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Norman Leberecht sobre Mozart (no apto para fans)
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Autor:  El Gran Inquisidor [ 15 Feb 2006 10:07 ]
Asunto:  Norman Leberecht sobre Mozart (no apto para fans)
Too much Mozart makes you sick

By Norman Lebrecht / December 14, 2005

They are steam cleaning the streets of Vienna ahead of next month’s birthday weekend
when pilgrim walks are planned around the composer’s shrines. Salzburg is rolling out
brochures for its 2006 summer festival, which will stage every opera in the Kochel
canon from infantile fragments to The Magic Flute, 22 in all. Pierre Boulez, the pope
of musical modernism, will break 80 years of principled abstinence to conduct a
mostly-Mozart concert, a celebrity virgin on the altar of musical commerce.
Wherever you go in the coming year, you won’t escape Mozart. The 250th anniversary of
his birth on January 27 1756 is being celebrated with joyless efficiency as a tourist
magnet to the land of his birth and a universal sales pitch for his over-worked
output. The complete 626 works are being marketed on record in two special-offer super
coffers. All the world’s orchestras will be playing Mozart, wall to wall, starting
with the Vienna Philharmonic on tour this weekend.
Mozart is the superstore wallpaper of classical music, the composer who pleases most
and offends least. Lively, melodic, dissonance free: what’s not to like? The music is
not just charming, it’s full of good vibes.
The Mozart Effect, an American resource centre which ascribes ’transformational
powers’ to Austria’s little wonderlad, collects empirical evidence to show that
Mozart, but no other music, improves learning, memory, winegrowing and toilet training
and should be drummed into classes of pregnant mothers like breathing exercises.
A ’molecular basis’ identified in Mozart’s sonata for two pianos is supposed to have
stimulated exceptional brain activity in laboratory rats. How can one argue with such
’proof’? Science, after all, confirms what we want to believe - that art is good for
us and that Mozart, in his short-lived naivety, represents a prelapsarian ideal of
organic beauty, unpolluted by industrial filth and loss of faith. Nice, if only it
were true.
The chocolate-box image of Mozart as a little miracle can be promptly banged on the
head. The hard-knocks son of a cynical court musician, Mozart was taught from first
principles to ingratiate himself musically with people of wealth and power. The boy,
on tour from age five, hopped into the laps of queens and played limpid consolations
to ruthless monarchs. Recognising that his music was better than most, he took
pleasure in humiliating court rivals and crudely abused them in letters back home.
A coprophiliac obsession with bodily functions, accurately evinced in Peter Shaffer’s
play and Milos Forman’s movie Amadeus, was a clear sign of arrested emotional
development. His marriage proved unstable and his inability to control the large
amounts he earned from wealthy Viennese patrons was a symptom of the infantile
behaviour that hastened his early death and pauper burial. Musical genius he may have
been, but Mozart was no Einstein. For secrets of the universe, seek elsewhere.
The key test of any composer’s importance is the extent to which he reshaped the art.
Mozart, it is safe to say, failed to take music one step forward. Unlike Bach and
Handel who inherited a dying legacy and vitalised it beyond recognition, unlike Haydn
who invented the sonata form without which music would never have acquired its
classical dimension, Mozart merely filled the space between staves with chords that he
knew would gratify a pampered audience. He was a provider of easy listening, a
progenitor of Muzak.
2
Some scholars have claimed revolutionary propensities for Mozart, but that is wishful
nonsense. His operas of knowing servants and stupid masters were conceived by Da
Ponte, a renegade priest, from plays by Beaumachais and Ariosto; and, while Mozart
once indulged in backchat to the all-high Emperor Joseph II, he knew all too well
where his breakfast brioche was buttered. He lacked the rage of justice that pushed
Beethoven into isolation, or any urge to change the world. Mozart wrote a little night
music for the ancien regime. He was not so much reactionary as regressive, a composer
content to keep music in a state of servility so long as it kept him well supplied
with frilled cuffs and fancy quills.
Little in such a mediocre life gives cause for celebration and little indeed was done
to mark the centenary of his birth, in 1856, or of his death in 1891. The bandwaggon
of Mozart commemorations was invented by the Nazis in 1941 and fuelled by post-War
rivalries in 1956 when Deutsche Grammophon rose the from ruins to beat the busy
British labels, EMI and Decca, to a first recorded cycle of the Da Ponte operas.
The 1991 bicentennial of Mozart’s death turned Salzburg into a swamp of bad taste and
cupidity. The world premiere of a kitsch opera, Mozart in New York, had me checking my
watch every five unending minutes. The record industry, still vibrant, splattered
Mozart over every vacant hoarding and a new phenomenon, Classic FM, launched in 1992
on the Mozart tide, ensured that we would never be more than a fingerstretch away from
the nearest marzipan chord.
What good all this Mozart does is disputable. For all the pseudoscience of the Mozart
Effect I have yet to see a life elevated by Cosi fan tutte or a criminal reformed by
the plinks of a flute and harp concerto. Where ten days of Bach on BBC Radio 3 will
flush out the world’s ears and open minds to limitless vistas, the coming year of
Mozart feels like a term at Guantanamo Bay without the sunshine. There will be no
refuge from neatly resolved chords, no escaping that ingratiating musical grin.
Don’t look to mass media for context or quality control. Both the BBC and independent
channels have rejected any critical perspective on Mozart in the coming year, settling
for sweet-wrapper documentaries that regurgitate familiar clichés. In this orgy of
simple-mindedness, the concurrent centenary of Dmitri Shostakovich ö a composer of
true courage and historical significance ö is being shunted to the sidelines,
celebrated by the few.
Mozart is a menace to musical progress, a relic of rituals that were losing relevance
in his own time and are meaningless to ours. Beyond a superficial beauty and
structural certainty, Mozart has nothing to give to mind or spirit in the 21st
century. Let him rest. Ignore the commercial onslaught. Play the Leningrad Symphony.
Listen to music that matters.
Autor:  Amadeo [ 15 Feb 2006 11:57 ]
Asunto:  Mozart
Pocas veces he leido tantas tonterias juntas en la segunda parte de un articulo :lol: .
Al menos pudo tener mejor "gusto" y nombrar a otra sinfonia de Shostakovich, la octava por ejemplo. Pero la Leningrado?? Bah!! :x
Eso si, lo que dice en la primera parte es basicamente cierto, aunque no es ningun descubrimiento :P .
Autor:  DaPonte [ 15 Feb 2006 12:17 ]
Asunto: 
Curioso... :D

