Si vous cherchez une biographie de Mozart, passez votre chemin: la partie consacrée à l'homme Mozart occupe moins du quart de l'ouvrage et procède non chronologiquement mais par thèmes pour cerner le personnage. Vous pourrez toujours en français, si vous en supportez le ton à la fois idéologiquement engagé et larmoyant, vous replier sur le 'Mozart' de Brigitte Massin chez Fayard.
Mais si ce qui vous intéresse avant tout c'est l'oeuvre de Mozart, précipitez-vous sur ce livre. Ses limites ne lui permettent certes pas d'analyser les partitions dans le détail et certaines positions ont vieilli (Mozart, l'enfant éternel!…)
Idomeneo, King of Crete, has been away from home during the long years of the Trojan War. Idamante, his son, now regent of the island, waits for his return, heralded by the arrival of Trojan prisoners in Crete. One of these prisoners is Ilia, daughter of the murdered King Priam of Troy. Idamante has fallen in love with Ilia, but is loved by Electra, daughter of the Greek King, Agamemnon, who is taken refuge in Crete. The Drottningholm Court Theatre is a tiny and exquisite rococo theatre, the only surviving eighteenth-century theatre in Europe in perfectly-preserved working order. The Swedish conductor and musicologist Arnold Östman became the theatre’s director in 1981 and introduced an orchestra of original instruments playing an authentic style to complement the unique atmosphere of his surroundings and he has steadily built up a worldwide reputation for his authentic interpretation of Mozart. This revised revival of the acclaimed 1986 Drottningholm production by Michael Hampe conducted by Arnold Östman, was staged during the Mozart Bicentenary year. Combining both tragedy and comedy with drama, Idomeneo boasts a series of superbly expressive pieces which Einstein described as “one of those works that even a genius of the highest rank, like Mozart, could write only once in his life.”
In this 3rd volume, Zacharias’ Mozart becomes essential, if not quintessential, in a universe for piano & concerto that is fascinating. The Concerto for Piano & Orchestra #17 in G major KV 453 dates from 1784, & inspired the musician Alfred Einstein to say: “In a friendly key are hidden many mysterious smiles & painful wounds – words cannot be found to describe the permanent irisation of feelings in the 1st movement, the passionate interiority of the 2nd.”