Wolfgang Amadeus Mozart

Mozart and his connection with the Freemason have been the subject of a number of studies, most of which aiming at determining if and if so to which extent the Freemasonic milieu influenced Mozart's production. The main aim of this paper is to review critically a recent study on Mozart by two Italian musicologists claiming that Mozart was nothing but a pretty mediocre musician and composer who exploited the Freemasonic net for his own interests. A thesis in no way proved and largely based on very old anti-Masonic prejudicial ideas.

Esistono certamente diversi modi di studiare il rapporto tra geografia e fiction; questo libro lo fa da un punto di vista del tutto particolare che mette in primo piano la territorializzazione configurativa in quanto ambito della rappresentazione artistica ed emozionale. L’idea di base che lega i saggi qui raccolti è che la fiction rappresenti una simulazione di territorialità in cui non si tratta tanto di imitare l’esistente quanto di formulare ipotesi sui possibili, ossia su ciò che non è ma che potrebbe essere. In quanto experimentum mundi, la fiction può dunque essere letta attraverso l’apparato metodologico di quella teoria geografica della complessità che ha nei concetti di territorio, territorialità e territorializzazione i suoi elementi fondanti e in autori come Claude Raffestin, Angelo Turco, Giuseppe Dematteis e Alberto Magnaghi i suoi principali interpreti.
Il ricorso alla “cassetta degli attrezzi” che soccorre il geografo nel suo la-voro di decifrazione degli assetti territoriali attuali si giustifica qui con l’esigenza di soddisfare i criteri basilari che una “teoria geografica della fiction” deve rispettare: 1) essere inequivocabilmente geografica, vale a dire riconoscibile come tale; 2) proporre un metodo, cioè basarsi su una teoria e su regole precise e dichiarate; 3) rappresentare un valore aggiunto, ossia metterci nella condizione di vedere qualcosa che altrimenti non vedremmo. Ci sarebbe in realtà un quarto criterio di cui dobbiamo costantemente tenere conto nella nostra disamina della simbolica del territorio e delle sue molteplici configurazioni topiche, paesaggistiche ed ambientali: la necessità di rispettare sempre la specificità del medium affrontato, qualunque esso sia, scansando la tentazione di ricondurlo ad un “testo”.
Dopo i primi due capitoli, nei quali si definisce l’impianto teorico-metodologico del lavoro, i successivi sono dedicati di volta in volta ad un particolare caso di studio: l’opera con Die Zauberflöte di Wolfgang Amadeus Mozart, il cinema di Wes Anderson, le canzoni di Paolo Conte e i graphic novel di Gipi – tutte simulazioni di territorialità in cui le qualità geografiche gioca-no un ruolo di primo piano, fissando le condizioni di possibilità della narrazione.
Prefazione di Angelo Turco

The article is devoted to Mozart’s Singspiel “Zaide” (1778/79), an incomplete “German light opera” which was discovered after the composer’s death. This work remained in the shadow of another composition with a similar Turkish plot, namely “Die Entführung aus dem Serail”. It is not surprising that its evaluation has little changed since Otto Jahn and Hermann Abert’s time when Mozart’s Singspiel was regarded as not quite successful, and they thought of its libretto as its weak side, which had been made by Andreas Schachtner, a Salzburg musician and poet. The first part of the article sheds light on the libretto and discusses some reasons of why it sought a negative opinion, moreover it reveals what subjective and objective reasons led to the work remaining incomplete and not being staged during Mozart’s lifetime and why during the Romanticism Schachtner’s text was perceived as “not poetic and inept”, though the composer and his contemporaries praised the verses quite high. In the second part of the article the texts of two Italian arias (No 9 and 13) are considered in a context of physiognomic views of the-then time, which were deeply rooted in the antiquity, namely in Aristotle’s physiognomics doctrine. They are obviously characterised by reminiscences of an Italian opera opposition of common animal images of a lion and tigress as the brightest representation of fauna masculine and feminine types, respectively, rooted the in ancient zoophysiognomics. In Schachtner-Mozart’s Singspiel this opposition is not treated with the classicism unambiguity as in libretti by P. Metastasio which was imitated by the poet, but it rather stands out as a masterly played contamination of these animal metaphors, a peculiar game of masks, which is more inherent in baroque poetics. Such a treatment seems to be reasonable in connection with the gender problematic, that was peculiar to creative works by Mozart as a whole, mostly, certainly to his scenic works, which is shown by the analysis of male and female musical language in “Le nozze di Figaro” performed by the Austrian musician J. Wallnig.