Dos simples apuntes:

1) Menos mal que ni Beethoven ni Rossini ni Wagner ni, que yo sepa, ninguno de los grandes compositores que vinieron después piensan lo mismo que este señor. Si no, hasta podría tener un ápice de razón.

2) Si alguien que no sabe absolutamente nada de Mozart lee esto tenderá a pensar intuitivamente que murió con 80 años sin haber innovado nada. De lo de no innovado nada seguro que habría que contrastarlo con otras opiniones especialistas... Pero la clave está en que murió con 35 años y que componía por encargo para poder vivir. Los que fueron rompiendo con lo que había detrás pudieron hacerlo porque tenían asegurados los garbanzos, lo que les daba tranquilidad laboral para ir rompiendo las reglas de la armonía... y vivieron muchos más años.


No sé por qué me da que está sufriendo del típico síndrome anti mercado: cuando casi nadie escucha algo uno se siente elitista e importante; en el momento que se populariza pasa a ser lo que le gusta a todo el mundo, mi gusto ya no es exquisito y refinado; lo que le gusta a la mayoría ha de ser, necesariamente, una soberana mierda.
Autor:  Amadeo [ 15 Feb 2006 12:32 ]
Asunto:  Mostly M.
Mozart no innovo nada en cuestion de formas musicales, ni en procedimientos tematicos ni en el campo del manejo de la armonia. Haydn era infinitamente mas innovador en ese sentido. Lo que innovo Mozart fue en el contenido en si del discurso musical. Su nivel de inspiracion me parece que va mas alla de todos. Hay que ver lo que pensaban Beethoven, Rossini, Chopin, Brahms, Tchaikovsky, Stravinsky o Prokofiev (por mencionar solo a algunos) sobre la musica de Mozart. O es que ellos estarian enganiados? :lol: :lol: :lol:
Autor:  Sutherliano [ 15 Feb 2006 13:36 ]
Asunto: 
Y digo yo ¿en la ópera tampoco innovó nada?
Autor:  DaPonte [ 15 Feb 2006 18:55 ]
Asunto:  Re: Norman Leberecht sobre Mozart (no apto para fans)
Citar:
His operas of knowing servants and stupid masters were conceived by Da Ponte, a renegade priest, from plays by Beaumachais and Ariosto


¿Criados listos y señores tontos?

