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Review

23 of 23 people found the following review helpful. Mozart at the Gateway to his FortuneBy 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 Mozarts 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 Zauberflouml;te;" "La clemenza di Tito;" the "Requiem." In all these works Mozart not only expanded the genre but re-invented it. In "Die Zauberflouml;te" he changed the desgnation from "singspiel" to "groszlig;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 Wolffs finding that Mozart; who had become thoroughly familiar with Bachs and Handels 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 Wolffs book is relatively slim and concise; yet it contains a rich assortment of illustrations of Mozart autographs and offers a rare account of the composers unfinished sketches (ca. 140 pieces); music "composed;" as Mozart once wrote; "but not yet written." Wolffs presentation is detailed; painstaking;intelligent; and unsentimental. It not only offers a new understanding of Mozarts 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 "Mozarts Letters; Mozarts Life."4 of 5 people found the following review helpful. Good book.By Ricardo Mena CuevasThis book tries to dispel the fact thatMozart was at an end mentally by1591.It is very well written and the thesisthat he was in 1791 in the beginningof 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 answerSolomons statements; based on many evidences;like Constances declaration that her husband thoughtthat he has been poisoned (clear mental depression)or Mozarts feelings about the sweet death as a liberation;convince me still that Mozarts "imperial style" was his greatgoodbye.If Wolff had tried to answer Mozarts letter to his fatherdealing about death or the reports of Mozarts intimate circlethat he was feeling alone and empty; in short; Mozarts personal(not musical) isolation; then this book would havebeen circularly perfect. As it is; it needs to answer Solomon whostands for me; here; as the most penetrating analyst of Mozartas composer AND man.1 of 1 people found the following review helpful. Enjoyed this! but the musical analysis.....By duanna ulyateI have enjoyed all of Mr. Wolffs musical books; his Bach and Handel and did enjoy this book on Mozart. Some of his musical analysis seems to go on and on; anyone that knows the music; has sung or performed it; can write similar things; esp. what is musically self evident!!! (I dont like feeling I am back in a college harmony class)--really not necessary for a musician to read--I guess the general public want this but I find it unnecessary! We have the Barenreiter comple Mozart and are very familiar with the fragments also. Maybe some of this is meant for teaching--so bring it on!?!.... those looooong!! analysis.On the other hand it is charming fand touching for him to recount the ill Mozart singing the alt with his SIL; sop and those two wonderful singers doing the tenore and basso. It makes one think of the heavenly music Wolfgang Amade would soon make and hear--those angels up there! This is as charming as Anna Magdelenas love of canaries and carnations--so thank you there also Herr Wolff!