В статье идет речь о зингшпиле В. А. Моцарта «Заида» (1778/79), неоконченной музыкальной пьесе, которая была обнаружена уже после смерти композитора. Это произведение оказалось в тени другого сочинения на похожий турецкий сюжет, «Похищение из сераля». Неудивительно, что его
оценка претерпела мало изменений со времен О. Яна и Г. Аберта, которые считали зингшпиль Моцарта не вполне удачным, причем его слабую сторону они видели в либретто, якобы неумело составленном зальцбургским музыкантом и поэтом Андреасом Шахтнером. В первой части статьи исследуются вопросы, как складывалось отрицательное мнение о либретто зингшпиля, какие субъективные и объективные причины повлияли на то, что произведение не было завершено и поставлено на сцене при жизни композитора и почему в романтическую эпоху текст Шахтнера воспринимался как «не поэтический и неумелый», хотя и сам композитор, и его современники считали стихи хорошими. Во второй части статьи в контексте физиогномических воззрений эпохи, истоки которых следует искать в античности, в учении Аристотеля о физиогномике, анализируются тексты двух итальянских арий-сравнений (№ 9 и 13). В них явно присутствуют реминисценции итальянской оперной традиции противопоставления образов-метафор льва и тигрицы как наиболее ярких представителей соответственно мужественного и женственного типов в животном мире, что восходит к античной зоофизиогномике. В зингшпиле Шахтнера-Моцарта это противопоставление явлено не с классицистической однозначностью, свойственной либретто П. Метастазио, на которые ориентировался поэт, но представляет собой тонко разыгранную контаминацию указанных звериных метафор, своеобразную игру масок, присущую, скорее, поэтике барокко. Такая трактовка представляется резонной в русле гендерной проблематики, свойственной творчеству Моцарта в целом, конечно, прежде всего его сценическим произведениям, о чем, в частности, говорит анализ мужского и женского музыкального языка в «Свадьбе Фигаро», предпринятый австрийским музыкантом Й. Валлнигом.

This  paper  examines  the  general  stylistic  features  of  Requiem  KV 626  by  Wolfgang  Amadeus  Mozart.  The  most  common  tonality  for  the  spiritual  genre  that  is  Requiem,  Mass for the dead, is D minor, which is also one of the conventions for the Topic of death, humility and suffering. In accordance with the theory of semanticist Raymond Monelle, the paper considers the Topic characteristic for the genre of Requiem, as well as rhetorical figures that contribute to the highlighting of pain and suffering , but also to the “weeping Topic” which is closely linked to the suffering of Jesus Christ. As these rhetorical figures, which evoke mentioned Topics, occurred in the works of Mozart’s predecessors, as well as his contemporaries, the Topics of death, suffering,  humility and weeping became conventions, recognizable in a variety of genres.

L'esecuzione milanese del mottetto "Exultate, jubilate" di Mozart, avvenuta il 17 Gennaio 1773, influenzò la produzione musicale dei maestri di Cappella milanesi contemporanei, si veda ad esempio il mottetto "Tube angelice" di Carlo Monza (1735-1801)

Don Giovanni is an opera buffa composed by Wolfgang Amadeus Mozart with an Italian libretto by Lorenzo Da Ponte in 1787. It is an opera after Gluck’s opera reform. This essay will compare the recorded stage performance produced by The Metropolitan Opera released in 2000, and the film production by Joseph Losey released in 1979.

