Wolfgang Amadeus Mozart:his appearance and his character

About the appearance and character of Mozart in manhood we have numerous and satisfactory evidence, among which those of spouses Novello, drawn from conversations with Constanze Nissen and the last letters of Nannerl.

wolfgang-mozart

Mozart appeared a short person, a meter and sixty centimeters. She had very long feet on legs agile and stunted. His hands were plump and stood at the harpsichord for an incomparable “jeu perlé” They were very short, agile and trained in the “stolen”.In this regard the composer himself in a letter cites the Gospel saying: do not let your right know what does your left.At first glance, he could not escape the extraordinary elegance and impeccable workmanship of his clothes. Mozart spent a lot on your clothes, and was subscribed to the magazine of luxury “The Manual True Viennese dandy“, on which the Carnival of 1784 he published the “Riddles Zoroastrians”, presented at a masked ball and sent at once (with solutions) his father Leopold, who was very proud.Expenditure on clothing they recorded much on the financial statements of Mozart and were among the leading causes of his notorious debts, preceded only by the lost fortunes playing pool and the maintenance of the six horses Hungarians, the vigor of which entrusted its sumptuous carriage.Even while he was playing billiards, however, he composed: according to testimony of a Threesome “Magic Flute” was composed during a game of billiards. In Prague, as he waited for the tests of “La Clemenza di Tito”, composed numerous numbers of the “Magic Flute” in the most diverse circumstances, including while he had breakfast. For him “compose” was mentally fix all the details of the composition.In this way he composed a lot, but not, as we might imagine, “gallop”, because his scores were large and exactly for many different instruments and, although the design did not require much time of our hearing, the transcript was slow and meticulous, using handwriting beautifully clear and clean.The elegance of the composer was such that in 1782 when Clementi went to the Hofburg to compete with him in improvisation at the piano, mistook him for a court chamberlain or, as it was then, for a maître de chambre.When he spoke, although he was extremely polite and ceremonious, always seems to think “to another” and in fact he thought “to another”: the new compositions that were born in him.

He had sparse, thin blond hair, wearing long back, restrained by a tail with feigned carelessness brought very slow, so that the hair could develop considerably in height. He did not wear a wig, but spruzzolava so studiously improvised their own hair, which were well-blond cinerino: of them was extremely vain. The hair also served to mask defect: his right ear had the upper pavilion overly developed, and ending in a point. This malformation is called today “ear of Mozart“.During the second birth of Costanze, one from which was to be born Carl Thomas, the future official of the Hapsburg Empire in Milan, he was at the desk and was composing a quartet. The nurse beckoned him and respectfully invited him to draw near to the bed of the woman in labor, and shake hands; which Mozart made promptly, but then to go back at once to the table to work: he perceived the groans of labor of the wife as sounds and separate agreements, so clear that they could be included in the Menuetto Trio Quartet in D minor, which was giust’appunto composing. It is a rare case of onomatopoeia in the music of Salzburg.Mozart’s face appears drab and the look in his blue eyes unattractive: a look distracted and distant, absorbed in something inscrutable, which came to life only when playing or sitting at the harpsichord, conducted the orchestra. When playing or concentarva in composition, his face was filled with a sweet melancholy and miraculously beautiful, and at the same time appeared singularly sad and benevolent, like that of a person who understands all the pain of humanity. Sublime depth of thought and expression of inexpressible spiritual joy that occur in almost all compositions of maturity, even in the most effemeriche and “occasional”, but that almost never reflected in the conversations of the Composer, also a man of few words and not It has a wonderful ability of expression also literary, for example, in not a few passages of the “Letters”. The traits of the composer as he played (and probably improvised Hapsichord) were admirably set on canvas in the portrait painted by the brother Alois Lange, husband of the sister of Konstanze Aloysa Weber-Lange, architect, ambassador and amateur painter, but very talented and safe preparation technique. Surely Lange portrayed Mozart as siedeva Hapsichord (whose shape, not color, it recognizes no margin of doubt on the bottom right) and did not finish his work, limiting the seated figure of the composer, apparently for lack of time.

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