I
subscribe to several email services by which I receive daily doses of art and
cultural history. Each day I learn new vocabulary, read a poem, look at (and
learn about) a piece of art, enjoy snippets of literary and music history, etc.
Many of these bits and bobs are connected to the date – “On this date in [fill
in the year,] such-and-such happened.] Together these are a nice way to start
the day.
Much
of what I read is new to me, but of course, much of it is familiar, too.
Sometimes I skip over the topics I already know about, but sometimes I read the
familiar pieces with close attention if they are favorite topics. Such as
Mozart.
Yesterday’s
edition of The Writer’s Almanac
included a feature about the premiere of Mozart’s Le Nozze di Figaro on May 1, 1786 in Vienna. The article included
the usual stuff about Beaumarchais, political tensions, da Ponte, and Emperor
Joseph’s famous edict about excessive encores. But two items caught my attention
and made me wonder who had researched and written — and edited — this little essay.
The
first item was a characterization of da Ponte’s adaptation of Beaumarchais’
play La folle journée, ou le Mariage de
Figaro as “a frothy drawing-room comedy about a servant girl named Susanna
and her beau, Figaro.” That would be like referring to Shakespeare’s A Comedy of Errors as a play about two
sets of twins. Yes, each statement is accurate as to fact, but only as to
circumstance. Figaro is a profound
exploration of the human condition; yes, it is very funny at times, but that’s
not really the point of it. If you don’t know Figaro, go find a recording, or better yet, a video, and have the
translation at hand. This opera is far more than a bedroom farce or even a
drawing room comedy, as the final few minutes will reveal.
The
second item was this extraordinary statement: “Mozart died in 1791. The last
five years of his life were spent composing four operas that became standards
in the opera repertoire, including Don
Giovanni, which again included a libretto by Lorenzo da Ponte.”
The
writer is either profoundly ignorant of Mozart’s life and works, or was the
victim of an ignorant editor who, for the sake of focusing the essay on opera,
chose to mention only Mozart’s final operas, giving the impression that he
composed nothing else in the last five years of his life.
Shall
we take a look at what Mozart actually
composed in the last five years of his life? Let’s start with Figaro, and cascade on from there, as
shown in the list below, which includes 152
items. Yes, here are the four last magnificent operas, but here too are the
Requiem and several other sacred
works, including the priceless Ave Verum
Corpus; a large number of lieder, arias, and scenes; divertimenti, including
Ein musikalischer Spaß and Eine kleine Nachtmusik; many dances; five
concertos (three for piano, one for horn, and the exquisite clarinet concerto);
seven keyboard sonatas, several sets of variations, and other single-movement keyboard
works; a great deal of chamber music including the late quartets; and, of course, the four great final
symphonies.
So,
can we agree that the last five years of his life were not “spent composing
four operas”?
Let’s
edit that last sentence.
Before:
“Mozart died in 1791. The last five years of his life were spent composing four
operas that became standards in the opera repertoire, including Don Giovanni, which again included a
libretto by Lorenzo da Ponte.”
After:
“Mozart died five years later, in 1791. Among the dozens of major works he
composed during this period are four more operas that have become standards in
the opera repertoire, including Don
Giovanni, which again included a libretto by Lorenzo da Ponte.”
That’s
better.
Is
this a tempest in a teapot? Not really. My concern is not necessarily with the
specifics of this error, though of course I am a stickler for accuracy.
My
larger concern is with the constant erosion of knowledge and understanding of
all sorts of things, whether it’s music or our
relationship with the
natural world, as I’ve written about most recently. A concurrent concern is
that as we gleefully abandon precision in our use of language, we become inured
to sloppy writing and careless (or nonexistent) editing.
For
example, in the case of this throwaway essay on Mozart, the writer probably wanted
to convey this simple fact: that Mozart wrote four operas after 1786, and that
one of them, like Figaro, was based
on a libretto by da Ponte. Then why not say that, and only that? As written (“The
last five years of his life were spent composing four operas”), the statement
conveys an entirely different – and incorrect – impression.
We
are quick to abridge, to gloss over, to make everything tweet-able and
post-able, to manipulate information in order to make a point, but in doing so,
we create and perpetuate error. When we accept these casual processes for
understanding and communicating, and cheer them on, and reinforce them by
re-tweeting and reposting without comment or criticism, we only add, albeit
incrementally, to our own collective ignorance.
So
yes, it does matter.
