Falk’s Reviews > The Age of Mozart and Beethoven > Status Update
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Falk
is on page 231 of 336
"For Beethoven, melody was no longer an unambiguous notion, but a spectrum of infinite shades.. (...) Beethoven's melody always has an instrumental root, even in passages of the most fluid cantabile style; his contemporaries became aware of this when (like Giuseppe Carpani) they recognized in him not singing but a 'desire interrupted by singing'..." (229)
— Jan 31, 2020 02:08PM
Falk
is on page 185 of 336
"At the beginning of 1790 a document entitled Suppression de toutes les académies appeared in circulation in Paris (it was even introduced into German universities and rejected there by indignant critics) which proposed, after the suppression of the clergy decreed by the National Assembly, the abolition of the academies, which were 'the clergy of sciences, literature and the arts'." (178)
— Jan 26, 2020 02:15PM
Falk
is on page 167 of 336
"Thus Mozart, who never consciously thought of reforming anything and whose character was the furthest imaginable from the statement of principles, had systematically developed all the musical genres of his time. His attitude was not far from that of the comedian in the prologue, 'Vorspiel auf dem Theater', of Faust: 'Suppose I talked about posterity, who'd give us any fun today?'..." (165)
— Jan 25, 2020 03:12PM
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Jan 20, 2020 04:36PM
"For the second edition of the Art of fugue (1752), no more than thirty people were found in about five years who were prepared to spend the four thalers that it cost; in Diderot and D'Alembert's Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers (1751-72), Rousseau allocated little more than twenty lines to the entry 'Contrepoint', and under the entry 'Fugue' he specified, after describing fugal technique, that it generally served to create 'du bruit' rather than beautiful melodies, and to show off the musician's learning rather than to fall pleasingly on the listener's ear." (6)
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