By Mozart, Wolfgang Amadeus; Brophy, Brigid; Mozart, Wolfgang Amadeus
Brigid Brophy first released her passionate, profoundly unique Mozart the Dramatist in 1964, revisiting it in this case in 1988. Organised through topic, the textual content deals tremendous readings of Mozart's 5 most renowned operas - Die Entführung aus dem Serail, Le Nozze di Figaro, Don Giovanni, Così fan tutte, and Die Zauberflöte - whereas a 1988 preface reconsiders Idomeneo and La Clemenza di Tito. Brophy's research is richly knowledgeable through her readings and pursuits in psychoanalysis, fable, and relatives among the sexes, yet her rigidity exceptionally is on Mozart's 'unique excellence', his 'double supremacy' either as a 'classical' and 'psychological' artist.
'An illuminating, invigorating, thought-provoking and profoundly human e-book, of vast worth to any lover of Mozart.' Jane Glover
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Additional resources for Mozart the dramatist : the value of his operas to him, to his age and to us
THACKERAY: VANITY FAIR Contents Title Page Dedication Epigraph Note BRIEF CHRONOLOGY PREFACE TO THE 1988 EDITION I THE IMPORTANCE OF MOZART’S OPERAS II WOMEN AND OPERA III OPERA, CITIES AND ENLIGHTENMENT IV SINGING AND THEOLOGY V THE QUEST FOR PLEASURE VI ANARCHY, IMPOTENCE AND CLASSICISM VII THE ROCOCO SEDUCER VIII COMPULSIVE SEDUCTION IX “HÉ BIEN! ] XII MOZART PROPOSES A TRUCE XIII HELL, LOVE AND SOCIETY — 1 XIV ‘DIE ZAUBERFLÖTE’ SOLVED—1 XV ‘DIE ZAUBERFLÖTE’ SOLVED — 2 XVI HELL, LOVE AND SOCIETY—2 XVII THE EXOTIC XVIII NEAR THE CORE XIX ‘DON GIOVANNI’ AND ‘HAMLET’ XX MOZART AND BRIMSTONE XXI ‘SUCH AS THE FATHER IS, SUCH IS THE SON … THE FATHER ETERNAL, THE SON ETERNAL …’ XXII SOCIETY’S GUILT XXIII ENLIGHTENMENT AND PSYCHOLOGY XXIV MOZART AS LITERATURE — AND AS SUPER-LITERATURE APPENDIX: A NOTE ON PROFESSOR CHAILLEY’S ‘MAGIC FLUTE’ ARTICLES AND BOOKS CITED INDEX Copyright Note Two extracts from this book have appeared in The London Magazine.
527 1788 Symphonies K. 543, 550, 551 1790 Così Fan Tutte, K. 588 1791 La Clemenza di Tito, K. 621 Die Zauberflöte, K. 620 Requiem, K. 626 (finished by Süssmayr) Mozart died on 5 December * See Alfred Einstein: Mozart His Character His Work, 3, footnote. † Maria Anna according to Emily Anderson; Anna Maria according to Einstein. Preface to the 1988 Edition In this new edition of a book originally published in 1964 I have expanded and amended several passages. I have made reference to books published after 1964, some of which I reviewed in periodicals.
Art, as a fantasy worked on and recognised as untrue by the conscious but originating in the unconscious, it found the utmost difficulty in fitting in to the ideal, ‘natural’, sincere, truthtelling societies it was busy planning. Mozart, who was technically no more an eccentric than an innovator, was not in the least a man born out of his time. The great difficulty he presents to academic taste is that his idiom and many of his ideas swim quite happily with the current of his time; and that current, at least if we judge its nature by its prolific theoretical manifestoes instead of its actual masterpieces in the arts, had an anti-artistic direction.
Mozart the dramatist : the value of his operas to him, to his age and to us by Mozart, Wolfgang Amadeus; Brophy, Brigid; Mozart, Wolfgang Amadeus