When was ridente la calma written

The piano accompaniment is pretty simple, and rarely has any of the melody written in. In my opinion, this supports the idea that the song was written as an educational piece. Posted by Liz at AM. Newer Post Older Post Home. Subscribe to: Post Comments Atom. Feria Rapsodie Espagnol, IV. Feria Percy "No one is stranger" Grainger: Lincolnshire Theme from "Swan Lake" Op. Contributors Adam K. To answer this question it is helpful to look more closely at the circumstances of their genesis.

The two songs with French texts, Oiseaux, si tous les ans Birds, if every year… and Dans un bois solitaire In a solitary wood were written for the exceedingly attractive Gustl Wendling, daughter of the Mannheim flautist Johann Baptist Wendling, who gave Mozart the texts herself. The wonderful song Das Traumbild The Vision is a very special kind of favour to a friend, as is the no less inspired Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte When Louisa burned the letters of her unfaithful lover.

Mozart gave these two songs to his friend Gottfried von Jacquin, whereupon Jacquin published them under his own name, together with four of his own songs, and dedicated them to two of his countless girlfriends. Mozart had assigned him authorship expressly. But perhaps Mozart did not always need specific occasions to write songs. Mozart wrote the first three songs on disc 1 in a single day, 14th January Its character is so childlike, serene and carefree and so perfect in its compositional structure.

Yet at the end is an unmistakeable stroke of genius: a witty piano postlude in ritornello form which breaks up and counteracts the formality of what had gone before with amusing staccati , cheeky little embellishments and a lively country dance to end with. Any number of second-rate composers of the eighteenth century could have written the first part of the song but the ending is pure Mozart.

He re-used the melody of the song in the final movement of his last piano concerto, though in that context it was imbued with different tonal qualities and emotional undertones. The following freemasonic songs inhabit an altogether different world. He was profoundly influenced by, and attracted to, the predominantly liberal and spiritual attitudes, as well as the cult of friendship, which he found there. These works were not written with any high artistic ambition but were designed to be within the capabilities of the assembled company when it sang.

The first is chorale-like and its final line is to be repeated by the brothers singing together. The second he wrote for the initiation of a brother into the Masonic order; it is highbrow in tone, with an extended selfcontained introduction and postlude.

Its scale went beyond the scope of the song with piano accompaniment; its form, with its alternations of recitative and aria, as well as the orchestral gestures of the accompaniment, show it to be a sacred solo-cantata. In every bar it can be heard how ambitious and inspired Mozart was as he embraced this text so whole-heartedly, a text which surely accorded with his own beliefs and which spoke to him from the heart.

It poses the problem: who wrote the text - perhaps even the sixteen-year old Mozart himself? Is it meant seriously? So we are touched by this early, charming testament to a Mozartian song composition, but we are left wondering about it. The original mandolin accompaniment contributes marvellously to the discreet charm of this little song.

At the same time the music has enough flexibility to satisfy the varying demands of the text of each verse. In fact Das Lied der Trennung is a remarkable work. It sounds inwardly nervous and restless and its apparently musical theatricality throughout has nothing operatic about it but serves emotional intensification and emphasis.

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