![]() ![]() ” We are not used to Mozart’s confessional side, and when it emerges, we are fascinated by the potency of his personal stress, feelings, and their revelation. In his corruption of sentimental values, Mozart is a subversive artist. Nor does this detract from its power or effectiveness: the grief and the sensuality strengthen each other and end by becoming indivisible, indistinguishable one from the other. Mozart’s biographer Neal Zaslaw remarked, “No symphony of Mozart’s, not even the ‘Jupiter’, has aroused so much comment as this one.” The eminent musicologist, Charles Rosen, added more clarification to the symphony’s prominence saying, “In all of Mozart’s supreme expressions of suffering and terror, there is something shockingly voluptuous. 550 has always attracted attention and comment. 550 “pivotal to the romantic world.” This symphony was written within the remarkable period between June 28 and August 10 wherein he composed his last three symphonies: 39, 40, and 41. Both are dramatic both are written in G minor, a key the composer used for tragedy and angst both forecasted things yet to come: the first in the future work of a young composer, the second as harbinger of future musical compositions derived from emerging Romanticism. Mozart wrote only two symphonies in a minor key, one in 1773 and the other in 1788. ![]()
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