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Charles Labro - The other bass concertinos.Adolf Lotter: Concerto (unpublished, might be in Prague Conservatoire).Double Bass Concerto in E minor by Édouard Nanny: orchestra version (maybe from Amazon? Probably not compare with Carl Fischer).George Pigott: Septet arrangements at Cambridge (, ).RISM suggests there is no music by Dragonetti."Collection of instrumental music" incl."Adagio" manuscript in Krakow? ( MusicaNeo) confirmed musical hoax.Two cappriccios for three violas ( autograph manuscript in private posession of the editor).Henry Rowley Bishop: Concertante ( WorldCat Sibley Music Library).Michael Haydn: Divertimento, MH 299 (e.g.Antonio Capuzzi: 9th concerto? ( RISM).Johann Georg Albrechtsberger: Divertimento in C major.IX 6394c) 'Unknown' Violone Concerto No.2 in E-flat major Franz Anton Hoffmeister: Double Bass Concerto No.1 in D major (A-Wgm Sign.Burghard Philipp Roslaub: Concerto ( RISM unpublished).Johann Matthias Sperger: Double Bass concertos (18 of them).Koussevitzky's Double Bass Repertoire: A Reassessment: good explanation about the vocalise.Serge Koussevitzky: recently discovered compositions for double bass and for large ensembles within the context of his life and career with facsimiles included.
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France: Code de la propriété intellectuelle.Wikimedia Commons: Reuse of PD-Art photographs.UK: Library Hub Discover (formerly COPAC).Repertoire of the Nepomuk Fortepiano Quintet De Weense bas Een erfenis uit een glansrijk verleden. California Polytechnic State University (Bacherlor thesis) Thematic Catalogue for Upright Bass Concerti. A Selection of the Most Significant Concertos for Double Bass Written since 1970: Reviews and Performance Approaches. Eastman school of music of the University of Rochester (PhD diss.) Original solo concertos for the double bass. List of Compositions Featuring the Double BassĮdition Silvertrust: Chamber Music with Bass 7.5 Resizing from A4 to A3 with Ghostscript.As poverty, illness, and the guilt of his father's death close in on Mozart during the second half of the film, the mood and visuals become very dark to match what is happening in Mozart's own life. The visuals start out light and festive, matching Mozart's mood and prospects. The cinematography and art direction on this film are outstanding. This just begs the question - why did it never occur to Salieri that being able to recognize something as valuable before anyone else does is a talent in and of itself? After all, in 1975 the second best thing to being Bill Gates would have been to have recognized his genius and invested heavily in his success. Salieri seems to be the only person in Vienna who recognizes Mozart's talent. The strange thing is, as long as Mozart is alive, Salieri is the honored composer, not Mozart, though this just seems to infuriate Salieri even more. Salieri,angry at God for honoring a profane ungrateful boy like Mozart while ignoring his own one desire to be a great composer, swears to destroy Mozart. In many ways he is something worse than a ridiculous failure - he is mediocre, and worse yet, he knows it. However, Salieri is not an outright failure as was Ed Wood. Salieri starts down the road to insanity as he realizes the childish Mozart has all of the gifts he ever wanted and has been denied. Mozart is everything Salieri is not - profane, forward, and a great composer. Problems begin when Salieri meets a twenty-something Mozart at the court of the Emperor in Vienna, where Salieri is the court composer. He chalks this up to God's will for his career.
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Predating the prosperity gospel by about two hundred years, Salieri mistakes obsessing with God over his own earthly desires with actual godliness, even being happy when his father - who objects to Salieri's musical interests - chokes to death and leaves Salieri free to pursue his musical dreams. Salieri, a contemporary of Mozart, has only one dream - to be a great composer. This film is an unusual biography, and I often like to compare it with Ed Wood, since both Ed Wood and Salieri were men who gave everything they had to their respective crafts and came up short. I went to see it multiple times back in 1984 during its initial release, back when the theater was empty whenever it played and before it was nominated by the Academy. At the tender age of 26, when I still thought no film was complete without a car chase and a big explosion, Amadeus had me hooked.
