AMozartADay

synesymposium:

At least from this sun-lit kitchen.
And I am quite okay with that.

Agreed!

chopin-impromptu:

ask—wolfie:

//arm yourselves with knowledge and feels

I hope I did Wolfie justice

OMG YES

(via givemetrills)

furryham:

Writing some Amadeus-based fanfiction. It’s been a while since I did any solo work. I ship van Swieten and von Strack (the Chamberlain).

Van Swieten is quiet and sensitive but passionate and educated. The Chamberlain is tired and lonely and overworked. They’re an autumn years/elderly couple, and I find such things terribly cute.

Oh.
My.
Gosh.
Approved.

This is the best thing ever. Van Swieten is like, one of my favorite people in history because he truly facilitated Mozart’s exposure to early music.

And they are such minor characters in the movie. This will be fantastic.

violadream:

Day 01 - your favourite classical music piece
Day 02 - your least favourite classical music piece
Day 03 - a classical music piece that makes you happy
Day 04 - a classical music piece that makes you sad
Day 05 - a classical music piece that reminds you of someone
Day 06 - a…

First new thing: this will be happening, but with only Mozart’a music!

AND WE’RE BACK!!!

Get ready followers. Over the course of today and tomorrow, you will see a complete revitalization of AMozartADay. We are so excited to bring you this music once more, picking up right where we left off!

Cheers,

Wolfie & Co.

What does the weather look like for all of you out there? :) Any chance you might have a similar day to the W.A. Mozart in this painting?

(Source: facepalmmozart)

Joseph Haydn to Leopold Mozart, upon hearing Wolfgang in Vienna in 1745 (via sanesideofmozart)

Day 16 (July 6th, 2012):

Concert Aria for Soprano and Orchestra, “Conservati Fedele”, K. 23

Mozart composed the aria in October 1765 while staying at The Hague during the family’s British-European tour, when he was nine years old. Both of the Mozart children, Wolfgang and his sister Nannerl, were quite ill at the time. It was slightly revised in January 1766, possibly for a performance for Princess Carolina of Orange-Nassau. In his list of Wolfgang’s works which he started in 1768 in Vienna, his father Leopold entered this piece as no. 2 of 15 Italian Arias, composed in London and The Hague (German: 15 Italiänische Arien theils in London, theils im Haag Componiert).

The Newberry Library (Case MS 6A, 48), Chicago, acquired the manuscript (6 sheets, 11 pages) through a bequest of the opera singer Claire Dux –Mrs Charles H. Swift– (1885–1967 in Chicago). It was previously owned by Raphael Georg Kiesewetter who gave the autograph to Aloys Fuchs as a gift. Both Fuchs and Abbé Maximilian Stadler confirmed its authenticity with their signatures on 7 December 1832. The Neue Mozart-Ausgabe also mentions an autograph (4 sheets, 7 pages) at the Bibliothèque nationale de France in its Malherbe collection.

Translation:

“Stay and remain faithful;

Think how I grieve alone here,

And sometimes at the least

Remember me.

While I by power of love

Talking to my own heart

Converse with thee.”

Day 13:

Symphony No. 5 in B-flat Major, K. 22 (complete recording)

The Symphony No. 5 in B-flat major, K. 22, was composed by Wolfgang Amadeus Mozart in The Hague in December, 1765, at the age of nine, while he was on his musical tour of Western Europe. Mozart fell seriously ill during his stay in Hague, and he wrote that composition probably while he was convalescing from his illness. The symphony is scored for two oboes, two horns and strings. The form is that of a three-movement Italian overture:

1. Allegro, 4/4

2. Andante, 2/4

3. Allegro molto, 3/8

All three movements are colored especially prominently by horns. A rousing first movement in the key of B-flat major opens the symphony, followed by a more solemn, mournful movement in the relative key of G minor. A short, boisterous finale closes the work. The opening theme to the finale is borrowed from the finale to keyboard concerto by Johann Christian Bach whom Mozart had met the previous year in London. The same theme would also appear in a much later, more mature work of Mozart’s: the Act 2 Finale of his 1786 opera buffa, Le nozze di Figaro, K. 492.

Amendment: when the Köchel listing was updated three times following its original creation, pieces with whole-number designations were allowed to stay the same, while newly discovered pieces were given number/letter designations. In between K. 19 and K. 20 lie Ks. 19a, c, and d. Please forgive this interruption in the sequence.

Days 11a, c, d:

Symphony in F, KV. 19a (part 1, part 2, part 3)

Orchestation:

· 2 Oboes

· 2 Cornos (F)

· Strings (optional Cembalo in the basso part)

Composed in London, c. 1765

Aria for Tenor and Orchestra, ”Va, dal furor portata”, KV. 19c (complete recording)

“Va, dal furor portata” is an early concert aria by Wolfgang Amadeus Mozart. It was written 1765 in London, during the Mozart family Grand Tour around Europe when Mozart was nine years old. The words are from Pietro Metastasio’s Ezio, act II, scene 4.

Pietro Metastasio’s libretti are today associated almost exclusively with Baroque and early Classical settings, but they retained some of their popularity even into the early Romantic period, with both Rossini and Bellini utilizing them. This is one of the most operatic of Bellini’s songs, with more than a few devices much more frequently found in arias than in his songs. 

The piece opens with a hurried piano introduction that immediately sets a theatrical mood, with dramatic chords. The vocal melody is first taken at a quick pace and is generally simple, though it ends with a few rather theatrical reprises with dramatic changes of dynamics and tempo. The da capo repetition ends with overtly operatic touches from both voice and accompaniment, including the traditional operatic thundering flourish of an ending from the piano. ~ Anne Feeney, All Music Guide

Sonata for Keyboard Four-hands in C Major, KV.19d (part 1, part 2, part 3)

This sonata was composed by the the 9-year old Wolfgang Amadeus Mozart during the Mozart family’s Grand Tour of Europe. It was probably first performed by Mozart in Hickford’s Great Room, Brewer Street, accompanied by his sister Maria Anna Mozart on 13 May 1765. It is, as most (if not all) of his early works, heavily influenced by his father Leopold Mozart and other composers who were close to Mozart, e.g. Johann Christian Bach. His father’s harsh demands are clearly portrayed in this early work, but despite this, Mozart’s independence was still in a vague stage of development.

Composed in May 1765, in London.