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Gönderen Konu: Wolfgang Amadeus "Mozart"  (Okunma sayısı 13095 defa)

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Ekim 30, 2006, 04:00:24 ös
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Family and early years
Mozart's birthplace at Getreidegasse 9, Salzburg, Austria
Plaque on wall outside Mozart's birthplace at Getreidegasse 9, Salzburg, Austria
Mozart merchandise on sale at an outside market stall in Residenz Square in SalzburgMozart was born to Leopold and Anna Maria Pertl Mozart, in the front room of nine Getreidegasse in Salzburg, the capital of the sovereign Archbishopric of Salzburg, in what is now Austria, then part of the Holy Roman Empire. His only sibling who survived beyond infancy was an older sister: Maria Anna, nicknamed Nannerl. Mozart was baptized the day after his birth at St. Rupert's Cathedral. The baptismal record gives his name in Latinized form as Joannes Chrysostomus Wolfgangus Theophilus Mozart. Of these names, the first two refer to John Chrysostom, one of the Church Fathers, and they were names not employed in everyday life, while the fourth, meaning "beloved of God", was variously translated in Mozart's lifetime as Amadeus (Latin), Gottlieb (German), and Amadé (French). Mozart's father Leopold announced the birth of his son in a letter to the publisher Johann Jakob Lotter with the words "...the boy is called Joannes Chrysostomus, Wolfgang, Gottlieb". Mozart himself preferred the third name, and he also took a fancy to "Amadeus" over the years. (see Mozart's name).

Mozart's father Leopold Mozart (1719–1787) was one of Europe's leading musical teachers. His influential textbook Versuch einer gründlichen Violinschule, was published in 1756, the year of Mozart's birth (English, as "A Treatise on the Fundamental Principles of Violin Playing", transl. E.Knocker; Oxford-New York, 1948). He was deputy kapellmeister to the court orchestra of the Archbishop of Salzburg, and a prolific and successful composer of instrumental music. Leopold gave up composing when his son's outstanding musical talents became evident. They first came to light when Wolfgang was about three years old, and Leopold, proud of Wolfgang's achievements, gave him intensive musical training, including instruction in clavier, violin, and organ. Leopold was Wolfgang's only teacher in his earliest years. A note by Leopold in Nannerl's music book – the Nannerl Notenbuch – records that little Wolfgang had learned several of the pieces at the age of four. Mozart's first compositions, a small Andante (K. 1a) and Allegro (K. 1b), were written in 1761, when he was five years old.

The years of travel
"Bologna Mozart" - Mozart age 21 in 1777, see also: face onlyDuring his formative years, Mozart made several European journeys, beginning with an exhibition in 1762 at the Court of the Elector of Bavaria in Munich, then in the same year at the Imperial Court in Vienna and Prague. A long concert tour spanning three and a half years followed, taking him with his father to the courts of Munich, Mannheim, Paris, London (where Wolfgang Amadeus played with the famous Italian cellist Giovanni Battista Cirri), The Hague, again to Paris, and back home via Zürich, Donaueschingen, and Munich. During this trip Mozart met a great number of musicians and acquainted himself with the works of other great composers. A particularly important influence was Johann Christian Bach, who befriended Mozart in London in 1764–65. Bach's work is often taken to be an inspiration for Mozart's music. They again went to Vienna in late 1767 and remained there until December 1768. On this trip Mozart contracted smallpox, and his healing was considered by Leopold as a proof of God's intentions concerning the child.

After one year in Salzburg, three trips to Italy followed: from December 1769 to March 1771, from August to December 1771, and from October 1772 to March 1773. Mozart was commissioned to compose three operas: "Mitridate Rè di Ponto" (1770), "Ascanio in Alba" (1771), and "Lucio Silla" (1772), all three of which were performed in Milan. During the first of these trips, Mozart met Andrea Luchesi in Venice and G.B. Martini in Bologna, and was accepted as a member of the famous Accademia Filarmonica. A highlight of the Italian journey, now an almost legendary tale, occurred when he heard Gregorio Allegri's Miserere once in performance in the Sistine Chapel then wrote it out in its entirety from memory, only returning to correct minor errors; thus producing the first illegal copy of this closely-guarded property of the Vatican.

On September 23, 1777, accompanied by his mother, Mozart began a tour of Europe that included Munich, Mannheim, and Paris. In Mannheim he became acquainted with members of the Mannheim orchestra, the best in Europe at the time. He fell in love with Aloysia Weber, who later broke up the relationship with him. He was to marry her sister Constanze some four years later in Vienna. During his unsuccessful visit to Paris, his mother died (1778).

Memorial plaque dedicated to Wolfgang Amadeus Mozart in Václavské náměstí square in Olomouc (Czech Republic). Mozart in 1767 as an 11-year-old boy was fleeing from Vienna due to a smallpox epidemic and wrote his Sixth Symphony in F Major in Olomouc

Mozart in Vienna
In 1780, Idomeneo, regarded as Mozart's first great opera, premiered in Munich. The following year, he visited Vienna in the company of his employer, the harsh Prince-Archbishop Colloredo. When they returned to Salzburg, Mozart, who was then Konzertmeister, became increasingly rebellious, not wanting to follow the whims of the archbishop relating to musical affairs; and expressing these views, he soon fell out of the archbishop's favor. According to Mozart's own testimony, he was dismissed – literally – "with a kick in the arse". Mozart chose to settle and develop his own freelance career in Vienna after its aristocracy began to take an interest in him.