Esto me ha llamado la atención, porque ni el conde en las bodas ni Don Giovanni tienen ni un pelo de tontos. Son personas inteligentes y manipuladoras:

Para jugársela al conde tienen que orquestar un buen lío entre varias personas (Condesa, Susanna, Figaro, Barbarina y Querubino) e incluso necesitan al final un golpe de suerte, cuando Marcelina descubre por azar quién es su hijo. De no suceder eso, el conde hubiera conseguido mediante la intervención de un abogado la anulación de la boda de Figaro, para así poder seguir presionando a Susanna (quizás chantajeandola con el contrato entre Figaro y Marcelina).

A Don Giovanni, por otro lado, sólo lo consigue doblegar un poder sobrenatural; durante toda la ópera ha jugado como ha querido con criados y criadas, y ha manipulado a su sirviente para que reciba todos los palos. Sólo sucumbe ante sí mismo, con su negativa a arrepentirse, en un lance en el que sigue siendo consecuente con su estilo de vida.

¿Dónde están los "stupid masters", entonces? :D

Bueno, le estoy dedicando demasiado de mi tiempo a alguien cuyo resentimiento hacia todo lo que rodea el año Mozart ha nublado su razón.
Autor:  masnadieri [ 15 Feb 2006 19:26 ]
Asunto: 
ES MI IDOLO!!!!, JAJA :nw:
Autor:  Bends [ 15 Feb 2006 19:31 ]
Asunto: 
Click

Citar:
"¡Olvídese de Mozart!"
Escuche obras maestras de sus contemporáneos

Pasquale Anfossi (1727-1797)
Johann Christian Bach (1735-1782)
André Destouches (1672-1749)
Leopold Gassmann (1729-1774)
Adalbert Gyrowetz (1763-1850)
Niccolò Jommelli (1714-1774)
Joseph Martin Kraus (1756-1792)
Thomas Linley jr. (1756-1778)
Vicente Martín y Soler (1754-1806)
Giovanni Paisiello (1740-1816)
François-André Philidor (1726-1795)

Uno más de los actos que se están celebrando en Viena y Salzburgo con motivo del Año Mozart.
Autor:  Concepción [ 15 Feb 2006 21:17 ]
Asunto: 
Pero, ¿y quién es este tío?...
Autor:  Maddalena [ 15 Feb 2006 21:26 ]
Asunto: 
A mí también me parece un resentido este Leberecht (¿quién es?)

Que las celebraciones del año Mozart resulten irritantes, kitsch o mercantilistas no implica que el homenajeado deba volverse sospechoso de ser un compositor de segunda.

Baci,
Maddalena
Autor:  Bends [ 15 Feb 2006 21:34 ]
Asunto: 
Concepción escribió:
Pero, ¿y quién es este tío?...

Imagen
Autor:  Andrea [ 15 Feb 2006 21:37 ]
Asunto: 
Creo que se refería a Rompetechos.
Autor:  Zerlina [ 15 Feb 2006 21:47 ]
Asunto: 
Ya vereis cuando lea esto Fantine...
Autor:  Fantine [ 15 Feb 2006 23:29 ]
Asunto: 
Zerlina escribió:
Ya vereis cuando lea esto Fantine...


sólo diré....
Citar:
Too much Mozart makes you sick
...VIVAN LOS HOSPITALES!!!!!!!!!!!
cof, cof...ai Dios, qué malita toy...un poco de Don giovanni no tendrían ...ah..Le Nozze..bueno..bien...pero combínemelo con Zauberflöte, las sinfonías 40 y 41 y uns gotitas de Eine Kleine Nachtmusik...para empezar...

melón...trozo melón... :evil: :evil: :evil: :evil:
Autor:  El idiota [ 15 Feb 2006 23:37 ]
Asunto: 
Pues yo no me he enojado...entre lo que dice Lebrecht y lo que dice la música de Mozart ni me lo pienso...
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