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Mozart at the Gateway to His Fortune: Serving the Emperor, 1788-1791, by Christoph Wolff
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ASCAP-Deems Taylor Award winner
A fresh look at the life of Mozart during his imperial years by one of the world's leading Mozart scholars.
- Sales Rank: #977888 in Books
- Published on: 2012-05-21
- Original language: English
- Number of items: 1
- Dimensions: 8.60" h x .90" w x 5.80" l, .88 pounds
- Binding: Hardcover
- 272 pages
Review
At last, we have a text that values the relationships between theory and practice, embraces best practice ideals in the context of real-world uncertainty, and celebrates eclectic therapeutic approaches for aging adults and their families. Piercy guides the reader through an array of complex clinical problems, offering effective interventions. If you work with older adults and their families, this text isessential! --Shirley S. Travis, PhD, APRN, FAAN, Dean and Professor, College of Health and Human Services, George Mason University
This book is a must-read for all graduate students preparing for clinical careers as well as seasoned therapists and other human service professionals working with aging families. Each carefully written chapter describes contemporary issues that frequently challenge the mental health of older adults and provides sound, innovative strategies for working through these concerns with individuals, couples, and families. --Karen A. Roberto, PhD, Professor and Director, Center for Gerontology, Virginia Polytechnic Institute and State University
A wonderful merging of research findings and practical guidance. --Peter V. Rabins, MD, MPH, Professor of Psychiatry, Johns Hopkins University School of Medicine
In this enthralling tale of Mozart's imperial appointment and his late torrent of compositions, Christoph Wolff argues, with compelling authority, that those musical triumphs--including the Requiem--point not to an autumnal resignation but toward a propulsive future of complex genius. --Helen Vendler
I was so excited to read Christoph Wolff's remarkable new book, which in one fell swoop dispels myths that arose after Mozart's untimely death. Through his meticulous scholarship, Wolff allows us to reimagine the composer at the apex of his artistic powers and with creative and entrepreneurial plans in place to ensure his continuing artistic output as well as his financial stability. A beloved scholar, Professor Wolff proves his point with revelatory insights that take us into the inner workings of this great composer's mind. --Yo-Yo Ma
Christoph Wolff's remarkable and splendidly readable book presents a new and welcome picture of Mozart's final years. Without resorting to polemics, it disposes of myths and misconceptions by offering facts and sound judgment. Wolff is a master of minute scholarly research that comprises the circumstances of Mozart's life as well as the music itself. Countering the widespread concept of a decline of Mozart's powers, he perceives his latest works, finished and unfinished, as being the point of a new departure--cruelly curtailed by Mozart's death. I shall listen to the Magic Flute, the Requiem, the clarinet quintet, and the E-flat masterpieces--string trio and string quintet--with sharpened ears. --Alfred Brendel
For years I've been wondering and the question becomes ever more cogent, what puzzling new language Mozart used for his three symphonies and even the Magic Flute. It is a new Mozart, and we cannot simply continue as before. Why? What is it? What does it mean today? To the performer, to the listener? Now I found a helping hand in Christoph Wolff's unexpectedly novel book. We musicians, used to helping ourselves, gratefully embrace his assistance. --Nikolaus Harnoncourt
I was so excited to read Christoph Wolff s remarkable new book, which in one fell swoop dispels myths that arose after Mozart s untimely death. Through his meticulous scholarship, Wolff allows us to reimagine the composer at the apex of his artistic powers and with creative and entrepreneurial plans in place to ensure his continuing artistic output as well as his financial stability. A beloved scholar, Professor Wolff proves his point with revelatory insights that take us into the inner workings of this great composer s mind. --Yo-Yo Ma"
Christoph Wolff s remarkable and splendidly readable book presents a new and welcome picture of Mozart s final years. Without resorting to polemics, it disposes of myths and misconceptions by offering facts and sound judgment. Wolff is a master of minute scholarly research that comprises the circumstances of Mozart s life as well as the music itself. Countering the widespread concept of a decline of Mozart s powers, he perceives his latest works, finished and unfinished, as being the point of a new departure cruelly curtailed by Mozart s death. I shall listen to the Magic Flute, the Requiem, the clarinet quintet, and the E-flat masterpieces string trio and string quintet with sharpened ears. --Alfred Brendel"
In this enthralling tale of Mozart s imperial appointment and his late torrent of compositions, Christoph Wolff argues, with compelling authority, that those musical triumphs including the Requiem point not to an autumnal resignation but toward a propulsive future of complex genius. --Helen Vendler"
Any book by the eminent scholar Christoph Wolff comes with the guarantee of fresh musical insights and a magisterial command of the sources. His latest book on Mozart is no exception. It will help to demystify and transform our understanding of the composer s final years. --Sir John Eliot Gardiner"
For years I ve been wondering and the question becomes ever more cogent, what puzzling new language Mozart used for his three symphonies and even the Magic Flute. It is a new Mozart, and we cannot simply continue as before. Why? What is it? What does it mean today? To the performer, to the listener? Now I found a helping hand in Christoph Wolff s unexpectedly novel book. We musicians, used to helping ourselves, gratefully embrace his assistance. --Nikolaus Harnoncourt"
A truly different and exciting look at the last years of Mozart s life. I was especially captivated by the last chapter Mr. Wolff s penetrating comments on Mozart s compositional method are illuminating and also somehow make his genius more personal for us. --Emanuel Ax"
About the Author
Christoph Wolff, a Pulitzer Prize finalist, is the Adams University Professor at Harvard University and one of the world’s foremost experts on Bach and Mozart. He lives in Cambridge, Massachusetts.
