The Idols of Great Musicians

But how!!! Schubert loved Beethoven, and Beethoven was a scholar of Mozart. Puccini loved the models of Ravel and Debussy (we can identify some Ravelian 7ths in his music!). Chopin, as I have already said, you won't believe it, but he loved Bach and Mozart. Someone has taken the first (Great) steps, inspired by their Masters (see Beethoven's early works, almost Mozartian) and some were immediately themselves (see, for instance, Chopin). Training is sometimes even from a "counter-current" perspective. Such is the case of the great Mozart, who did not value his very close contemporaries at all. His evolution, however, can be clearly perceived, from the first youthful symphonies... to the clarinet concerto and the famous Requiem! I invite observation and analysis of the "first" works of the Greats, which would easily allow us to discover the "influences." A very interesting historical-musical work.

Thank you Paolo, I didn't know it either. In particular, I never would have imagined that Chopin loved Mozart's music! What strange things I come to learn here with you... but it can only make me happy!

Well, Chopin loved Bach. He used to sleep with the 2 volumes of The Well-Tempered Clavier on his bedside table

And yet he wrote only one fugue ... ... probably even he gave up on it

DanielePiano wrote:

hello everyone.....today when we talk about great musicians we talk about bach mozart beethoven chopin etc.........but who were the idols for them?...from which musicians before them did they draw inspiration??

The great German Romantics saw in Haydn, Mozart and Beethoven the "attack trident" of symphonism, and in Bach the absolute dominator, the origin... Beethoven loved Haydn even more than Mozart, of whom evident traces can be seen in his early works (op. 2 for example, the First Symphony and, naturally, the op. 18 quartets). Mozart dedicated some quartets to Haydn; Chopin, as has been said, slept with Bach under his pillow (and, all things considered, setting aside the harmonic language, the management of polyphonic texture in Chopin's works is insane...); Brahms knew Renaissance polyphonists by heart and one only has to listen to one of his motets to realize it (not to mention the German Requiem). Bach used to go listen to Buxtehude and I believe he too knew Palestrina & Co. by heart; there really is something for everyone...

Carlos wrote:

Bach used to listen to Buxtehude and I believe that he, too, knew Palestrina & Co. by heart; there is truly something for everyone...

Let us remember that he also spent hours hand-transcribing scores, not to mention how much he "spied" on us Italians (Vivaldi, Frescobaldi)... just as, for that matter, he was not the only one looking at us in that era

...because, Schoenberg and the Flemings?

Thinking about our days and Arvo Pärt, his relationship with the Jewish cantillation of the psalms came to mind

pianoexpert wrote:

And it is the case of the great Mozart, who did not esteem his closest contemporaries at all.

Not really... He simply had his own tastes; he was very fond of Michael Haydn and greatly esteemed his senior, as has been written. Then also J. C. Bach, Rosetti, Stamitz, Sarti (not at all reciprocated), Eybler (who was the first one commissioned by his wife to complete the Requiem) and various Bohemian composers, such as Fuchs... At times he had a conflictual relationship or declared antipathy (as towards Clementi), but not real lack of esteem on a compositional level (he never even had it towards Salieri, truly).

Finally, the influences he received from the Italian opera buffa (Pergolesi at the head, although dead long before him) are evident, even in his last works (see the overture to The Magic Flute).

.

P.S. Sorry, it's not a YouTube link (there was one, but it's gone now), but I couldn't find any other way to let you listen to it; it is a minor and forgotten work by Pergolesi and, as far as I know, this is the only recording on disc. The original score is in the library of the Conservatorio di Santa Cecilia, in Rome. The key is E-flat major, the same as The Magic Flute.

http://mp3fiesta.com...a_track2591889/

P.S. If anyone is interested in seeing an autograph page of the score in question (the overture to Die Zauberflöte), which contains no corrections, to compare it with those abundantly present in the subsequent drafts of the same work, this is the link to the photostatic copy made available by the online library of the Mozarteum in Salzburg:

http://dme.mozarteum.at/DME/nma/nma_cont.php?vsep=73&gen=edition&l=2&p1=-17

Yet another P.S., sorry...!

I only just realized that the link to Pergolesi's symphony only allows you to listen to the first few bars, otherwise you have to download it for a fee... ((

Dovrei avere ancora il disco, magari ne faccio un mp3 e lo carico qui, così ve la sentite tutta... Pardòn.

A meno che qualcuno di voi non sia più bravo di me nella ricerca, e voglia condividerla. Magari, a qualche direttore "coraggioso" è venuto in mente di dirigerla e io non sia stato capace di trovarla... Il lavoro di Pergolesi è noto come "Piccola Sinfonia in Mi bemolle maggiore".