On August 4, 1782, against his father's wishes, he married Constanze Weber (1763–1842; her name is also spelled "Costanze"); her father Fridolin was a half-brother of Carl Maria von Weber's father Franz Anton Weber. Although they had six children, only two survived infancy: Karl Thomas (1784–1858) and Franz Xaver Wolfgang (1791–1844; later a minor composer himself). Neither of these sons married or had children who reached adulthood. Karl did father a daughter, Constanza, who died in 1833.

The year 1782 was an auspicious one for Mozart's career: his opera Die Entführung aus dem Serail ("The Abduction from the Seraglio") was a great success, and he began a series of concerts at which he premiered his own piano concertos as director of the ensemble and soloist.

During 1782–83, Mozart became closely acquainted with the work of J.S. Bach and G.F. Handel as a result of the influence of Baron Gottfried van Swieten, who owned many manuscripts of works by the Baroque masters. Mozart's study of these works led first to a number of works imitating Baroque style and later had a powerful influence on his own personal musical language, for example the fugal passages in Die Zauberflöte ("The Magic Flute"), and in the finale of Symphony No. 41.

In 1783, Wolfgang and Constanze visited Leopold in Salzburg, but the visit was not a success, as his father did not open his heart to Constanze. However, the visit sparked the composition of one of Mozart's great liturgical pieces, the Mass in C Minor, which, though not completed, was premiered in Salzburg, and is now one of his best-known works. Wolfgang featured Constanze as the lead female solo voice at the premiere of the work, hoping to endear her to his father's affection.

In his early Vienna years, Mozart met Joseph Haydn and the two composers became friends. When Haydn visited Vienna, they sometimes played together in an impromptu string quartet. Mozart's six quartets dedicated to Haydn (K. 387, K. 421, K. 428, K. 458, K. 464, and K. 465) date from 1782–85, and are often judged to be his response to Haydn's Opus 33 set from 1781. In a letter to Haydn, Mozart wrote:

A father who had decided to send his sons out into the great world thought it his duty to entrust them to the protection and guidance of a man who was very celebrated at the time, and who happened moreover to be his best friend. In the same way I send my six sons to you... Please then, receive them kindly and be to them a father, guide, and friend!... I entreat you, however, to be indulgent to those faults which may have escaped a father's partial eye, and in spite of them, to continue your generous friendship towards one who so highly appreciates it." (Bernard Jacobson (1995) in CD no. 13 of the Best of the Complete Mozart Edition [Germany: Philips])

Haydn was soon in awe of Mozart, and when he first heard the last three of Mozart's series he told Leopold, "Before God and as an honest man I tell you that your son is the greatest composer known to me either in person or by name: He has taste, and, furthermore, the most profound knowledge of composition."

Unfinished portrait of Mozart, 1782During the years 1782–1785, Mozart put on a series of concerts in which he appeared as soloist in his piano concertos, widely considered among his greatest works. These concerts were financially successful. After 1785 Mozart performed far less and wrote only a few concertos. Maynard Solomon conjectures that he may have suffered from hand injuries another possibility is that the fickle public ceased to attend the concerts in the same numbers.

Mozart was influenced by the ideas of the eighteenth-century European Enlightenment as an adult, and became a Freemason in 1784. His lodge was specifically Catholic, rather than deistic, and he worked fervently and successfully to convert his father before the latter's death in 1787. Die Zauberflöte, his second last opera, includes Masonic themes and allegory. He was in the same Masonic Lodge as Haydn.

Mozart's life was occasionally fraught with financial difficulty. Though the extent of this difficulty has often been romanticized and exaggerated, he nonetheless did resort to borrowing money from close friends, some debts remaining unpaid even to his death. During the years 1784-1787 he lived in a lavish, seven-room apartment, which may be visited today at Domgasse 5, behind St Stephen's Cathedral in Vienna; it was here, in 1786, that Mozart composed the opera Le nozze di Figaro.

Mozart and Prague
Mozart had a special relationship with the city of Prague and its people. The audience there celebrated the Figaro with the much-deserved reverence he was missing in his hometown Vienna. His quotation "Meine Prager verstehen mich" (My Praguers understand me) became very famous in the Bohemian lands. Many tourists follow his tracks in Prague and visit the Mozart Museum of the Villa Bertramka where they can enjoy a chamber concert. In the later years of his life, Prague provided Mozart with many financial resources from commissions [citation needed]. In Prague, Don Giovanni premiered on October 29, 1787 at the Theatre of the Estates. Mozart wrote La clemenza di Tito for the festivities accompanying Leopold II's coronation in November 1790; Mozart obtained this commission after Antonio Salieri had allegedly rejected it.

Final illness and death
Mozart's final illness and death are difficult topics for scholars, obscured by romantic legends and replete with conflicting theories. Scholars disagree about the course of decline in Mozart's health – particularly at what point (or if at all) Mozart became aware of his impending death and whether this awareness influenced his final works. The romantic view holds that Mozart declined gradually and that his outlook and compositions paralleled this decline. In opposition to this, some present-day scholars point out correspondence from Mozart's final year indicating that he was in good cheer, as well as evidence that Mozart's death was sudden and a shock to his family and friends. Mozart's attributed last words: "The taste of death is upon my lips...I feel something, that is not of this earth". The actual cause of Mozart's death is also a matter of conjecture. His death record listed "hitziges Frieselfieber" ("severe miliary fever," referring to a rash that looks like millet-seeds), a description that does not suffice to identify the cause as it would be diagnosed in modern medicine. Dozens of theories have been proposed, including trichinosis, mercury poisoning, and rheumatic fever. The practice, common at that time, of bleeding medical patients is also cited as a contributing cause.

