Giulio Sabino. A New Serious Opera, in Two Acts. As Performed at the King's Theatre in the Hay-Market. The Music Entirely New, by Signor Cherubini PDF Download
Are you looking for read ebook online? Search for your book and save it on your Kindle device, PC, phones or tablets. Download Giulio Sabino. A New Serious Opera, in Two Acts. As Performed at the King's Theatre in the Hay-Market. The Music Entirely New, by Signor Cherubini PDF full book. Access full book title Giulio Sabino. A New Serious Opera, in Two Acts. As Performed at the King's Theatre in the Hay-Market. The Music Entirely New, by Signor Cherubini by Pietro Giovannini. Download full books in PDF and EPUB format.
Author: Pietro Giovannini
Publisher:
ISBN:
Category :
Languages : en
Pages : 39
Get Book Here
Book Description
Author: Pietro Giovannini
Publisher:
ISBN:
Category :
Languages : en
Pages : 39
Get Book Here
Book Description
Author: John Denison Champlin
Publisher:
ISBN:
Category : Composers
Languages : en
Pages : 508
Get Book Here
Book Description
Author: E. Cobham Brewer
Publisher: BoD – Books on Demand
ISBN: 3734093228
Category : Fiction
Languages : en
Pages : 582
Get Book Here
Book Description
Reproduction of the original: Character Sketches of Romance, Fiction and the Drama by E. Cobham Brewer
Author:
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 392
Get Book Here
Book Description
Author: Leonard Forrer
Publisher:
ISBN:
Category : Medalists
Languages : en
Pages : 750
Get Book Here
Book Description
Author: Otto Jahn
Publisher: Library of Alexandria
ISBN: 1465582304
Category : Biography & Autobiography
Languages : en
Pages : 2127
Get Book Here
Book Description
WOLFGANG AMADE MOZART came of a family belonging originally to the artisan class. We find his ancestors settled in Augsburg early in the seventeenth century, and following their calling there without any great success. His grandfather, Johann Georg Mozart, a bookbinder, married, October 7, 1708, Anna Maria Peterin, the widow of another bookbinder, Augustin Banneger. From this union sprang two daughters and three sons, viz.: Fr. Joseph Ignaz, Franz Alois (who carried on his father's trade in his native town), and Johann Georg Leopold Mozart, bom on November 14, 1719, the father of the Mozart of our biography. Gifted with a keen intellect and firm will he early formed the resolution of raising himself to a higher position in the world than that hitherto occupied by his family; and in his later years he could point with just elation to his own arduous efforts, and the success which had crowned them, when he was urging his son to the same steady perseverance. When Wolfgang visited Augsburg in 1777, he gathered many particulars of his father's youth which refreshed the recollections of Leopold himself. We find him writing to his son (October 10, 1777) how, as a boy, he had sung a cantata at the monastery of St. Ulrich, for the wedding of the Hofrath Oefele, and how he had often climbed the broken steps to the organ loft, to sing treble at the Feast of the Holy Cross (November 29, 1777). He afterwards became an excellent organist: a certain Herr von Freisinger, of Munich, told Wolfgang (October 10, 1777) that he knew his father well, he had studied with him, and "had the liveliest recollections of Wessobrunn where my father (this was news to me) played the organ remarkably well. He said: 'It was wonderful, to see his hands and feet going together, but exceedingly fine—yes, he was an extraordinary man. My father thought very highly of him. And how he used to jeer at the priests, when they wanted him to turn monk.'" This last must have been of peculiar interest to Wolfgang, who knew his father only as a devout and strict observer of the Catholic religion. But Leopold remembered the days of his youth, and wrote to his wife (December 15, 1777): "Let me ask, if Wolfgang has not of late neglected to go to confession? God should ever be first in our thoughts! to Him alone must we look for earthly happiness, and we should ever keep eternity in view; young people, I know, are averse to hearing of these things; I was young myself once; but God be thanked, I always came to myself after my youthful follies, fled from all dangers to my soul, and kept steadily in view God, and my honour, and the dangerous consequences of indulgence in sin." Long-continued exertions and self-denial laid the foundation of Leopold Mozart's character in a conscientious earnestness and devotion to duty in great things as in small; they had the effect also of rendering his judgment of others somewhat hard and uncompromising. This is observable in his relations as an official, and as a teacher, and in his dealings on matters of religion. He was a strict Catholic, and feared nothing so much for his children as the influence which a prolonged stay in Protestant countries might exert on their faith; he remarked with surprise that his travelling companions, Baron Hopfgarten and Baron Bose, had often edified him with their discourse, although they were Lutherans (Paris, April 1, 1764).
Author: Rudolph Ackermann
Publisher:
ISBN:
Category : London (England)
Languages : en
Pages : 320
Get Book Here
Book Description
Author: Henry Saxe Wyndham
Publisher: London, New York [etc.]: Sir I. Pitman
ISBN:
Category : Biography
Languages : en
Pages : 430
Get Book Here
Book Description
Author:
Publisher:
ISBN:
Category : Opera
Languages : en
Pages : 912
Get Book Here
Book Description
Author: Daniel E. Freeman
Publisher:
ISBN:
Category : Biography & Autobiography
Languages : en
Pages : 454
Get Book Here
Book Description
Of all the prominent musicians born in Bohemia in the eighteenth century, none is surrounded with as much mystery and mystique as Josef Myslivecek (1737-1781), known as "Il Boemo" ("The Bohemian") in Italy among music lovers unable to grapple with his unpronounceable Czech name. Scion of a wealthy family of millers from Prague (and himself a master miller), he acquired training as a composer only in his twenties; nonetheless he quickly became one of the most talented composers active in late eighteenth-century Europe. Despite a composing career of only eighteen years, Myslivecek produced a large and diverse body of work: twenty-seven operas, eight oratorios, many shorter vocal compositions, about fifty symphonies, twenty-nine overtures, sixteen concertos, and one hundred thirty-four instrumental chamber works. Prodigious, successful, and resourceful, he lived most of his adult life as an itinerant composer in Italy, uninterested in employment at any aristocratic or ecclesiastical musical establishment. A friend of both Wolfgang and Leopold Mozart for eight years between 1770 and 1778, his dynamic personality ("full of fire, spirit, and life" according to Wolfgang) is vividly brought to life in the Mozart correspondence - and not only the praiseworthy aspects, but also the air of scandal that often followed him. Complete and accurate information about Myslivecek's biography and works has remained elusive for many years. The present study narrates his life in light of all available biographical documentation, offers analytical discussions of all the genres in which he composed, and for the first time presents catalogs of all his music fully detailing its sources, editions, and recordings. During much of the last century Myslivecek's contributions to music literature were largely forgotten outside the Czech lands, in part, it is argued, because of national biases. In this book Myslivecek's particular style of composition is approached more systematically, and his participation in the creation of what is now recognized as an era of "high classicism" in European art music evaluated more comprehensively than in any previous study. There is also a critical re-appraisal of Myslivecek's relationship with the Mozart family and of his place in Wolfgang's musical development. Some twenty-eight letters in the surviving Mozart family correspondence mention Myslivecek, and for no other composer did Wolfgang express such a degree of affection. Indeed, the full implications of their strong personal rapport invite revision of older assumptions about their standing with each other: through scrutiny of specific works by both composers, the author makes the case the Myslivecek was a distinctive compositional model for the young Mozart.
