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petak, 27.01.2006.

Mozartov dan

Nisam htjela objavljivati neshto vec vidjeno - svi znamo ko je bio, shta je radio, itd...Zato sam izrovila jedan chlanak pa evo vam jedan dio :)

An ordinary mind and silly jokes

Amadeus' most controversial portrait is that of Wolfgang himself. How does one characterize an unexplainable phenomenon? While the problem for many lesser composers of Haydn's and Mozart's age is a lack of personal documentation, for Mozart and his family there is a plethora, including diaries, extended letters, notices and reviews in the press, and memoirs, as well as catalogs and autographs of the music itself. Yet, in a perceptive essay Alan Tyson asks: "What do we really know of Mozart or what can we know of Mozart?" Just how much does this bountiful documentation open to us the mind of a musical savant? Does the biography support the music, or is there no relationship between the man and the art? To the last question Shaffer would give a resounding "No." Shaffer's Wolfgang, in the words of his Salieri, was "a giggling dirty-minded creature." And as Shaffer's Salieri wonders about the "miraculous" nature and "sublimity" of the music, the dichotomy of the man and his music deepens. Thus, an implied but central question in Amadeus is: Does a relationship of Mozart's personality to his artistic products exist?

Such a question again comes out of the nineteenth century, not the eighteenth. In Mozart's time the prerequisites for a composer were neither genius nor the assertion of an individual artistic personality. Rather, it was a question of craftsmanship and the ability to provide new music appropriate to an occasion. A lexicon of musical ideas existed, designed and accepted for certain types of expression. A composer could select from this bank and create a musical product fully comprehensible to his audience. Mozart was able to manipulate this vocabulary both technically and affectively so as to create new depths of expression. It is within the essential style of the eighteenth century's last decades that Mozart operated. Thus, one should not be surprised that the man and the music may not have been congruent. Karoline Pichler, a Biedermeier woman of letters, observed: "Mozart and Haydn, whom I knew well, were men in whose personal intercourse there was absolutely no other sign of unusual power of intellect and almost no trace of intellectual culture, nor of any scholarly or other higher interests. A rather ordinary turn of mind, silly jokes and in the case of the former, an irresponsible way of life, were all that distinguished them in society; and yet what depths, what worlds of fantasy, harmony, melody and feeling lay concealed behind this unpromising exterior."

...ovdje mozhete prochitati chitav chlanak...
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