Mozart died around 1 a.m. on December 5, 1791 in Vienna. Some days earlier, with the onset of his illness, he had largely ceased work on his final composition, the Requiem. Popular legend has it that Mozart was thinking of his own impending death while writing this piece, and even that a messenger from the afterworld commissioned it. However, documentary evidence has established that the anonymous commission came from one Count Franz Walsegg of Schloss Stuppach, and that most if not all of the music had been written while Mozart was still in good health. A younger composer, and Mozart's pupil at the time, Franz Xaver Süssmayr, was engaged by Constanze to complete the Requiem. However, he was not the first composer asked to finish the Requiem, as the widow had first approached another Mozart student, Joseph Eybler, who began work directly on the empty staves of Mozart's manuscript but then abandoned it.

Because he was buried in an unmarked grave, it has been popularly assumed that Mozart was penniless and forgotten when he died. In fact, though he was no longer as fashionable in Vienna as before, he continued to have a well-paid job at court and receive substantial commissions from more distant parts of Europe, Prague in particular [citation needed]. He earned about 10,000 florins per year, equivalent to at least 42,000 US dollars in 2006, which places him within the top 5% of late 18th century wage earners, but he could not manage his own wealth. His mother wrote, "When Wolfgang makes new acquaintances, he immediately wants to give his life and property to them." His impulsive largesse and spending often put him in the position of having to ask others for loans. Many of his begging letters survive but they are evidence not so much of poverty as of his habit of spending more than he earned. He was not buried in a "mass grave" but in a regular communal grave according to the 1784 laws in Austria.

Though the original grave in the St. Marx cemetery was lost, memorial gravestones (or cenotaphs) have been placed there and in the Zentralfriedhof. In 2005, new DNA testing was performed by Austria's University of Innsbruck and the US Armed Forces DNA Identification Laboratory in Rockville, Maryland, to determine if a skull in an Austrian Museum was actually his, using DNA samples from the marked graves of his grandmother and Mozart's niece. However, test results were inconclusive, suggesting that none of the DNA samples were related to each other.

In 1809, Constanze married Danish diplomat Georg Nikolaus von Nissen (1761–1826). Being a fanatical admirer of Mozart, he (and Constanze?) edited vulgar passages out of many of the composer's letters and wrote a Mozart biography. Nissen did not live to see his biography printed, and Constanze finished it.

Works, musical style, and innovations
See also: List of compositions by Wolfgang Amadeus Mozart

Mozart's music, like Haydn's, stands as an archetypal example of the Classical style. His works spanned the period during which that style transformed from one exemplified by the style galant to one that began to incorporate some of the contrapuntal complexities of the late Baroque, complexities against which the galant style had been a reaction. Mozart's own stylistic development closely paralleled the development of the classical style as a whole. In addition, he was a versatile composer and wrote in almost every major genre, including symphony, opera, the solo concerto, chamber music including string quartet and string quintet, and the piano sonata. While none of these genres were new, the piano concerto was almost single-handedly developed and popularized by Mozart. He also wrote a great deal of religious music, including masses; and he composed many dances, divertimenti, serenades, and other forms of light entertainment.

The central traits of the classical style can all be identified in Mozart's music. Clarity, balance, and transparency are hallmarks, though a simplistic notion of the delicacy of his music obscures for us the exceptional and even demonic power of some of his finest masterpieces, such as the Piano Concerto in C minor, K. 491, the Symphony in G minor, K. 550, and the opera Don Giovanni. The famed writer on music Charles Rosen has written (in The Classical Style): "It is only through recognizing the violence and sensuality at the center of Mozart's work that we can make a start towards a comprehension of his structures and an insight into his magnificence. In a paradoxical way, Schumann's superficial characterization of the G minor Symphony can help us to see Mozart's daemon more steadily. In all of Mozart's supreme expressions of suffering and terror, there is something shockingly voluptuous." Especially during his last decade, Mozart explored chromatic harmony to a degree rare at the time. The slow introduction to the "Dissonant" Quartet, K. 465, a work that Haydn greatly admired, rapidly explodes a shallow understanding of Mozart's style as light and pleasant.

From his earliest years Mozart had a gift for imitating the music he heard; since he travelled widely, he acquired a rare collection of experiences from which to create his unique compositional language. When he went to London as a child, he met J.C. Bach and heard his music; when he went to Paris, Mannheim, and Vienna, he heard the work of composers active there, as well as the spectacular Mannheim orchestra; when he went to Italy, he encountered the Italian overture and the opera buffa, both of which were to be hugely influential on his development. Both in London and Italy, the galant style was all the rage: simple, light music, with a mania for cadencing, an emphasis on tonic, dominant, and subdominant to the exclusion of other chords, symmetrical phrases, and clearly articulated structures. This style, out of which the classical style evolved, was a reaction against the complexity of late Baroque music. Some of Mozart's early symphonies are Italian overtures, with three movements running into each other; many are "homotonal" (each movement in the same key, with the slow movement in the tonic minor). Others mimic the works of J.C. Bach, and others show the simple rounded binary forms commonly being written by composers in Vienna. One of the most recognizable features of Mozart's works is a sequence of harmonies or modes that usually leads to a cadence in the dominant or tonic key. This sequence is essentially borrowed from baroque music, especially Bach. But Mozart shifted the sequence so that the cadence ended on the stronger half, i.e., the first beat of the bar. Mozart's understanding of modes such as Phrygian is evident in such passages.

