Old Scores and New Readings; Discussions on Musical Subjects
by John F Runciman (9781150579257)

Old Scores and New Readings; Discussions on Musical Subjects
John F Runciman
Release Date: 21 December 2009
Format: Paperback / softback
Pages: 52
Category: Music
ISBN: 9781150579257
ISBN-10: 1150579250

General Books publication date: 2009 Original publication date: 1899 Original Publisher: At the sign of the Unicorn Unicorn press] Subjects: Music Musicians Opera Notes: This is a black and white OCR reprint of the original. It has no illustrations and there may be typos or missing text. When you buy the General Books edition of this book you get free trial access to Million-Books.com where you can select from more than a million books for free. Excerpt: MOZART, HIS "DON . GIOVANNI" AND . . . THE REQUIEM IT may well be doubted whether Vienna thought MOZART, even so much of Capellmeister Mozart as HIS Leipzig thought of Capellmeister Bach. Bach, it is true, was merely Capellmeister; he hardly Requiem dared to claim social equality with the citizens who tanned hides or slaughtered pigs; and probably the high personages who trimmed the local Serene Highness's toe-nails scarcely knew of his existence. Still, he was a burgher, even as the killers of pigs and the tanners of hides; he was thoroughly respectable, and probably paid his taxes as they came due; if only by necessity of his office, he went to church with regularity; and on the whole we may suppose that he got enough of respect to make life tolerable. But Mozart was only one of a crowd who provided amusement for a gay population; and a gay population, always a heartless master, holds none in such contempt as the servants who provide it with amusement. So Mozart got no respect from those he served, and his Bohemianism lost him the respect of the eminently respectable. He lived in the eighteenth century equivalent of a " loose set"; he was miserably poor, and presumably never paid his taxes; we may doubt whether he often went to church; he composed for the theatre; and he lacked the self-assertion which enabled Handel, Beethoven, and Wagner to hold their own. Treated as of no account, cheated by those he worked for, hardly permitted to earn his bread, he found life wholly intolerable, and as MOZART, he ...

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