What do Sup Forums think of Mozart?

What do Sup Forums think of Mozart?

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One of the greatest composers ever. If not for the quality of his work, then by the effect and influence it had on everyone who came after.

Do y'all think contemporary musicians, from any genre since the beginning of the twentieth century, will be remembered as these guys are?

I mean, it's only been about a century, so we still remember guys from the 20s. Will they live on?

Bach was better and more influential. He became the standard by which harmony and voice-leading was taught. Even Mozart learned from Bach.

only the contemporary composers who actually write scores. Many great 20th century composers whose music will live as long as humans do.

Better is entirely subjective and relative. He wasn't more influential during his own life time.

He was really good in Amadeus

He is the whole reason we play older pieces today. Otherewise Mozart and others' music could've faded into obscurity

SALIERI BOYZ

Care to elaborate? Bach wasn't relevant until Mehndelsson rediscovered his works. If it wasn't for Mehndelsson, Bach would have been fairly unknown for several decades more.

That's my point. His music led to more exploration of older music after it's rediscovery

Falco was right, Mozart's music is just rock music played in a classical way.

>He is the whole reason we play older pieces today.
No he wasn't. Before Mendelssohn no one cared about any of his work save his pedagogical works. Meanwhile Handel was still a very respected and commonly performed composer.

Underrated.

see

There was always an interest in older music, think of Fux's Gradus ad Parnassum. Bach was never really absent either, he always existed in the minds of many musicians like Beethoven and Mozart, just not his secular works.

>Fux's Gradus ad Parnassum
>in the minds of many musicians
Agreed, yes, but I'm talking about performances. Mendelssohn's conducting of Bach revived earlier music in performances

>Fux's Gradus ad Parnassum
>in the minds of many musicians
also show that Bach was indeed a highly influential figure in musical history

iirc Beethoven also looked back to composers like Josquin for inspiration for his Missa Solemnis. Something I doubt has to do with Bach.
>but I'm talking about performances.
I again point to Handel, who even after his death was performed and studied by others, including Mozart and Beethoven.

You can say a lot about what Bach did but saying he revived interest in older music is suspicious to me.

when will this meme end?

Mozart, Haydn and Beethoven all studied Bach scores. Bach has pretty much always been influential to other composers. He may never have been that popular with the public, and probably wasn't that influential in his lifetime, but he seems to be the core example of great composing - something only composers tend to look at. The public doesn't care as long as it sounds good.

>but saying he revived interest in older music is suspicious to me.
He didn't; his music did.

en.wikipedia.org/wiki/Early_music_revival

>The roots of the modern early music revival lie in early 18th-century England, France and Prussia, where a complex of social and cultural conditions gave rise to the concept of a canonical repertory of ‘ancient’ music. In England, the religious upheavals of the Commonwealth and Restoration fostered a renewed appreciation of the sacred music tradition. Preservation efforts, led by musicians of the cathedrals and Chapel Royal, took on an increasingly moralistic character. The clergyman Arthur Bedford, for instance, in his Great Abuse of Musick (1711), prescribed a revival of Tudor church music as an antidote for the rampant secularism of the age, as reflected in the vogue for Italian opera. This indictment was scarcely new: as early as 1643 musicians in Nuremberg had presented a concert illustrating ‘the practice and abuse of noble music’ through examples ranging from Jewish temple songs to 17th-century motets. But the notion of a discrete body of early music distinct from – and putatively superior to – music of the present day set the tone of the early music movement for much of the next 250 years.

>In 1731 the Academy of Ancient Music in London formally defined ancient music as that composed before the end of the 16th century, although Handel, Pergolesi, Pepusch and other moderns continued to appear on its programmes. By the latter part of the century works by Handel and Corelli dominated the repertory of the Concert of Ancient Music. The great Handel Commemoration of 1784 at Westminster Abbey and Samuel Arnold's pioneer Handel edition (1787–90) secured Handel's position as a mainstay of the revival. In France, Lully's operas and Lalande's motets survived in the active repertory past the mid-1700s, attesting to a widespread taste for ‘la musique ancienne’. In the late 18th and early 19th centuries the rising spirit of historicism was represented by the amateur musicians Baron von Swieten and Raphael Georg Kiesewetter in Vienna, the choir director Alexandre Choron in Paris and the founders of the Handel and Haydn Society in Boston. Anton Friedrich Justus Thibaut, a legal scholar who conducted an amateur choir in Heidelberg in the early 1800s, described his attic as a ‘temple’ where ‘Marcello furnishes the scriptural lessons for my edification, Handel delivers the sermon to me, with Palestrina I worship my God, and our religious language, the religion we practise, is music’.