As Mozart matured, he began to incorporate some more features of Baroque styles into his music. For example, the Symphony No. 29 in A Major K. 201 uses a contrapuntal main theme in its first movement, and experimentation with irregular phrase lengths. Some of his quartets from 1773 have fugal finales, probably influenced by Haydn, who had just published his opus 20 set. The influence of the Sturm und Drang ("Storm and Stress") period in German literature, with its brief foreshadowing of the Romantic era to come, is evident in some of the music of both composers at that time.

Over the course of his working life Mozart switched his focus from instrumental music to operas, and back again. He wrote operas in each of the styles current in Europe: opera buffa, such as The Marriage of Figaro, Don Giovanni, or Così fan tutte; opera seria, such as Idomeneo; and Singspiel, of which Die Zauberflöte is probably the most famous example by any composer. In his later operas, he developed the use of subtle changes in instrumentation, orchestration, and tone colour to express or highlight psychological or emotional states and dramatic shifts. Here his advances in opera and instrumental composing interacted. His increasingly sophisticated use of the orchestra in the symphonies and concerti served as a resource in his operatic orchestration, and his developing subtlety in using the orchestra to psychological effect in his operas was reflected in his later non-operatic compositions.

Mozart's legacy to subsequent generations of composers (in all genres) is immense.

Many important composers since Mozart's time have expressed profound appreciation of Mozart. Rossini averred, "He is the only musician who had as much knowledge as genius, and as much genius as knowledge." Ludwig van Beethoven's admiration for Mozart is also quite clear. Beethoven used Mozart as a model a number of times: for example, Beethoven's Piano Concerto No. 4 in G major demonstrates a debt to Mozart's Piano Concerto in C major, K. 503. A plausible story – not corroborated – regards one of Beethoven's students who looked through a pile of music in Beethoven's apartment. When the student pulled out Mozart's A major Quartet, K. 464, Beethoven exclaimed "Ah, that piece. That's Mozart saying 'here's what I could do, if only you had ears to hear!' "; Beethoven's own Piano Concerto No. 3 in C minor is an obvious tribute to Mozart's Piano Concerto No. 24 in C minor, and yet another plausible – if unconfirmed – story concerns Beethoven at a concert with his sometime-student Ferdinand Ries. As they listened to Mozart's Piano Concerto No. 24, the orchestra reached the quite unusual coda of the last movement, and Beethoven whispered to Ries: "We'll never think of anything like that!" Beethoven's Quintet for Piano and Winds is another obvious tribute to Mozart, similar to Mozart's own quintet for the same ensemble. Beethoven also paid homage to Mozart by writing sets of variations on several of his themes: for example, the two sets of variations for cello and piano on themes from Mozart's Magic Flute, and cadenzas to several of Mozart's piano concertos, most notably the Piano Concerto No. 20 K. 466. A famous legend asserts that, after the only meeting between the two composers, Mozart noted that Beethoven would "give the world something to talk about." However, it is not certain that the two ever met. Tchaikovsky wrote his Mozartiana in praise of Mozart; and Mahler's final word was alleged to have been simply "Mozart". The theme of the opening movement of the Piano Sonata in A major K. 331 (itself a set of variations on that theme) was used by Max Reger for his Variations and Fugue on a Theme of Mozart, written in 1914 and among Reger's best-known works.

In addition, Mozart received outstanding praise from several fellow composers including Frédéric Chopin, Franz Schubert, Peter Ilich Tchaikovsky, Robert Schumann, and many more.

Mozart has remained an influence in popular contemporary music in varying genres ranging from Jazz to modern Rock and Heavy metal. An example of this influence is the jazz pianist Chick Corea, who has performed piano concertos of Mozart and was inspired by them to write a concerto of his own.

The Köchel catalogue
Main article: Köchel-Verzeichnis
In the decades after Mozart's death there were several attempts to catalogue his compositions, but it was not until 1862 that Ludwig von Köchel succeeded in this enterprise. Many of his famous works are referred to by their Köchel catalogue number; for example, the Piano Concerto in A major (Piano Concerto No. 23) is often referred to simply as "K. 488" or "KV. 488". The catalogue has undergone six revisions, labeling the works from K. 1 to K. 626.

Myths and controversies
Mozart is unusual among composers for being the subject of an abundance of legend, partly because none of his early biographers knew him personally. They often resorted to fiction in order to produce a work. Many myths began soon after Mozart died, but few have any basis in fact. An example is the story that Mozart composed his Requiem with the belief it was for himself. Sorting out fabrications from real events is a vexing and continuous task for Mozart scholars mainly because of the prevalence of legend in scholarship. Dramatists and screenwriters, free from responsibilities of scholarship, have found excellent material among these legends.

