Variations on a theme by G.Taboga (and R.Newman)

[WoO]

I am reading some pages on Luchesi by G.Taboga, trying to understand his point of view. Taboga finds it difficult to believe that Mozart, Haydn and Beethoven were such talented and gifted composers, almost supernatural beings. He even speaks somewhere of miracle. Perhaps with a little help from their friends... I think I am on his tracks, and maybe I have found a pattern.

In fact Taboga writes: "... questi concerti [di Luchesi] che potrebbero spiegare più RAZIONALMENTE Mozart e la sua produzione" ("... these concerts [by Luchesi that Mozart knew] might explain Mozart and his output in a more RATIONAL way") [CAPS are mine]. And Taboga does find answers, as we all know by now, the pattern being: the meeting explains it all!

So here we go:

THEME
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During his first trip to Italy, young Mozart meets Luchesi in Venice (1771): but contrary to popular belief, Mozart's music is vastly influenced by Luchesi (not the other way round). This starts a long-term relationship. Therefore one should speak in terms of Luchesi meeting Mozart. German scholars don't seem to recognize this fact.

VARIATION I
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Some years later, Luchesi is Kapellmeister in Bonn. Young court musician Beethoven meets Luchesi. Beethoven's music is vastly influenced by Luchesi (not the other way round). Luchesi writes some of the early Beethoven works. This also starts a relationship. Therefore one should speak in terms of Luchesi meeting Beethoven. German scholars don't seem to recognize this fact.

VARIATION II
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Mozart, at some point in time, meets Myslivecek. This also starts a relationship. Myslivecek writes five violin concertos for Mozart. Therefore one should speak in terms of Myslivecek meeting Mozart. German scholars don't seem to recognize this fact.

VARIATION III
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Mozart, during the early 1780ies, meets Kraus in Vienna. This also starts a relationship. Kraus doesn't write concerts of some sort for Mozart, but a whole opera instead, Le Nozze di Figaro. Therefore one should speak in terms of Kraus meeting Mozart. German scholars don't seem to recognize this fact.

VARIATION IV (this is mine!)
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And in Salzburg? Nobody to meet? Wrong! Michael Haydn! This also starts a relationship, and Haydn is kind enough to provide KV444, Symphony #37. Therefore one should speak in terms of Haydn meeting Mozart. But this time, alas, german scholars have already recognized this fact.

Regards
WoO

[robert newman]

Dear WoO,

The theme itself is clear enough but you seem far less clear by variations.

The theme itself is that of misattribution of musical works - a thing that occurred over and over during the life and careers of both Haydn and Mozart. This theme is understood by anyone.

That some works from Bonn (a place where, after all, the Kapellmeister was for some 20 years Andrea Luchesi) should be claimed by Beethoven lovers or Luchesi lovers is not really so surprising, is it ?

As regards Luchesi meeting Mozart or vice-versa, it was Mozart's father who introduced himself and his son to Luchesi in Italy as everyone knows. Much less known (but still undisputed) is that Mozart continued to use a keyboard concerto of Luchesi for well over a decade after this date - it having been given to him at their first meeting. This too is not complicated.

That Mozart (and Haydn) both gained considerably from works written by other composers is not (at any phase of their career) difficult to appreciate or to believe.

These general things are simple though the specifics often by their very nature need detailed and sometimes lengthy posts. But this too is hardly surprising, given the natural prejudices of 200 years of tradition.

I do hope this helps to simplify the situation even though you may not agree.

Regards




[This message has been edited by robert newman (edited 04-12-2006).]