Andrea Luchesi (?), Bonn Beethovenhaus
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excerpt from Act II of the music for the pantomime Harlequin Deserteur - review by Luca Bianchini and Anna Trombetta - italianOpera ©
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Mozart, a genius almost unknown in his homeland
Mayr knew Jupiter and quoted literally in the sense of anti-clerical, in the holy Lamentations, who solemnized the liturgies in the Cathedral of Santa Maria Maggiore in Bergamo.
"Mozart - Mayr writes - was" a great genius Allemann, almost unknown in his homeland, while he lived, the dramatic productions of which made themselves known, and were popular in the country ... only after a course of 30 years. Mozart was, if not the true creator, certainly the one that formed the harmonic style ... because of the press, and copies of his dramatic works "(Rossini's autograph Mayr, 1821-22, Biblioteca Angelo Maj, Living 9-6/1, Bergamo).
For Mayr, Mozart was not a "true creator" as was the musician Paër. Mozart, for him, s'attenne slavishly to the Italian model that had preceded it.
The child prodigies are a phenomenon that does not come without the Bavarian school. The Viennese classicism can not have only three representatives, and all three genes arose from nothing, no one has anticipated them and no one has adequately followed them:
"It is not difficult to prove that the precocious talents are not useful, nor art, nor the individual who possesses it, but on the contrary, they are harmful to one or the other" (Mayr, Zibaldone, p.70) .
Mayr says: "The real genius is sacred, not intoxicated, is educated, not born: inflamed sentiment, purified intellect, endowed by nature, developed from the study. That there are rumors that the genius is nothing more than blind fabulous legend. In music, the knowledge gained ... know absolutely nothing carefree students of nature, no art and school "(Zibaldone, pp.110, 111).
The myth of the Viennese school is resized and placed in context of the enlightened policy of anachronism, who wanted to restore the golden age in modern times because it predominated Jupiter, that the Austrian Imperial Eagle. Mayr realized the falsity of these myths, constructed around a table, but preferred to remain silent: "The subtleties are not always familiar with the art and connoisseurs prefer to remain silent rather than speak openly about the joys and spoil others'
(Zibaldone, pp.126, 127).
He continued to write music himself, with the means by which the enlightened s'eran distinct, they preferred to steal the works of genius to the monks - it said in a letter - rather than letting those "rude idiots." Compensate for the lack of copying from others and re-harmonized melody to mask it. He candidly confessed.
Taking into account that for him "plant" means teacher, and "flowers" are pieces of music, "garden" of his compositions, "lands" the nations music, he wrote: "Vo cultivating and transplanting of other lands, where meet [flowers] more often fresh and colorful, shapely and pleasing fragrance "(Zibaldone, p.65), because the important thing, after all, is the glory:" I will tell you that I am often in my field vegetable garden and the flowers, and often even transplanted Moreover, in the glory that is slightly different, provided they are fresh and beautiful and least pajano "(Zibaldone, p.66).
About Mozart instead ruled that the Zibaldone Salzburg is "only one in his Requiem" (Zibaldone, p.19). In fact, the Requiem was written by several hands, but also by others and not by Mozart! The title pages of the work of Modena were torn. The name "Luchese" appears in the score of a symphony stored at Regensburg, which is significantly also in the archive of Modena, but it was deleted by someone, and he has superimposed the signature of Wolfgang Amadeus Mozart.
Luca Bianchini, Anna Trombetta
Luca Bianchini and Anna Trombetta, Goethe, Mozart and enlightened brothers Mayr, Arche, Milan 2001;
Mario Arturo Iannaccone, Secret History: Adam Weishaupt and the Illuminati, Sugarco editions, Milan 2005;
Giovanni Simone Mayr, excerpts from Zibaldone, Banca Popolare di Bergamo Credito Varese, 1992;
Giorgio Taboga, Andrea Luchesi the moment of truth, Ponzano Veneto (Treviso) 1994;
Giorgio Taboga, Andrea Luchesi and the chapel of Bonn, restorations Brand no.3;
C.Valder-Knechtges, Die Werke Weltliche A. Luchesis, Merseburger 1984;
TA Henseler, Andrea Luchesi der letzte zur Zeit des jungen Bonner Kapellmeister Beethoven, Bonn 1937.