An especially popular case is the supposed rivalry between Mozart and Antonio Salieri, and, in some versions, the tale that it was poison received from the latter that caused Mozart's death; this is the subject of Aleksandr Pushkin's play Mozart and Salieri, Nicolai Rimsky-Korsakov's opera Mozart and Salieri, and Peter Shaffer's play Amadeus. The last of these has been made into a feature-length film of the same name. Shaffer's play attracted criticism for portraying Mozart as vulgar and loutish, a characterization felt by many to be unfairly exaggerated, but in fact frequently confirmed by the composer's letters and other memorabilia. For example, Mozart wrote canons on the words "Leck mich im Arsch" ("Lick my arse") and "Leck mich im Arsch recht fein schön sauber" ("Lick my arse nice and clean") as party pieces for his friends. The Köchel numbers of these canons are 231 and 233.

Another debate involves Mozart's alleged status as a kind of superhuman prodigy, from childhood right up until his death. While some have criticised his earlier works as simplistic or forgettable, others revere even Mozart's juvenilia. In any case, several of his early compositions remain very popular. The motet Exultate, jubilate, for example, composed when Mozart was seventeen years old, is among the most frequently recorded of his vocal compositions. It is also mentioned that around the time when he was five or six years old, he could play the piano blindfolded and with his hands crossed over one another.

Benjamin Simkin, a medical doctor, argues in his book Medical and Musical Byways of Mozartian that Mozart had Tourette syndrome. However, no Tourette syndrome expert, organization, psychiatrist or neurologist has stated that there is credible evidence that Mozart had this syndrome, and several have stated now that they do not believe there is enough evidence to substantiate the claim.

Amadeus (1984)
Milos Forman’s 1984 motion picture Amadeus, based on the play by Peter Shaffer, won eight Academy Awards and was one of the year’s most popular films. While the film did a great deal to popularize Mozart’s work with the general public, it has been criticized for its historical inaccuracies, and in particular for its portrayal of Antonio Salieri’s intrigues against Mozart, for which little historical evidence can be found. On the contrary, it is likely that Mozart and Salieri regarded each other as friends and colleagues: it is well documented, for instance, that Salieri frequently lent Mozart musical scores from the court library, that he often chose compositions by Mozart for performance at state occasions, and Salieri taught Mozart's son, Franz Xaver.

The idea that he never revised his compositions, dramatized in the film, is easily exploded by even a cursory examination of the autograph manuscripts, which contain many revisions. Mozart was a studiously hard worker, and by his own admission his extensive knowledge and abilities developed out of many years' close study of the European musical tradition. In fairness, Schaffer and Forman never claimed that Amadeus was intended to be an accurate biographical portrait of Mozart. Rather, as Shaffer reveals on the DVD release of the film, the dramatic narrative was inspired by the biblical story of Cain and Abel – one brother loved by God, and the other scorned.

- Sahsima ozel mesaj atmadan once Yonetim Hiyerarsisini izleyerek ilgili yoneticiler ile gorusunuz.
- Masonluk hakkinda ozel mesaj ile bilgi, yardim ve destek sunulmamaktadir.
- Sorunuz ve mesajiniz hangi konuda ise o konudan sorumlu gorevli yada yonetici ile gorusunuz. Sahsim, butun cabalarinizdan sonra gorusmeniz gereken en son kisi olmalidir.
- Sadece hicbir yoneticinin cozemedigi yada forumda asla yazamayacaginiz cok ozel ve onemli konularda sahsima basvurmalisiniz.
- Masonluk ve Masonlar hakkinda bilgi almak ve en onemlisi kisisel yardim konularinda tarafima dogrudan ozel mesaj gonderenler cezalandirilacaktir. Bu konular hakkinda gerekli aciklama forum kurallari ve uyelik sozlesmesinde yeterince acik belirtilmsitir.

Ekim 30, 2006, 04:01:56 ös
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Mozart Masonic Music

Here is a list of works that either have been written for Lodge or have been adapted to use in Lodge:

Psalm 129: De Profundis Clamavi, K. 93

Song: O Heiliges Band, K. 148

Graduale Ad Festum B.M.V.: Sancta Maria, Mater Dei, K. 273

Canonic Adagio for 2 Bassett Horns and Bassoon, K. 410 This canonic work was probably designed as part of a Masonic ritual procession. It is a mere 27 measures long, but it is a moment of solemn beauty.

Adagio for 2 Clarinets and 3 Bassett Horns, K. 411 A companion to the preceding selection, this Adagio was probably intended as the music for a solemn entrance procession by members of the lodge, as the Masonic knocking by them is softly indicated.

Cantata: "Dir, Seele Ses Weltalls," K. 429 Mozart probably composed this cantata on commission for a Masonic celebration to which non-members were invited, possibly even an event coram publico.

Gesellenreise: "Die Ihr Einem Neuen Grade," K. 468 This manuscript is dated 26 March 1785, a few days before Mozart's father joined the lodge. It was to welcome members upon their attaining the second degree of membership.

Cantata: Die Maurerfreude - "Sehen, Wie Dem Starren Forscherauge," K. 471 This cantata was composed in April 1785 in honor of Ignaz Born, the Grand Master of the Lodge of True Harmony.

Maurerische Trauermusik (Masonic Funeral Music), K. 477

Song: "Zerflieszet Heut, Geliebte Bruder," K. 483

Song "Ihr Unsre Neuen Leiter," K. 484

Adagio and Fugue in C Minor, K. 546

Adagio and Rondo for Flute, Oboe, Viola, Cello, and Celesta, K. 617

Motet: Ave Verum Corpus, K. 618

Cantata: "Die Ihr Des Unermesslichen Weltalls Schopfer Ehrt," K. 619

Ein Kleine Freimaurer Kantate: "Laut Verkunde Unsre Freude," K. 623

I hope this gives a little more light to Brother Mozart and his contribution to the Craft. He held the Craft very high in his mind, heart and soul.