A follow-up:
After posting this note I became aware of the RISM-data made public by the Internationale Stiftung Mozarteum. Based on these data it appears highly unlikely that the source of the manuscript is Nannerl’s music book, as I speculated in my note. Whereas the leaf's horizontal measurement, 29 cm., is only slightly below the approximation given for the music book, 29.5-29.6 cm., there is a substantial difference between the vertical measurements: c. 21 cm. for Nannerl’s music book, and 16.8 cm. for K. 626b/16. Of course, the newly re-emerged leaf may have been originally larger, but there are striking differences in the stave-ruling as well. The eight staves pro page in K. 626b/16 are more tightly squeezed together than in the music book. As can be seen in the facsimile edition made public by the Internationale Stiftung Mozarteum, the staves on the newly re-emerged leaf are both closer to one another and shorter in comparison with an average page from the Nannerl Notenbuch. Further, the top margin of the leaf on which Mozart notated K. 626b/16 doesn’t appear to have been much wider originally. Had he had more space above the uppermost stave, Mozart may have placed the indication “allegro” there, instead of between the staves as he did. This leaves us with a standalone leaf of an apparently unusual size, on which Mozart seems to have drawn the staves using a Lineal prior to jotting down the music. As the watermark is—according to the RISM-data—unidentifiable, a study of the paper will possibly yield no further insights in this case. What remains is the apparently contradictory evidence derived from the handwriting on the one hand, and the piece’s style on the other. While Mozart’s handwriting suggests—according to the information published by the Internationale Stiftung Mozarteum—1773, the style analysis forwarded in my note seems to point to a much earlier composition date.
February, 6th, 2021

ABSTRACT
The short undated Allegro in D, which recently resurfaced somewhere in Europe and was purchased by the Mozarteum International Foundation and presented to the audience for the first time on Mozart's 265th anniversary, raises a host of speculations. While identified beyond reasonable doubt as a Mozart original, nothing is known about the context of this concise galant composition. Against the view presented in connection with the premiere performance by Dr. Ulrich Leisinger, I consider the rather late dating offered (1773) unlikely from a style-analytical perspective. In this short contribution I analyze the piece and speculate on a possible connection to Nannerl’s “Notenbuch,” the music book owned by Mozart’s sister in which the young Mozart’s very first compositions were recorded.

The eighteenth century was truly a golden age for opera: it saw many of the conventions which existed in the late seventeenth century secured and adapted into forms which would be further developed in the nineteenth. Bookending these developments were Georg Frideric Handel (1685-1759) and Wolfgang Amadeus Mozart (1756-91). These two composers provide a lens through which we can investigate the later years of early operaa period which, Michael F. Robinson hypothesises, is 'less understood' than the period since. 1 For the purpose of this essay, operatic composition is understood to refer to both opera and oratorio, as, even if there is no action on stage, they are still essentially operas in that they are dramatic works and follow the same conventions, in general, as opera.

A study on the life of the legendary horn player Joseph Leitgeb (1732-1811) for whom Mozart wrote some of his concertos. The article sheds light on Leitgeb's relation to Jsoeph and Michael Haydn and debunks the myth of Leitgeb having run a cheese shop in Vienna.

The Myth of the Post-race Society. Wolfgang Amadeus Mozart’s Don Giovanni staged by Peter Sellars

Bogucki analyzes Mozart’s Don Giovani as staged by Peter Sellars, from an anthropological and sociological perspective. He stresses Sellars’ roots in the counter-culture, and as a man who believes that opera is primarily a social art, and the one with the greatest effect on contemporary viewers. Bogucki believes that by bringing race issues into his production, Sellars demonstrates that the Enlightenment community central to Mozart’s original opera remains a phantasmagorical undertaking.

For full details, including multimedia web resources, visit www.mozartsmusicoffriends.com.

In 1829 Goethe famously described the string quartet as “a conversation among four intelligent people.” Inspired by this metaphor, Edward Klorman’s study draws on a wide variety of documentary and iconographic sources to explore Mozart’s chamber works as “the music of friends.” Illuminating the meanings and historical foundations of comparisons between chamber music and social interplay, Klorman infuses the analysis of sonata form and phrase rhythm with a performer’s sensibility. He develops a new analytical method called multiple agency that interprets the various players within an ensemble as participants in stylized social intercourse – characters capable of surprising, seducing, outwitting, and even deceiving one another musically. This book is accompanied by Web Resources that include original recordings performed by the author and other musicians, as well as video analyses that invite the reader to experience the interplay in time, as if from within the ensemble.

