By Mozart, Wolfgang Amadeus; Townsend, Pauline D.; Mozart, Wolfgang Amadeus; Jahn, Otto; Grove, George
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I was left to wait half an hour in an icily cold, very large room, with no stove or means of heating it. At last the Duchesse de Chabot came in, and politely begged meto make allowances for the clavier, since she had none in good order would I try it ? I said I should have been delighted to play something, but that I could not feel my fingers for the cold, and I begged her to allow me to go to a room where at least there was a stove. "Oh, oui, monsieur; vous avez raison," was her only answer. Then she sat down and began to draw for at least an hour with some other gentlemen, who all sat round a great table.
Ranieri de' Calsabigi came to Vienna in 1761, after making known by an edition of Metastasio's works, with an himself aesthetic introduction proving their perfection as tragedies and he had also written several libretti for operas and cantatas. He had formed an idea that music fitted for dramatic poetry must approach as nearly as possible to natural, energetic declamation for since declamation was only unperfected music, dramatic song could only be elaborated declamation enriched by the harmonies of the accompaniment.
3 trivial spirit, ; also in Forkel's Musik. Krit. , p. 174) in p. 29, a pedantic, but not ill-naturedly. Calsabigi says that he wrote the libretti for "Semiramide" and " Ipermnestra" on Gluck's commission, and they were afterwards taken as the foundation of Salieri's " Danaides " (Cramer, Magaz. d. , p. 366 N. Ztschr, f. Mus. , p. 42). " IPHIGENIE EN AULIDE. 2'] tion meet with approval, and urged that a true tragedy ought always to be the foundation of an opera. As an example, he suggested Racine's " Iphigenie en Aulide," and commissioned him to arrange it as an opera, and to take the preliminar}'' steps for its production in Paris.
Life of Mozart by Mozart, Wolfgang Amadeus; Townsend, Pauline D.; Mozart, Wolfgang Amadeus; Jahn, Otto; Grove, George
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