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Leopold Mozart

14 листопада  2019 року викладач Утіна А. М.

провела лекцію на англійській мові для учнів з/ш №13 за темою:

"190 years since the birth of the violinist and composer Leopold Mozart" 

 Leopold Mozart is a  German violinist, teacher, and composer, the father  of Wolfgang Amadeus Mozart.

   Leopold Mozart    изображение viber 2019-11-19 07-43-55  изображение viber 2019-12-08 22-35-55

Leopold Mozart became a violinist at the court of the Prince-Archbishop of Salzburg and rose through the orchestra’s ranks to become court composer (1757) and (1762) vice chapelmaster.

In 1756, Leopold Mozart, a leading Salzburg violin teacher and fourth violinist in the local prince-archbishop’s court orchestra, brought into the world two important offspring.

The first of these offspring was baptized Johannes Chrysostomus Wolfgangus Theophilus Mozart; now we call him merely Wolfgang Amadeus Mozart. Six months later came the second progeny, carrying an equally weighty name but known to us in English as A Treatise on the Fundamental Principles of Violin Playing—sometimes referred to simply as the Violinschule.

Wolfgang-Amadeus-Mozart-Maria-Anna-oil-parents 1   170px-LeopoldMozartPortraitFromViolinschule

The Mozart family: Wolfgang Amadeus Mozart (seated at piano)

with his sister Maria Anna (left) and his parents, Leopold and Anna Maria;

In 1763 he began the first of many triumphant and highly publicized exhibitions of his two talented children: Maria Anna (Nannerl; 1751–1829), an accomplished clavierist, and the precocious genius Wolfgang Amadeus, who, at age six, performed his own and others’ works on several instruments, improvised, and played at sight difficult, unfamiliar compositions. 

The treatise was a tremendous and longstanding success. It was soon translated into French and Dutch; a second German edition, with just a few revisions, came out in 1770, and this was reprinted unchanged in 1787 and again in 1800. After that time it fell prey to editors and abridgers, and before long it was supplanted by more up-to-date treatises taking note of advances in violin making and performance technique. Not until 1948 did a full translation (by Editha Knocker) appear in English.

Leopold was certainly a solid composer, though no innovator, and as a violinist and teacher he valued steady, assured, tasteful playing free of gaudy effects and tricks that disguised poor technique. He deeply respected the work of Italian violinist and theorist Giuseppe Tartini (1692–1770), and seems to have picked up some pointers from Tartini’s own writings about ornaments, although Leopold generally rejected the flashier, vibrato-laden elements of the Italian manner of violin playing. He seemed to be unfamiliar with earlier treatises on violin playing by Michel Corrette and Francesco Geminiani, for he touted his Violinschule as the first of its kind.

 




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