K
|
COMPOSITION
|
DATE
|
492
|
Le
nozze di Figaro
|
May
1, 1786
|
493
|
Quartet
for Piano and Strings in E flat
|
June
3, 1786
|
507
|
Canon
in F for 3 voices in 1
|
After
June 3, 1786
|
508
|
Canon
in F for 3 voices in 1
|
After
June 3, 1786
|
508A
|
Canon
in C for 3 voices in 1
|
After
June 3, 1786
|
508a
|
2
Canons in F for 3 voices in 1, 14 Canons in F for 2 voices in 1
|
After
June 3, 1786
|
494
|
Rondo
in F for Keyboard
|
June
10, 1786
|
495
|
Concerto
in E flat for Horn
|
June
26, 1786
|
496
|
Trio
in G for Piano, Violin and Cello
|
July
8, 1786
|
496a
|
12
Duos for Basset Horns
|
July
27, 1786
|
497
|
Sonata
in F for Keyboard Four-Hands
|
Aug.
1, 1786
|
498
|
Trio
in E flat for Piano, Clarinet and Viola, "Kegelstatt"
|
Aug.
5, 1786
|
499
|
Quartet
in D for Strings, "Hoffmeister"
|
Aug.
19, 1786
|
500
|
12
Variations in B flat
|
Sept.
12, 1786
|
501
|
5
Variations in G
|
Nov.
4, 1786
|
502
|
Trio
in B flat for Piano, Violin and Cello
|
Nov.
18, 1786
|
503
|
Concerto
in C for Piano, No. 25
|
Dec.
4, 1786
|
504
|
Symphony
in D, No. 38, "Prague"
|
Dec.
6, 1786
|
505
|
Scena
and Rondo for Soprano, "Ch'io mi scordi di te?"
|
Dec.
26, 1786
|
298
|
Quartet
for Flute, Violin, Viola and Cello in A
|
1786-87
|
516f
|
Musikalisches
Würfelspiel
in C
|
1787
|
336c
|
2
German Hymns
|
?Early
1787
|
509
|
6
German Dances
|
Feb.
6, 1787
|
511
|
Rondo
for Piano in A minor
|
March
11, 1787
|
512
|
Recitative
and Aria for Bass, "Alcandro, lo confesso"
|
March
19, 1787
|
513
|
Aria
for Bass, "Mentre ti lascio"
|
March
23, 1787
|
515
|
Quintet
in C for Strings
|
April
19, 1787
|
515b
|
Double
Canon in F for 4 voices in 2
|
April
24, 1787
|
516
|
Quintet
for Strings in G minor
|
May
16, 1787
|
517
|
Song,
Die Alte
|
May
18, 1787
|
518
|
Song,
Die Verschweigung
|
May
20, 1787
|
519
|
Song,
Das Lied der Trennung
|
May
23, 1787
|
520
|
Song,
Als Luise die Briefe
|
May
26, 1787
|
521
|
Sonata
in C for Keyboard Four-Hands
|
May
29, 1787
|
522
|
Ein
musikalischer Spaß
|
June
14, 1787
|
523
|
Song,
Abendempfindung
|
June
24, 1787
|
524
|
Song,
An Chloe
|
June
24, 1787
|
509a
|
Canon
in G for 4 voices in 1, "Lieber Freistadtler, lieber Gaulimauli"
|
After
July 4, 1787
|
525
|
Eine
kleine Nachtmusik
|
Aug.
10, 1787
|
526
|
Sonata
in A for Violin and Keyboard
|
Aug.
24, 1787
|
527
|
Don
Giovanni
|
Oct.
29, 1787
|
528
|
Scena
for Soprano, "Bella mia fiamma"
|
Nov.
3, 1787
|
529
|
Song,
Des kleinen Friedrichs Geburtstag
|
Nov.
6, 1787
|
530
|
Song,
Das Traumbild
|
Nov.
6, 1787
|
531
|
Song,
Die kleine Spinnerin
|
Dec.
11, 1787
|
516b
|
Quintet
in C minor for Strings
|
1788
|
535a
|
3
Contredanses
|
?Early
1788
|
533
|
Allegro
and Andante in F for Keyboard
|
Jan.
3, 1788
|
534
|
Contredanse,
"Das Donnerwetter"
|
Jan.
14, 1788
|
535
|
Contredanse,
"La Bataille"
|
Jan.
23, 1788
|
536
|
6
German Dances
|
Jan.
27, 1788
|
537d
|
Arrangement
of Aria for Tenor by Carl Philipp Emanuel Bach
|
February
1788
|
537
|
Concerto
in D for Piano, No. 26
|
Feb.
