39, 40, and 41) were composed over two months in the summer of 1788. This actual paralysis became visible in various connoisseurs and friends of music, and some admitted that they would never have been able to think or imagine they would hear something like this performed so splendidly in Hamburg. It then becomes fiery, full, ineffably grand and rich in ideas, with striking variety in almost all obbligato parts, that it is nearly impossible to follow so rapidly with ear and feeling, and one is nearly paralyzed. The opening is so majestic that it so surprised even the coldest, most insensitive listener and non-expert, that even if he wanted to chat, it prevented him from being inattentive, and thus, so to speak, put him in a position to become all ears.
It comes from Iwan Anderwitsch, who attended an all-Mozart memorial concert in Hamburg in March of 1792, a year after the composer’s death: A string of superlatives characterizes the earliest-known audience account of a performance of Mozart’s Symphony No.
0 kommentar(er)