In this paper I address questions of continuity and process building in
Mozart’s string quintet K.516. I attempt to show that this work, probably more than any other Mozart composition, exemplifies the concept of an overall structure, crossing the borders between the individual movements. I further argue that, allowing for a metaphorical interpretation, the G minor String Quintet may be viewed as a representation of grief process as described in modern psychology.

Che il prodotto artistico dell’opera italiana sia stato condizionato da fattori contingenti è nozione  acquisita e consolidata dalla musicologia.Particolarmente nel caso de La scola de’ gelosi, che costituì una fonte d’ispirazione della produzione di teatro musicale successiva per il gran numero di rappresentazioni che ottenne in tutta Europa, incorrendo in successivi adattamenti e modifiche per oltre cinquanta edizioni, tramandate da decine di testimoni diversi. La cui partitura autografa fu modificata da Salieri nel corso di oltre tre decenni, indipendentemente dalle produzioni.
La presente relazione stabilisce e osserva le fonti che corrispondono all’edizione veneziana originale de La scola de’ gelosi del 1778 (dopo il 25 dicembre) e a quella viennese del 22 aprile 1783, realizzata in occasione della riapertura della compagnia di canto per l’opera italiana. Produzione a cui collaborò l’esordiente Da Ponte, con il cast vocale che successivamente fu protagonista della grande stagione dell’opera buffa e delle rappresentazioni teatrali viennesi di Mozart.
In sintesi nella mia relazione offro: alcune considerazioni per stabilire quanto d’innovativo è già presente nell’edizione veneziana, il confronto fra i libretti dell’edizione veneziana e viennese, l’indicazione delle nuove arie provviste da Da Ponte per Vienna nel 1783. L’osservazione di come la partitura autografa de La scola de’ gelosi non corrisponda a ciò che fu messo in scena né a Venezia né a Vienna, poiché vi si trovano arie composte per la nuova edizione viennese e permangono arie dell’edizione veneziana, sostituite invece nel libretto della rappresentazione viennese. La notizia di alcune arie sostitutive autografe della Scola, conservate separatamente a Vienna, espunte (probabilmente dallo stesso compositore) dalla partitura autografa, aggiunte come possibili sostituzioni nella partitura d’uso e rilegate a coppie insieme a quelle effettivamente presenti nel libretto dell’edizione viennese.

Nel caso de Il mondo alla rovescia alcune vicissitudini fecero sì che la “prima” avvenisse il 13 gennaio 1795, sedici anni dopo che fu iniziata, nel 1779. Nel mio contributo offro un’osservazione completa delle fonti. In particolare mi occupo del confronto dei differenti stadi di redazione del testo di «Sente l’amica speme» di Semiramide copia calligrafica (1782), «Sento l’amica speme» dell’autografo di Semiramide e «Sento l’amica speme» del Mondo alla rovescia (1795) .

This paper analyzes the relationship of renowned composer Wolfgang Amadeus Mozart with fellow composer Antonio Salieri as presented in the play "Amadeus" written by Peter Shaffer in comparison to its film adaptation of the same name directed by Milos Forman and written by both Forman and Shaffer.

This article, which is a unique mixture of scholarship and satire, deals with Franz Xaver Süßmayr's private life and marriage plans, finally unravels Mozart's brilliant joke about the "Englishmen who wanted to hire Süßmayr as Lichterputzer" and deals with the alarming recent phenomenon of amateur researchers who present fictitious archival sources to pass themselves off as great scholars on internet forums. This is the very first publication that deals with the phenomenon of "fake news" in musicology, based on the disingenuous use of digital media and the Internet. Published in: Mozart-Jahrbuch 2006, (Kassel: Bärenreiter, 2008), 425-38.

Joseph Lange's famous portrait of Mozart is not unfinished, it is an unfnished enlargement of a small original portrait that showed only Mozart's head. What the Mozarteum only verified in December 2012 with the help of an x-ray, I already discovered in March 2009, just by scrutinizing old photographs of Lange's painting.