24, 1788
|
538
|
Aria
for Soprano, "Ah se in ciel"
|
March
4, 1788
|
539
|
Song,
Ein deutsches Kriegslied
|
March
5, 1788
|
540
|
Adagio
in B minor for Keyboard
|
Maarch
19, 1788
|
540a
|
Aria
for Tenor, "Dalla sua pace"
|
April
24, 1788
|
540b
|
Duet
for Soprano and Bass, "Per queste tue manine"
|
April
28, 1788
|
540c
|
Recitative
and Aria for Soprano, "In quali eccesi"
|
April
30, 1788
|
541
|
Arietta
for Bass, "Un bacio di mano"
|
May
1788
|
547a
|
Sonata
in F for Keyboard
|
?Summer
1788
|
545
|
Sonata
for Keyboard in C, "For Beginners"
|
June
16, 1788
|
542
|
Trio
in E for Piano, Violin and Cello
|
June
22, 1788
|
543
|
Symphony
in E flat, No. 39
|
June
26, 1788
|
546
|
Adagio
and Fugue for Strings in C minor
|
June
26, 1788
|
547b
|
5
(6?) Variations in F for Piano
|
July
1788
|
547
|
Sonata
in F for Violin and Keyboard
|
July
10, 1788
|
548
|
Trio
in C for Piano, Violin and Cello
|
July
14, 1788
|
549
|
Canzonetta
for two Sopranos and Bass, "Piu non si trovano"
|
July
16, 1788
|
550
|
Symphony
in G minor, No. 40
|
July
25, 1788
|
551
|
Symphony
in C, No. 41, "Jupiter"
|
Aug.
10, 1788
|
552
|
Song,
Beim Auszug in das Feld
|
Aug.
11, 1788
|
553
|
Canon
in C for 3 voices in 1, "Alleluia"
|
Sept.
2, 1788
|
554
|
Canon
in F for 4 voices in 1, "Ave Maria"
|
Sept.
2, 1788
|
555
|
Canon
in A minor for 4 voices in 1, "Lacrimoso"
|
Sept.
2, 1788
|
556
|
Canon
in G for 4 voices in 1, "G'rechtelt's enk"
|
Sept.
2, 1788
|
557
|
Canon
in F minor or 4 voices in 1, "Nascoso e il mio sol"
|
Sept.
2, 1788
|
558
|
Canon
in B flat for 4 voices in 1, "Gehen wir im Prater"
|
Sept.
2, 1788
|
559
|
Canon
in F for 3 voices in 1, "Difficile lectu mihi Mars"
|
Sept.
2, 1788
|
559a
|
Canon
in F for 4 voices in 1, "O du eselhafter Peierl"
|
Sept.
2, 1788
|
560
|
Canon
in F for 4 voices in 1, "O du eselhafter Martin"
|
Sept.
2, 1788
|
561
|
Canon
in A for 4 voices in 1, "Bona nox, bist a rechta Ox"
|
Sept.
2, 1788
|
562
|
Canon
in A for 3 voices in 1, "Caro bell'idol mio"
|
Sept.
2, 1788
|
563
|
Divertimento
in E flat
|
Sept.
27, 1788
|
564
|
Trio
for Piano, Violin and Cello in G
|
Oct.
27, 1788
|
566
|
Arrangement
of Handel's Acis und Galathea
|
November
1788
|
567
|
6
German Dances
|
Dec.
6, 1788
|
568
|
12
Minuets
|
Dec.
24, 1788
|
571a
|
Quartet
for Soprano, two Tenors and Bass, "Caro mio Druck und Schluck"
|
?1789
|
570
|
Sonata
in B flat for Keyboard
|
February
1789
|
571
|
6
German Dances for Orchestra
|
Feb.
21, 1789
|
572
|
Arrangement
of Handel's Messiah
|
March
1789
|
573
|
9
Variations in D
|
April
29, 1789
|
574
|
Kleine
Gigue in G for Keyboard
|
May
16, 1789
|
575
|
Quartet
in D for Strings, "Prussian"
|
June
1789
|
576
|
Sonata
in D for Keyboard
|
July
1789
|
577
|
Rondo
for Soprano, "Al desio, di chi t'adora"
|
July
1789
|
578
|
Aria
for Soprano, "Alma grande e nobil core"
|
Aug.
1789
|
579
|
Aria
for Soprano, "Un moto di gioia mi sento"
|
Aug.
