Mozart on Craft

“People are mistaken, if they think that my art has come easily to me. I assure you, dear friend, no one has devoted so much effort in the study of composition as have I. There is scarcely a famous master in must whose works I have not diligently, and often repeatedly, studied.”

– Mozart, in Franz Xaver Niemestchek’s Biography of Mozart, 1808.
Cited in Marshall, Robert (1995) Mozart Speaks. Shirmer, p. 196.

Posted

in

by

Greg

Tags:

,

Featured Content

Part of the bigger picture
Leopold Stokowski conducted the American premier of Berg’s opera Wozzeck in 1930 (a joint effort of The Philadelphia Orchestra, the Phildelphia Grand Opera, and Curtis Institute).  Abram Chasins recalls a rehearsal: I attended his second rehearsal with the orchestra in the pit and singers on the stage.  After some twenty minutes of singing and acting, […]
Communication with the audience
Igor Stravinsky contemplates the ultimate goal of an artist versus reality: “Art postulates communion [between the artist and the audience], and the artist has an imperative need to make others share the joy which he experiences himself. But in spite of that need, he prefers to direct and frank opposition to apparent agreement which is […]
Mozart improvising
In 1777, Mozart was having lunch with his uncle at the Holy Cross Convent in Ausburg. Mozart played a sinfoni and Vanhall’s Violin Concerto in B. In the evening, at supper, he performed his Strasbourg concerto, a keyboard prelude and his Fischer Variations (K179). It was suggested to the deacon of the Holy Cross Conen, […]
Reverie II
Reverie II Composer: Greg Smith Instrumentation: Piano (left hand) Product medium: PDF score
A performance can be greater than them
I remember a few years ago being at a summer academy in the south of France, with Dominique Merlet. The whole atmosphere was great there, as we were a group of like-minded people, keen to learn, work and share ideas in the gorgeous setting of a little medieval French village. The concert at the end, […]
Handel’s speedy method
Morrell gave Handel the words of Cleopatra’s air “Convey me to some peaceful shore” in Alexander Balus, he cried out “Damn your Iambics!”. Morell offered to change them to trochees and went into the next room to do so, only to find about three minutes later that Handel had set them as they stood.” Dean, […]
Rachmaninoff on the culminating point in performance
This culmination may be at the end or in the middle, it may be loud or soft; but the performer must know how to approach it with absolute calculation, absolute precision, because, if it slips by, then the whole construction crumbles, and the piece becomes disjointed and scrappy and does not convey to the listener […]
A good performance
A good performance is one that moves me. But it is not only the passion and emotion expressed in a performance that move me, it is also allowing the clarity of the structure, as well as the different characters, to shine through, a well-judged balance, a sense of architecture of the whole piece and, at […]
Stokowski’s first rehearsal with the Philadelphia Orchestra
On Stokowski’s first rehearsal with the Philadelphia Orchestra: From Oscar Schwar, a fellow faculty member at Curtis who became my friend, I heard the details of Stokowski’s first contact with the orchestra.  He would never forget, he said, that Monday morning of October 7, 1912, when an amazingly young and handsome Stokowski, wearing a light […]
A mushroom anyone?
…everybody was possessed by the Russian passion for gathering mushrooms.  Rivalries ran high, mushrooms were counted and compared, their beauty was discussed.  Rachmaninoff was an early riser and often went alone for a walk in the woods.  He used to return contented and start teasing (he was a great teaser).  One day he badgered us […]