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This engaging new biography chronicles the journeys of the teenage musical prodigy with his father to Italy, the cradle of opera. Their travels took them to the cities of Milan, Florence, Rome, Venice, Bologna, and Naples, brought them into contact with many of the most important musical figures of the day and culminated in the operas Mitridate, Re di Ponto, Lucio Silla, and Ascanio in Alba, all composed before Mozart's sixteenth birthday. Iwo and Pamela Zaluski's sources include contemporary documentation and the Mozarts' correspondence. The authors have also undertaken considerable research into the routes that father and son took through Italy, thus bringing the young composer's travels vividly to life.
'You don’t have to be able to hum Mozart to find this book utterly engrossing . . . I couldn’t put it down' - Joanna Lumley At thirteen years old Wolfgang Amadeus Mozart was a child prodigy who had captured the hearts of northern Europe, but his father Leopold was now determined to conquer Italy. Together, they made three visits there the last when Mozart was seventeen, all vividly recounted here by acclaimed conductor Jane Glover. Father and son travelled from the theatres and concert salons of Milan to the church-filled streets of Rome to Naples, poorer and more dangerous than the prosperous north, and to Venice, the carnivalesque birthplace of public opera. All the while Mozart was absorbing Italian culture, language, style and art, and honed his craft. He met the challenge of writing Italian opera for Italian singers and audiences and provoked a variety of responses, from triumph and admiration to intrigue and hostility: in a way, these Italian years can be seen as a microcosm of his whole life. Evocative, beautifully written and with a profound understanding of eighteenth-century classical music, Mozart in Italy reveals how what he experienced during these Italian journeys changed Mozart – and his music – for ever.
While journeying through Italy in 1770, fourteen-year-old Mozart relates his experiences in letters to his sister.
In 1805, Lorenzo Da Ponte was the proprietor of a small grocery store in New York. But since his birth into an Italian Jewish family in 1749, he had already been a priest, a poet, the lover of many women, a scandalous Enlightenment thinker banned from teaching in Venice, the librettist for three of Mozart's most sublime operas, a collaborator with Salieri, a friend of Casanova, and a favorite of Emperor Joseph II. He would go on to establish New York City's first opera house and be the first professor of Italian at Columbia University. An inspired innovator but a hopeless businessman, who loved with wholehearted loyalty and recklessness, Da Ponte was one of the early immigrants to live out the American dream. In Rodney Bolt's rollicking and extensively researched biography, Da Ponte's picaresque life takes readers from Old World courts and the back streets of Venice, Vienna, and London to the New World promise of New York City. Two hundred and fifty years after Mozart's birth, the life and legacy of his librettist Da Ponte are as astonishing as ever.
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).
Mozart was fascinated, amused, aroused, hurt, and betrayed by women. He loved and respected them, composed for them, performed with them. This unique biography looks at his interaction with each, starting with his family (his mother, Maria Anna and beloved and talented sister, Nannerl), and his marriage (which brought his 'other family', the Weber sisters). His relationships with his artists are examined, in particular those of his operas, through whose characters Mozart gave voice to the emotions of women who were, like his entire female acquaintance, restrained by the conventions and structures of eighteenth-century society. This is their story as well as his -- and shows once again that a great part of the composer’s genius was in his understanding and musical expression of human nature. Evocative and beautifully written, Mozart’s Women illuminates the music, the man, and above all the women who inspired him. 'Jane Glover has pulled off a coup des livres with her fresh take on Mozart's life and work’ Sunday Telegraph ‘Readable, informative and moving...Her passion for the music shines through this touching, vividly told story' Sunday Times
In terms of musical composition, all but the first five of his thirty-five years were astoundingly productive for Wolfgang Amadeus Mozart (1756-91). A stream of glorious symphonies, piano concertos, chamber music, operas and the sublime but unfinished Requiem poured from his pen. The author was inspired to write a scholarly biography of Mozart following a conversation at Mendelssohn's funeral in 1847. He immersed himself in intensive research on the composer and his music, publishing the first edition of this landmark work in four volumes between 1856 and 1859. A second edition followed in 1867, incorporating new material and making use of Köchel's 1862 catalogue of Mozart's works. It is from this edition that Pauline D. Townsend made her three-volume English translation, first published in 1882.
Three of the greatest operas ever written—The Marriage of Figaro, Don Giovanni, and Così fan tutte—join the exquisite music of Wolfgang Amadeus Mozart with the perfectly matched libretti of Lorenzo Da Ponte. Da Ponte’s own long life (1749–1838), however, was more fantastic than any opera plot. A poor Jew who became a Catholic priest; a priest who became a young gambler and rake; a teacher, poet, and librettist of genius who became a Pennsylvania greengrocer; an impoverished immigrant to America who became professor of Italian at Columbia University—wherever Da Ponte went, he arrived a penniless fugitive and made a new and eventful life. Sheila Hodges follows him from the last glittering years of the Venetian Republic to the Vienna of Mozart and Salieri, and from George III’s London to New York City.