Resoconto-Trascrizione  dell' Evento nell'ambito della Biennale Internazionale d’Arte Sacra delle Credenze e Religioni dell’Umanità e nel cinquantesimo anniversario del Collegio dei Maestri Venerabili della Sicilia del GOI (Grande Oriente d’Italia)

Il mito letterario di don Giovanni, sorto nella commedia, attorno al 1800 viene riformulato in direzione del tragico. La trasformazione inizia con la versione operistica di Mozart-Da Ponte e trova compimento nel racconto di Hoffmann, che proietta il nuovo tono tragico del finale mozartiano su tutto il mito. L’articolo intende porre in rilievo la presenza nel Don Juan di numerosi richiami intertestuali al Faust di Goethe, finora non pienamente rilevati dalla critica, attraverso i quali è possibile leggere tale riscrittura tragica come una dichiarata sintesi dei due miti, in cui don Giovanni assume il ruolo di Faust-Mefistofele e donna Anna quello di Gretchen. La riscrittura del mito culmina nel finale rispecchiamento del narratore in Anna-Gretchen. Ma il valore del tragico è relativizzato in Hoffmann dall’ironica autocoscienza dell’artista romantico: confinato nel mondo fantastico dell’arte, risulta privo di senso nella prosaica realtà della vita borghese.

Analysis of Beethoven's universe of Erinnerungen: a proposal of revision of Alfred Einstein's springboard theory, a musical journey from Joseph Haydn to Paul Wranitzky, with the proposal of a few possible political and programmatic interpretations of the symphonies from the 5th to the 10th in the German patriotic atmosphere of the first years of 19th century.

Mozart’s Figaro is a representation of human love, asking the fundamental questions of “what is true love, and is it possible to recover it once lost?” Each set of characters represents an answer to these questions. Figaro and Susanna represent true love wanting to be consummated; the Count and Countess represent lost love trying to be regained; Bartolo and Marcelina represent re-discovered love; and Cherubino represents young love.

On the face of it, Figaro deals with themes which are foreign to modern viewers: Counts, servants, feudal rights; yet, at its core it deals with something universal, love. This universality is what allows it to be one of the greatest and most frequently produced operas in the world. The story and its music continue to connect with audiences because each reflects human nature. The plot and music are truly wild, full of disguise, intrigue, scandal, and confused identities, it is truly a “day of madness;” yet through the madness one sees the clarity and simplicity of true love more vividly than they would if it were presented as it occurs in one’s everyday life.

The opera shows us that Mozart believed that negatives reveal truth. Understanding what love is not reveals what love is. Mozart needs to demonstrate what love is not because true love is so common that it becomes almost invisible and inarticulate. How many poets, artists, and musicians have created works of art that say the exact same thing about love, yet never cease feeling fresh and new? When simple truths of love are uttered, they are received as if one knew them their entire life; however because of this, they are easily forgotten and need to be constantly re-presented to remind humanity’s collective memory of what it is always on the verge of forgetting.

Mozart’s Figaro is a re-presentation of human love, asking the fundamental questions of “what is true love, and is it possible to recover it once lost?” In wrestling with these questions, Mozart and DaPonte wanted to come as close as possible to love itself instead of its relation to other things.

Mozart’s bawdy canons and use of scatalogical parlance in his letters have been described as indicative of a 6 personality given to crass expression. Moreover, his association with Emanuel Schikaneder’s supposedly dissolute 7 Theater auf der Wieden, a boisterous venue for German stage works, has been taken as further evidence of 8 his profligate tendencies. A review of the original source materials reveals that these views are apocryphal, 9 originating after Mozart’s death and embellished in nineteenth-century commentary and scholarship. Examples 10 of even raunchier canons, composed by musicians with connections to Mozart, Schikaneder and the Theater auf 11 der Wieden, provide new insight into the genre. An examination of surviving bawdy Viennese canons in their 12 social context, together with a reconsideration of the Mozart family letters and attitudes toward vulgarity in 13 Viennese popular theatre, reveals that lewd expressions on the stage were relatively uncommon in this period, 14 that Mozart’s use of scatalogical language was relatively mild for the time and that accounts of the composer’s 15 debauchery in his last years have little evidentiary basis.

