![]() Premieres in Milan of his opera seria “Mitridate, Re di Ponto” in 1770 and of the festa teatrale “Ascanio in Alba” in 1771. ![]() Nardini, and Padre Martini, among others, and, on the second trip, Hasse. Two tours to Italy he meets Farinelli, P. Performance in Salzburg of the dramma giocoso “La finta semplice,” K. Probably the premiere in Vienna of his Singspiel “Bastien and Bastienne,” K. Journeys with his father and sister to Vienna. Adlgasser), and the intermezzo “Apollo et Hyacinthus,” K. 35 (written with Michael Haydn and Anton C. Premiere in Salzburg of the sacred light opera “Die Schuldigkeit des ersten Gebotes,” K. 16 and 19, which show the influence of the works of Johann Christian Bach and Karl Friedrich Abel (the three-movement Italian sinfonia form). 10–15, dedicated to Queen Charlotte, as well as the first symphonies from London, K. He composes his first sonatas for violin and piano, K. His early regimented musical education from his father began in 1761, first compositions at age five.Įxtended concert tours through various German cities and to Paris, London, Amsterdam, Switzerland. 1756īorn in Salzburg on January 27, the son of musician and later court composer Leopold Mozart. On the concert tours he undertook in his early years (London, Mannheim, Italy, Paris) he gained many varied musical impressions that he assimilated in his youth and which formed the prerequisite for his later consummate musical language. Mozart is one of the few composers to have produced masterpieces in all genres. 570 is reproduced in the Appendix, although it is in all likelihood a spurious work not written by Mozart. 547, in turn, was designated by Mozart himself in his personal work catalogue as “little klavier sonata for beginners with a violin.” – For the sake of completion and because of its popularity, the arrangement of the B flat major piano sonata K. These three grandiose works all bear traits of Mozart’s mature mastery. He also explored the possibility of pairing off the two instruments, thus creating music of pure, timeless beauty bound with dramatic power, elegance and emotional depth.Ĭontrary to the earlier violin sonatas, which were issued in cyclical groups of four or six pieces, Mozart had all the sonatas in this volume printed as single works, perhaps a sign of the significance he assigned to them – especially to the first three. He spent a considerable amount of time with the sonatas, probing every sound and every thematic limit and combination. There is no other chamber-music genre for which Mozart produced so many works – see the sonatas and variations – than that of the duos for piano and violin.
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