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Dust Jacket Condition: Very Good.

Constanze Mozart

Text is clean and unmarked. Brown cloth boards with gilt lettering on spine. No wear to covers or spine which is tight and sound. Unclipped dust jacket is brown with portrait of Contanze on front and colored map on back.

Mrs Mozart

Jacket is slightly rippled at bottom edge, otherwise no wear or tear. Seller Inventory BR Dust Jacket Condition: Fine. First Edition. Inscribed by Author. Jacket edges curled, light edgewear to jacket and boards.

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Size: Large 8vo 9 to 11 inches. Text body clean and un-marked. Lovely clean solidly bound copy. ISBN: Light rubbing wear to cover, spine and page edges. Very minimal writing or notations in margins not affecting the text. Possible clean ex-library copy, with their stickers and or stamp s. Ships with Tracking Number! May not contain Access Codes or Supplements. May be ex-library. Buy with confidence, excellent customer service!.

Transcriber’s Notes

With illustrations, notes, bibliography, index, A fine copy in fine dustjacket. Constanze, the wife of Wolfgang Amadeus Mozart, was not the foolish and self-interested individual of popular opinion, much of which is based on the views of Mozart's father, who believed that his son had chosen an inappropriate partner.

This strong-minded woman was, however, to be of critical support to her beloved husband. It is true that she would like proper and good clothes, but nothing too flashy.

Most everything a woman needs she can make herself and she arranges her own hair every day. And she has the best heart of anyone in the world, my Constanze. I love her and she loves me with all her heart.


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What else could I possibly wish for in a wife? A short note from W. Mozart to a pregnant Constanze Mozart after leaving home early in the morning while she was still sleeping, Good morning, my dearest little wife! Just make sure nothing happens to you! I will be back at six. As I have not received any reply from you, it is obvious that you will not acquiesce to my conditions.

Letter from Constanze Nissen to her eldest son Carl Mozart in In Glover's book, however, Mozart is present as never before. Her decision to write about the women in his life and in his work has provided a profound illumination of a man it is sometimes hard to see clearly, one's view dazzled by the incomparable refulgence of his music or confused by the restless and scattered energy of the man. In evoking, with profound empathy and a touchingly personal affection, the women who surrounded Mozart, Glover places him in a context that brings together the two apparently contradictory aspects of him: the genius and the rather ordinary individual.

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The domestic realm proves to be the key to reconciling these elements. He was not, we find, any sort of a lout; rather, he was a playful, emotional, idealistic homeboy whose natural environment was music, a man at ease with life and death, the sublime and the human, but quite incapable of the sort of strategic thinking by which careers are made. Glover sees the family as absolutely central to his being: first his own family for better or for worse , and that of his wife, but equally important the family of artists who surrounded him - instrumentalists, actors, librettists, and above all, the female singers.


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In the section of the book that is its core, Glover considers each opera, especially in the light of the women for whom he wrote the great roles that are among his most extraordinary creations. She shows how the operas and the roles were fashioned around Mozart's own unerring dramatic instincts, but also the capacities and personalities of his interpreters. This part of the book an immense gamble in a volume of this sort because it demands the sort of close scrutiny of the works that could easily defeat a non-musician , is quite brilliantly written.

Rather than analysing the scores, Glover evokes them, revealing Mozart's musico-dramatic procedures in terms of their sensuous impact: one can hear the music as one reads.

bulperocli.tk One enters Mozart's workshop, so to speak, observes him finding solutions to both expressive and practical problems. The degree, for example, to which the orchestra can be made to carry the story - sometimes to compensate for a weakness in the singer - is intriguingly demonstrated.

Only a practising musician could have written the book, and only one as deeply immersed in it as Glover, whose tenure as chief conductor of the London Mozart Players was one of its most distinguished periods, and who knows these pieces from long and loving contact with them in the pits of opera houses.