie
only in the loosest since of the word.) Sadly, I have never
had the opportunity to see the stage version. Has anyone
else seen it, and would care to comment?
Warm hugs
Mark
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Subject: Mozart Dissing
Author: "Bob & Judy Williams" <prospero@netins.net> at internet
Date: 9/3/97 9:35 AM
This is an interesting subject and something that came as a surprise
to me. I belong to more music lists than this one and on each of them
Mozart has been a topic. A very large number of posters are left cold
by Mozart. One, a man whose opinion in other areas I respect highly,
said that for him Mozart's music just laid there. For him it didn't do
anything or go anywhere. He made an exception of the G Minor Quintet.
This proves his perception since this work is different.
It cannot be argued that the composers of this period used set forms
and poured new ideas into them, a creative approach which is foreign
to our more individualistic age. Haydn followed patterns just as
Mozart did but most addicts to music like Haydn. I do myself. I see
in Haydn a more robust composer than Mozart but I can't always tell
one from the other if I am listening to a new piece by either.
I agree with Rohan's assessment of Amadeus. This is a terrible movie
although the incredibly high production values can suck you in and
blind you temporarily to its deficiencies.
GG's opinion of Mozart may represent an undercurrent of
dissatisfaction that has a certain relationship to personality
phases. At times every person capable of growth will shake off
particular fixations. Sometimes the process is notably destructive
but such a process is necessary to the development of the individual.
Bob Williams