ISBN 978-88-99697-11-2 © Conservatorio di musica "Domenico Cimarosa" di Avellino Tutti i diritti riservati. Nessuna parte di questa pubblicazione può essere tradotta, ristampata o riprodotta, in tutto o in parte, con qualsiasi mezzo, elettronico, meccanico, fotocopie, film, diapositive o altro senza autorizzazione degli aventi diritto.

Cosa sono i suoni? Parole e musica quanto sono capaci di influenzare il nostro stato d’animo? Da dove nascono le emozioni? Perchè abbiamo paura e il più delle volte in maniera ingiustificata? Le eterne indecisioni di molti, sono davvero dettate dalla ragione? Quanto la rabbia spesso inespressa e mantenuta dentro può cambiare la rotta alla nostra vita? Cosa succede al nostro corpo quando ci innamoriamo? Innamoramento e amore sono la stessa cosa? Quanto c’è di vero circa la morte “spettacolare” del cantante Dead? La parola nostalgia, nasce per descrivere una malattia, nel tempo il termine esce dall’ambito medico ed entra nella letteratura romantica. Quale peso ebbe il poeta Carducci con il suo poemetto “Nostalgia”? Il silenzio, emette dei suoni? “Emozioni, tra musica e parole”, è un affascinante viaggio nel mondo delle emozioni e dei suoni, e che ci porta a comprendere meglio i meccanismi che si attivano in noi, nei momenti topici della nostra esistenza, accompagnato dai richiami del mondo della musica e della letteratura.

Le nozze di Figaro Wolfganga Amadeusza Mozarta, czyli miłość i erotyka w krzywym zwierciadle opery buffa Kiedy współczesny odbiorca myśli o operze, w jakiejkolwiek jej postaci, to zapewne przede wszystkim kojarzy mu się ona z szeroko pojętą konwencjonalnością 1 . Skojarzenie to obejmuje także erotykę i miłość, jako tematy opery. Dla opery bowiem, od samego początku jej istnienia, erotyka, w większym może nawet stopniu niż miłość, stanowiła swego rodzaju tematyczną bazę. Przez cały okres baroku, kiedy to właśnie opera wiodła prym wśród europejskich gatunków muzycznych -najpierw pod postacią florenckiego dramma per musica, potem jako teatr muzyczny typu weneckiego, wreszcie neapolitańskiego -tematyka erotyczna wydawała się dla niej szczególnie stosowna, ze względu na obowiązującą w refleksji teoretycznej koncepcję związku muzyki i afektu: związku, który opera miała opowiadać i reprezentować samym swoim istnieniem. Nie jest kwestią przypadku, że pierwsze znane nam drammi per musica (Jacopo Periego, Giulia Cacciniego, Stefana Landiego czy Claudia Monteverdiego) opowiadają mitologiczną historię Orfeusza -trackiego pasterza, który swoją grą i śpiewem potrafił wzbudzać afekt tak silny, że aż prowadzący do złamania naturalnych praw, rządzących życiem i śmiercią 2 . Namiętność erotyczna, rzecz jasna, była przez osiemnastowiecznych teoretyków muzyki rozpatrywana jako jeden z najsilniejszych afektów, i jako taka zdawała się szczególnie stosownym tematem operowym. Ale nawet wówczas, kiedy osiemnastowieczna estetyka zapomina już powoli o pojęciu afektu -a raczej, kiedy całkowicie to pojęcie przeformułowuje, w kierunku sentymentalnym i niemającym już nic wspólnego z 1 Problem sztywnej konwencjonalizacji bardzo szybko dotknął gatunek operowy. Por. np. Martha Feldman, Amadeusza Hoffmanna a po nim Sørena Kierkegaarda (Albo-albo) 9 . Przypadek Così fan tutte wydaje się znacznie bardziej skomplikowany. Należy wspomnieć, że jest to z całą pewnością najbardziej interesująca pod względem ujęcia tematyki erotycznej opera Mozarta -opera, w której zabawa, idealnie pasująca do konwencji buffa (motyw zamiany, nierozpoznania, nieporozumienia) znajduje nieoczekiwanie swój dramatyczny finał. Jest to w dodatku finał właściwie nierozwiązany, zawieszony bez odpowiedzi na pytanie, co stanie się dalej z dwiema parami niewiernych kochanków, którzy nawzajem przekonali się o swojej niewierności (i których kompozytor w tym miejscu pozostawia, w szyderczo potraktowanym komediowym "happy endzie", polegającym, jak każe zwyczaj, na ujawnieniu wszystkich omyłek i zamian) 10 . Co do Le nozze di Figaro, któremu zresztą Kierkegaard także poświęca nieco uwagi w swoich pismach, to sytuacja tematyki erotycznej rysuje się tu nieco odmiennie niż w pozostałych operach buffa Mozarta. Komentatorzy tacy jak Kierkegaard skupiają się przeważnie na prowokującej postaci Cherubina -pazia o cechach na poły męskich, na poły kobiecych, do tego owładniętego autentyczną obsesją uczuciową. Przy tym ponownie nie jest dla odbiorcy jednoznaczne, czy owo uczucie to jeszcze ów dawny, potężny afekt, miotający bohaterem jak statkiem na wzburzonym morzu (żeby odwołać się do dawnej metaforyki operowej, w której stanowczo nadużywano tego porównania, wypracowując całą kategorię arii "nawalnej"), czy też może wersja "sentymentalna" afektu, na co wskazywałby typ opracowania muzycznego obydwu arii bohatera (Non so piu i Voi che sapete). Kierkegaard, rozpatrujący postaci Cherubina, Papagena oraz Don Giovanniego jako trzy przypadki charakterów, których zdolność do refleksji została stłumiona przez pożądanie 11 , analizuje figurę Cherubina -osoby zaślepionej przez afekt, a zarazem narcystycznie wpatrzonej w siebie (Narcyzem nazywa Cherubina zresztą Figaro w arii Non piu andrai, zamykającej pierwszy akt opery -zwracając się doń słowami "Narcisetto, Adoncino d'amor" 12 ). Oto, jak komentuje stan duchowy Cherubina Kierkegaard: 9 Zob. Ernst Theodor Amadeus Hoffmann, Don Juan (Z dziennika podróżującego entuzjasty), przeł.