1789
|
580
|
Aria
for Soprano, "Schon lacht der holde Frühling"
|
Sept.
17, 1789
|
581
|
Quintet
for Clarinet and Strings in A
|
Sept.
29, 1789
|
582
|
Aria
for Soprano, "Chi sà, chi sà, qual sia"
|
Oct.
1789
|
583
|
Aria
for Soprano, "Vado, ma dove? -- oh Dei!"
|
Oct.
1789
|
584
|
Aria
for Bass, "Rivolgete a lui lo sguardo"
|
Dec.
1789
|
585
|
12
Minuets
|
December
1789
|
586
|
12
German Dances
|
December
1789
|
587
|
Contredanse
in C, "Der Sieg vom Helden Koburg"
|
December
1789
|
588b
|
Andantino
in E flat for Keyboard
|
?c1790
|
588a
|
Overture
and 3 Contredanses
|
January
1790
|
588
|
Così
fan tutte
|
Jan.
26, 1790
|
589
|
Quartet
in B flat for Strings, "Prussian"
|
May
1790
|
590
|
Quartet
in F for Strings, "Prussian"
|
June
1790
|
591
|
Arrangement
of Handel's Alexander's Feast
|
July
1790
|
592
|
Arrangement
of Handel's Ode to Saint Cæcelia
|
July
1790
|
592a
|
Comical
Duet for Soprano and Bass, "Nun, liebes Weibchen"
|
August
1790
|
593
|
Quintet
in D for Strings
|
December
1790
|
594
|
Adagio
and Allegro in F minor for a Mechanical Organ
|
Oct.-Dec.
1790
|
386b
|
Concerto
for Horn in D
|
1791
|
609
|
5
Contredanses
|
1791
|
595
|
Concerto
in B flat for Piano, No. 27
|
?1788-91,
Jan. 5, 1791
|
596
|
Song,
Sehnsucht nach dem Frühling
|
Jan.
14, 1791
|
597
|
Song,
Im Frülingsanfang
|
Jan.
14, 1791
|
598
|
Song,
Das Kinderspiel
|
Jan.
14, 1791
|
599
|
6
Minuets
|
Jan.
23, 1791
|
600
|
6
German Dances
|
Jan.
29, 1791
|
601
|
4
Minuets
|
Feb.
5, 1791
|
602
|
4
German Dances
|
Feb.
5, 1791
|
603
|
2
Contredanses
|
Feb.
5, 1791
|
604
|
2
Minuets
|
Feb.
12, 1791
|
605
|
3
German Dances
|
Feb.
12, 1791
|
605a
|
Contredanse,
"Il Triofo delle Donne"
|
Feb.
28, 1791
|
606
|
6
"Landler"
|
Feb.
28, 1791
|
613
|
8
Variations in F on "Ein Weib ist das herrlichste Ding"
|
March
1791
|
608
|
Fantasia
in F minor for a Mechanical Organ
|
March
3, 1791
|
610
|
Contredanse,
"Les filles malicieuses"
|
March
6, 1791
|
611
|
German
Dance
|
March
6, 1791
|
612
|
Aria
for Bass, "Per questa bella mano"
|
March
8, 1791
|
614
|
Quintet
in E flat for Strings
|
April
12, 1791
|
616
|
Andante
in F for a Small Mechanical Organ
|
May
4, 1791
|
617
|
Adagio
and Rondo for Glass Harmonica, Flute, Oboe, Viola and Cello
|
May
23, 1791
|
617a
|
Adagio
in C for Glass Harmonica
|
1791
|
618
|
Motet
in D, "Ave verum Corpus"
|
June
17, 1791
|
619
|
Cantata,
"Die ihr des unermeßlichen Weltalls"
|
July
1791
|
620b
|
Contrapuntal
Study
|
?September
1791
|
621a
|
Aria
for Bass, "Io ti lascio, o cara, addio"
|
?Sept.
1791
|
621
|
La
clemenza di Tito
|
Sept.
6, 1791
|
620
|
Die
Zauberflöte
|
Sept.
30, 1791
|
622
|
Concerto
in A for Clarinet
|
October
1791
|
623
|
Freimaurerkantate
|
Nov.
15, 1791
|
626a
|
Cadenzas
for Piano Concertos
|
|
626
|
Requiem
in D minor
|
Late
1791
|
Source for Köchel list:
The Mozart
Project
No comments:
Post a Comment
Note: Only a member of this blog may post a comment.