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[Notes on Mozart: 20 Crucial Works] [Author: Wilson, Conrad] [August, 2003]
The "Notes on . . ." series by distinguished music critic Conrad Wilson illuminates the music of some of history's greatest composers in relation to their private lives. In each "Notes on . . ." volume Wilson selects twenty crucial works of a given composer, discusses these masterpieces with insight and verve, and explains why these particular works are fundamental to understanding the composer. Permeating these pages are Wilson's vast musical expertise and his colorful, succinct, polished prose style. As a bonus Wilson highlights choice recordings of the music he discusses. Meant for any general reader interested in music, these guidebooks are ideal for dipping into as well as reading straight through.
Wilson's explication of Mozart in the present volume casts new light on this celebrated composer. Examining his finances, Wilson shows why Mozart's begging letters were less heartrending than they seem, and he explodes the supposed mystery surrounding Mozart's famous Requiem.
Wilson's explication of Mozart in the present volume casts new light on this celebrated composer. Examining his finances, Wilson shows why Mozart's begging letters were less heartrending than they seem, and he explodes the supposed mystery surrounding Mozart's famous Requiem.
Paperback
First published August 8, 2003
About the author
Conrad Wilson
29 books2 followersConrad Wilson was educated at Daniel Stewart's College, where he wrote reviews for the school magazine.
On leaving school, he trained as a journalist with the Edinburgh Dispatch. The Dispatch’s editor Albert Mackie gave him plenty space to hone his critical skills, sending him to review performances as far afield as London’s Covent Garden. National Service took Wilson to Paris, an eye-opening experience that made the resumption of his traineeship in Edinburgh seem like a step backwards. Before long he was off to Amsterdam as programme editor for Philips Records, writing with equal ease on jazz and pop.
After a spell as sub-editor in the BBC’s London newsroom, a conversation with The Scotsman’s London Editor, Eric Mackay, resulted in his appointment as the paper’s London-based Cultural Correspondent.
When Christopher Grier resigned in 1963, Conrad snatched the opportunity to head back north. “To be music critic of The Scotsman in its heyday was the job I had envisaged since boyhood,” he recently reminisced.
After retiring from The Scotsman, he continued as a freelance critic for the Herald.
Wilson is survived by a son and daughter from his first marriage to Ruth, and by his second wife Sue and their three daughters.
Abridged from Watson's obituary in The Scotsman.
On leaving school, he trained as a journalist with the Edinburgh Dispatch. The Dispatch’s editor Albert Mackie gave him plenty space to hone his critical skills, sending him to review performances as far afield as London’s Covent Garden. National Service took Wilson to Paris, an eye-opening experience that made the resumption of his traineeship in Edinburgh seem like a step backwards. Before long he was off to Amsterdam as programme editor for Philips Records, writing with equal ease on jazz and pop.
After a spell as sub-editor in the BBC’s London newsroom, a conversation with The Scotsman’s London Editor, Eric Mackay, resulted in his appointment as the paper’s London-based Cultural Correspondent.
When Christopher Grier resigned in 1963, Conrad snatched the opportunity to head back north. “To be music critic of The Scotsman in its heyday was the job I had envisaged since boyhood,” he recently reminisced.
After retiring from The Scotsman, he continued as a freelance critic for the Herald.
Wilson is survived by a son and daughter from his first marriage to Ruth, and by his second wife Sue and their three daughters.
Abridged from Watson's obituary in The Scotsman.
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