Most helpful customer reviews
22 of 22 people found the following review helpful.
Mozart at the Gateway to his Fortune
By Robert H. Spaethling
"Mozart at the Gateway to his Fortune" is a new book by the distinguished Bach and Mozart scholar Christoph Wolff. The book takes its title from a quote by Mozart who, after he had been appointed "Imperial Court Composer" in Vienna in 1787, exclaimed subsequently: "I now stand at the gateway to my fortune." Ironically and sadly, Mozart died soon thereafter and never walked through that gate of fortune.
Christoph Wolff presents a detailed account of Mozart's life and works during his final three years, 1788 to 1791, and he decisively challenges a long-held scholarly and popular belief that Mozart was worn out, that he anticipated his early death, and that he wrote some of his late works as farewell gestures to the world. Not so, argues Professor Wolff. He shows that Mozart not only remained focused and energetic (even though he was often worried and sick), but he re-vitalized his music with novel combinations of sound and structures, which we can hear in his last three symphonies, his last two operas, his late concerti, chamber and liturgical works. Cases in point are "Die Zauberfl�te," "La clemenza di Tito," the "Requiem." In all these works Mozart not only expanded the genre but re-invented it. In "Die Zauberfl�te" he changed the desgnation from "singspiel" to "gro�e Oper" (grand opera), indicating a new and wider range of musical and dramatic effects, and in the case of "La clemenza di Tito" he added to the traditional concept of "opera seria" the designation of "vera opera" (a true opera) in his thematic catalogue. Even in his final and unfinished work, the "Requiem," he attempted to create a new and "pure" musical expression. Most intriguing perhaps is Christoph Wolff's finding that Mozart, who had become thoroughly familiar with Bach's and Handel's counterpoint and polyphonic techniques in Vienna, was alert, inventive, and adventurous enough in his final years that he used the compositional designs of the old masters to create his own "modern" and personal musical language.
Christoph Wolff's book is relatively slim and concise, yet it contains a rich assortment of illustrations of Mozart autographs and offers a rare account of the composer's unfinished sketches (ca. 140 pieces), music "composed," as Mozart once wrote, "but not yet written." Wolff's presentation is detailed, painstaking,intelligent, and unsentimental. It not only offers a new understanding of Mozart's depth of creativity in his final years, but it is one of the most enlightening contributions to Mozart scholarship in general.
Robert Spaethling, author of "Mozart's Letters, Mozart's Life."
2 of 2 people found the following review helpful.
A MOZART IN HIS PRIME AND CUT OFF IN HIS PRIME
By Imlac
The various musicians' testimony to the value of this book (e.g., Brendel, Harnoncourt, Gardiner) speaks for itself. Wolff shows us a Mozart, in his own words, at the "gateway" to his fortune, busy, full of ideas, and, alas, leaving behind much unfinished testimony to a number and variety of iworks he never completed. This book stimulatingly challenges a number of shaky assumptions about Mozart's career and especially his later career..
3 of 4 people found the following review helpful.
Good book.
By Ricardo Mena Cuevas
This book tries to dispel the fact that
Mozart was at an end mentally by
1591.
It is very well written and the thesis
that he was in 1791 in the beginning
of a new phase (musically) is well defended.
But mentally, and that is the point above all,
as many have shown (Maynard Solomon, *Mozart: A Life*, 1995),
Mozart felt not that great as Wolff tries to show.
Indeed, the fact that Wolff does not answer
Solomon's statements, based on many evidences,
like Constance's declaration that her husband thought
that he has been poisoned (clear mental depression)
or Mozart's feelings about the sweet death as a liberation,
convince me still that Mozart's "imperial style" was his great
goodbye.
If Wolff had tried to answer Mozart's letter to his father
dealing about death or the reports of Mozart's intimate circle
that he was feeling alone and empty, in short, Mozart's personal
(not musical) isolation, then this book would have
been circularly perfect. As it is, it needs to answer Solomon who
stands for me, here, as the most penetrating analyst of Mozart
as composer AND man.
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