It was also a very trying time for Freemasonry at the time of Enlightenment. I am very proud and honored to have a different prospective view of this time of history that has lived on through music.

- Sahsima ozel mesaj atmadan once Yonetim Hiyerarsisini izleyerek ilgili yoneticiler ile gorusunuz.
- Masonluk hakkinda ozel mesaj ile bilgi, yardim ve destek sunulmamaktadir.
- Sorunuz ve mesajiniz hangi konuda ise o konudan sorumlu gorevli yada yonetici ile gorusunuz. Sahsim, butun cabalarinizdan sonra gorusmeniz gereken en son kisi olmalidir.
- Sadece hicbir yoneticinin cozemedigi yada forumda asla yazamayacaginiz cok ozel ve onemli konularda sahsima basvurmalisiniz.
- Masonluk ve Masonlar hakkinda bilgi almak ve en onemlisi kisisel yardim konularinda tarafima dogrudan ozel mesaj gonderenler cezalandirilacaktir. Bu konular hakkinda gerekli aciklama forum kurallari ve uyelik sozlesmesinde yeterince acik belirtilmsitir.

Ekim 30, 2006, 04:02:42 ös
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by Newcomb Condee 33 deg

Wolfgang Amadeus Mozart was twenty-eight years of age when, in the autumn of 1784, he joined a Masonic Lodge. As a pianist, little Wolfgang had been an infant prodigy, exhibited by his father throughout Europe, but he was now a recognized and admired composer living in Vienna. The very year of his initiation his first great opera, The Marriage of Figaro, had been produced in Paris. This was, however, before the days of copyright law and the earnings of genius were meager.

During the eighteenth century, Freemasonry in Vienna had a political as well as a benevolent side. It counted as its members many highly placed politicians and ecclesiastics whose ideal was the regeneration of humanity by moral means. It was hated by the Catholic Church and certain despotic political authorities who deemed it dangerous, both to religion and the well being of the state. The Church, however, even as today in certain Latin countries, did not consider it expedient to challenge high-placed persons nominally its members but also of the Fraternity.

The Empress Maria Theresa had been one who was opposed to Masonry and, in 1743, had ordered a Viennese Lodge raided, forcing its Master and her husband, Francis I, to make his escape by a secret staircase. The Emperor Joseph II (1780-90) was favourably inclined to the Fraternity, although the clergy did their best to get the Lodges suppressed.

Such was the Masonic milieu when Wolfgang Mozart became a Master Mason.He must have been greatly moved and inspired by his experience. Almost immediately he composed his Freemason's Funeral Music and his music for the opening and closing of a Lodge. He now composed his opera, Don Giovanni, and his three great symphonies - the E flat, the G minor and the C major, as well as a great number of concertos and chamber-music works.

His last great opera, The Magic Flute, opened in Vienna on the evening of September 30, 1791. Mozart conducted the first two performances, when he was overtaken by his last illness. He lingered on while the opera had an unprecedented run of more than one hundred consecutive performances. It is said that in his sick bed, watch in hand, he would follow in imagination the performance of The Magic Flute in the theatre. Then he died after its 67th performance.

The Magic Flute makes no mention of Freemasonry as such, but it has always been accepted as a Masonic opera. Musicians assert that even the music has much Craft significance, beginning in the overture with its three solemn chords in the brass.

In keeping with the fashion of the time, the plot is half-serious, half-comic, a fantasy of magic and mystery laid in a never-never land called Egypt. It depicts the ancient mysteries and presents much Craft symbolism. To the Viennese of that day, The Queen of the, Night was clearly the unfriendly Empress Maria Theresa; the good Sarastro was Ignas von Born, an eminent scientist and Masonic leader; the hero Tamino was the good Emperor Joseph and the heroine Pamina, the Austrian people themselves.

The first program credited the libretto to the actor-producer, Schikaneder, but it is now thought that it was written by Giesceke, the friend and intimate of Goethe and Schiller, who probably desired to remain anonymous for political reasons.

The opera has remained popular through the years and is included in the present repertoire of the Metropolitan Opera Company.
- Sahsima ozel mesaj atmadan once Yonetim Hiyerarsisini izleyerek ilgili yoneticiler ile gorusunuz.
- Masonluk hakkinda ozel mesaj ile bilgi, yardim ve destek sunulmamaktadir.
- Sorunuz ve mesajiniz hangi konuda ise o konudan sorumlu gorevli yada yonetici ile gorusunuz. Sahsim, butun cabalarinizdan sonra gorusmeniz gereken en son kisi olmalidir.
- Sadece hicbir yoneticinin cozemedigi yada forumda asla yazamayacaginiz cok ozel ve onemli konularda sahsima basvurmalisiniz.
- Masonluk ve Masonlar hakkinda bilgi almak ve en onemlisi kisisel yardim konularinda tarafima dogrudan ozel mesaj gonderenler cezalandirilacaktir. Bu konular hakkinda gerekli aciklama forum kurallari ve uyelik sozlesmesinde yeterince acik belirtilmsitir.