Born in Salzburg in 1756, from his early childhood  Wolfgang Amadeus Mozart was received as a guest in the most important European cities and courts, admired and praised for his extrardinary musical gifts. When he was only four years old, he composed his first minuet and at the age of six he played in front of the monarchs in the courts of Vienna, Pairs and London. When he was fourteen, he went on the first among his three journeys to Italy, and Bologna was definitely one of the most important stops of that one; during one first short staying  in  March 1770, Wolfgang, together with his father Leopold, skillful musician and composer, got in touch with the Bolognese musical circles, by performing at a Musical Academy in Count Gian Luca Pallavicini’s palace in Strada San Felice; then, he returned to Bologna in July and stayed until mid-October, sojourning in the magnificent Villa Pallavicini at the Croce del Biacco; at that time, Wolfgang was preparing for the examination in view of the aggregation to the famous Accademia Filarmonica of Bologna, under the guide of Father Martini, at that time tutelary deity of the European musical culture. The aggregation to the Accademia Filarmonica of Bologna was a particularly important title for composers all over Europe and could be obtained by taking a demanding examination, which consisted in realizing one four-voice antiphon from the Roman gradual psalms. Since young Mozart did not own the counterpoint rules in full, his admission test did not on the whole  comply with the strict academic rules, so that Father Martini’s intervention  was necessary; having perceived the child’s genius, he secretly handed him the correct version of the exam work. Several characters are linked to Mozart’s staying in Bologna, from Count Gian Luca Pallavicini and his family to the famous castrato singer Carlo Broschi named Farinelli, who used to reside in a sumpuous house outside Porta Lame in Bologna, nowadays unfortunately lost; from composers Vincenzo Manfredini and Joseph Myslivecek, to the historian of the English music Charles Burney, who right in the summer 1770 was passing through  Bologna; from the austere Philarmonic Academicians to Father Giambattista Martini, central figure of the European musical 1700s, to whom Mozart had always been so grateful as to write in 1776: “I give my humble respects to all Messrs Philarmonics; I always recommend myself to your favours and I do not cease to distress myself in seeing me far from the one person in the world whom I mostly love, revere and esteem, and of whom I inviolably protest myself of Your very Reverend paternity”.