Ekim 30, 2006, 04:09:29 ös
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Liner notes posted from a Compact Disk
Telarc #CD-80345
"Highlights from Die Zauberflute (The Magic Flute)
Wolfgang Amadeus Mozart
commonly referred to as "The Masonic Opera"
Permission graciously granted to post
Telarc International Corporation.

The sources and influences of The Magic Flute are many, the most obvious being Lulu, or the Magic Flute by Christoph Martin Wieland, one of a collection of fairy stories published in 1786 under the title Dschinnistan. This had already inspired several Singspiel productions by various companies with such titles as Kaspar the Bassoon Player, or The Magic Zither. But the oriental decor and magical effects taken from this source provide only one level of Mozart's work, for underlying them are pervasive references to the mysteries of Freemasonry.

Mozart, a Freemason since 1784, and Schikaneder, a fellow Mason of a different lodge, had embodied much of Masonic teaching and symbolism in their opera. In using the symbols and, by many accounts, references to the actual rituals of Freemasonry, they may have intended to make subtle demonstration of the society's high-minded purposes. It seems at least possible, in other words, that the opera was intended in part as a defense of the Masons. (For two centuries there have been rumors and speculation that Mozart was murdered by the Masons for revealing their secrets, but this seems unlikely for several reasons. His collaborator and fellow Freemason, Schikaneder, lived for another two decades. Mozart's close personal identification with Masonic tenets and his frequent contact with high-ranking leaders of the society are well-documented in his letters, and it is improbable that he would have defied the society's strictures, or that he would have been unaware of what he could use in a public work and what could not be revealed.)

The number three had a deep significance for the Masons, and it keeps occurring throughout The Magic Flute: Three Ladies, Three Boys, three temples, and so forth. A drawing of Schikaneder's revival production of 1794 shows that in the opening scene the Three Ladies kill the serpent by cutting it into three pieces. The opera's home key of E- flat (redolent of virtue, nobility, and repose) was often used by Mozart for his Masonic compositions because of its signature of three flats. Prominent in the Overture is the three-fold repetition of the Masonic rhythmic motto (short-long-long), also heard in Act II of the opera itself.

Also Masonic in origin are the inscriptions on the three temples: "Wisdom," "Reason," and "Nature." Freemasons in the audience would have recognized the symbolic armor of the guardians during the initiation trials, the earth-air-water-fire symbolism of the trials themselves, the Ladies' silver spears, Papageno's golden padlock, Sarastro's lion-drawn chariot, Tamino's death-like swoon, and the Queen of the Night's defeat by the powers of light.

In his admirable book The Magic Flute, Masonic Opera, Jacques Chailley makes a convincing argument that the trials of the opera's second act (as well as much that leads up to them in the first act) are modeled on actual Masonic initiation rituals. Even an apparently unrelated incident like Tamino's fainting spell in the opening scene, for instance, is interpreted as a reference to the beginning of such rituals, when the initiate is made to lie face down as a symbol of death to old habits of thought and action.

Brigid Brophy, in her fine study, Mozart the Dramatist, points out the origins of Masonic practices in the Eleusinian mysteries and Orphic myths of the ancient world. She documents the libretto's heavy debt to The Life of Sethos, a novel published in Paris in 1731 by the abb‚ Jean Terrasson. Purporting to be a translation from an ancient Greek source, this book recounts the initiation of its Egyptian hero into the mysteries of Isis. As Ms. Brophy points out, "Terrasson does not (but then one would not expect him to) explicitly connect his Isiac mysteries with Masonry; indeed, it is possible that the real influence was the other way about and the Masons borrowed hints for their own ritual from Terrasson's fictionalized Egypt."

Mozart and Schikaneder were also well-acquainted with the works of Shakespeare. Many fascinating parallels between The Magic Flute and The Tempest are noted in Mozart on the Stage, by J nos Liebner. Sarastro, the opera's controlling force, is similar to Shakespeare's Prospero. Each plans the union of two chosen lovers but makes the way arduous in order to strengthen the bond. Monostatos and Caliban are very similar creations, symbols of our baser nature to be overcome and cast off. The unworldly innocence of the Three Boys finds its counterpart in Ariel, Prospero's sprightly servant and messenger.

Each succeeding era has seen The Magic Flute in its own way, and each of these interpretations has validity. Whether the opera is viewed as a light-hearted fantasy, Enlightenment allegory, veiled Masonic ritual, or a lost battle in the struggle for feminine equality, it speaks anew of magic and maturation to each successive generation.

Freemasonry in Crisis

Since the Masonic lodges operated openly in Mozart's Vienna and numbered among their members many of the highest officials of the realm, we may ask ourselves why two Masons, Mozart and Schikaneder, felt it necessary to compromise Masonic silence and portray so many of the society's secret symbols and beliefs in a public entertainment like The Magic Flute. If they, as the eminent scholar H. C. Robbins Landon has written, "risked a long shot - to save the Craft by an allegorical opera," what was the peril by which the once-powerful society was threatened? What forces ultimately caused their attempt to be futile, ending in the complete suppression of Masonry only four years later?

The answers are to be found in the revolutionary cross-currents of that turbulent era, and in the involvement of many of the Masons, even many of the highly placed aristocrats, in activities that threatened the thrones of Europe.

Freemasonry evolved from some of the craftsmen's guilds of the Middle Ages (which helps explain its name and why its adherents refer to it as the Craft), but its rise to prominence began in the mid-eighteenth century. Its espousal of Wisdom, Beauty, Knowledge, and Truth made it attractive to adherents of Enlightenment philosophies (with their de- emphasis of traditional religion in favor of individual moral advancement), which included most of the best minds in Europe and America. Viennese Masons included Mozart, who joined in 1784, his friend and admirer Franz Joseph Haydn, initiated in 1785, and Mozart's father Leopold, who joined at his son's instigation in 1785 and advanced to the third degree of membership in just sixteen days. The head of Mozart's lodge was Prince Nikolaus Esterh zy, Haydn's patron and a high-ranking diplomat in the imperial government. Freemasonry thrived in the empire despite the enmity of the Roman Catholic Church (a Papal Bull condemning the Craft in 1738 was simply ignored in Austria and its territories) and that of the powerful Empress Maria Theresa (whose younger son, the future Leopold II, had reputedly been elevated to the Eighteenth Degree of the Scottish Rite of Masonry).

But although a succession of Austrian emperors took a benign view of Masonry's espousal of the Enlightened notion that all men are perfectible through Reason, they naturally smelled treason when certain of the Masons went a step further and argued that in a fully enlightened society there was no need for monarchs. Masonry's insistence on shrouding its inner workings in secrecy worked against it, for the code of silence allowed treasonous sects to flourish within the Craft and at the same time caused government officials to imagine Masonic excesses much greater that those that actually occurred. In the end, the emperor felt he had no choice except to ban Masonry outright.

Probably the most virulently anti-monarchic sect of Masonry was the Illuminati, founded in Bavaria by Adam Weishaupt, a university professor, in 1776. Weishaupt joined the Masons the following year and soon allied the Illuminati with them. The sect's original aim was to fight evil and defend good causes, but this was soon expanded with anti-clerical and anti-royalist sentiments. The Illuminati operated for only a decade and probably never had more than 2000 members, but they panicked the royalty, who became suspicious of all Masonry.

The crowned heads had good reason to connect Masonic Lodges with revolutionary activities. Many of the leaders of the American colonies' revolt against their British king in 1776 were Masons, including George Washington, Benjamin Franklin, and Thomas Jefferson. In France Masons were behind the push for republican government that led to the French Revolution (which, incidently, went much further than those high-minded aristocrats had foreseen and claimed most of them among its victims). The Austrian emperor heard first-hand reports of the uproar in Paris from his sister, the French Queen Marie-Antoinette.

Austrian attempts to control the Masons included Joseph II's decree of 1781, forbidding any order to submit to foreign authority. This led to severing Masonic ties with the Grand Lodge of Britain and setting up Austria's own governing body, the Grosse Landesloge von ™sterreich. In 1785 another imperial edict centralized the country's lodges and limited their autonomy. The proliferation of local lodges was reduced (only three remained in Vienna), and the members of each were limited to 180. Regular reports of lodge meetings and attendance had to be submitted to the Emperor's police.

In 1790 Joseph II died and was succeeded by his brother, Leopold II. With the French Revolution in full cry, the Austrian government was becoming exceedingly alarmed about treasonous sentiments in the land and especially in the Masonic orders. That same year a lodge of Illuminati was uncovered in Prague, and names of high officials were increasingly mentioned in secret police reports to the emperor. As Landon points out, Austria was fast becoming a police state.

This was the demoralizing situation for Austrian Freemasons when Mozart and Schikaneder decided that their Singspiel would be more than merely light and entertaining, that it would demonstrate the probity and superiority of Masonic teachings. They may have had hopes of saving the Craft from total suppression, but those hopes were in vain. Leopold II died just six months after The Magic Flute's premiere and he was succeeded by his son, Francis II. The imperial government under the young and inexperienced Francis became dominated by conservative advisors and consequently swung even further to the right. In June of 1795 an order came down to close all Masonic lodges and other secret societies and Freemasonry ceased to exist in Austria for more than a century.
- Sahsima ozel mesaj atmadan once Yonetim Hiyerarsisini izleyerek ilgili yoneticiler ile gorusunuz.
- Masonluk hakkinda ozel mesaj ile bilgi, yardim ve destek sunulmamaktadir.
- Sorunuz ve mesajiniz hangi konuda ise o konudan sorumlu gorevli yada yonetici ile gorusunuz. Sahsim, butun cabalarinizdan sonra gorusmeniz gereken en son kisi olmalidir.
- Sadece hicbir yoneticinin cozemedigi yada forumda asla yazamayacaginiz cok ozel ve onemli konularda sahsima basvurmalisiniz.
- Masonluk ve Masonlar hakkinda bilgi almak ve en onemlisi kisisel yardim konularinda tarafima dogrudan ozel mesaj gonderenler cezalandirilacaktir. Bu konular hakkinda gerekli aciklama forum kurallari ve uyelik sozlesmesinde yeterince acik belirtilmsitir.

Kasım 18, 2007, 05:59:54 ös
Yanıtla #4
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Mozart is a Genius for music.....Respect
Taslar yerine oturabilecek mi ? İnşaasına basladıgımız yapı nasıl olur da yarım kalır ..

Mayıs 23, 2011, 03:28:25 ös
Yanıtla #5

Mozart - The Magic Flute - Overture (Levine/Met Orch)

yenilmek te iyidir, mühim olan her seferinde yenilsende , daha iyi olarak yenildiğini bilmektir


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