In Monday’s Living Here (?) section of the Sacramento Bee, I was asked a question of the highest philosophical order, a question of such depth that the great Lando Calrissian (respectable administrator of Cloud City) couldn’t answer it, let alone comprehend.
Can you name any of Mozart's worthy peers?
What's that? Can I name any of Mozart’s worthy peers, you say? Well, yes. Yes, I can. There’s...
Johann Gottlieb Graun (1702–1771)
Johann Ernst Eberlin (1702–1762)
Gioseffo Hectore Fiocco (1703–1741)
Georg Andreas Sorge (1703–1778)
Karl Heinrich Graun (1704–1759)
Jose Antonio Carlos de Seixas (1704–1742)
Frantisek Antonin Ignac Tuma (1704–1774)
Nicholas Chédeville (1705–1782)
Giovanni Gualberto Brunetti (1706–1787)
Giovanni Battista Martini (1706–1784)
Baldassare Galuppi (1706–1785)
Pietro Domenico Paradisi|Paradies (1707–1791)
Michel Corrette (1707–1795)
Georg Czarth (1708–1774)
Pasquale Cafaro (1708–1787)
Egidio Romualdo Duni (1708–1775)
Johann Adolf Scheibe (1708–1776)
Johann Gottlieb Janitsch (1708–1763)
Christoph Schaffrath (1709–1763)
Paolo Salulini (1709–1780)
Charles Avison (1709–1770)
Franz (Frantisek) Benda (1709–1786)
Franz Xaver Richter (1709–1789)
Jean-Noel Hamal (1709–1778)
Domenico Alberti (1710–1746)
Giovanni Battista Pergolesi (1710–1736)
Thomas Augustine Arne (1710–1778)
Joseph Marie Clément Abaco|dall’Abaco (1710–1805)
Wilhelm Friedemann Bach (1710–1784)
Domènec Terradellas (1711–1751)
William Boyce (1711–1779)
Ignaz Holzbauer (1711–1783)
Jean-Joseph Cassanea de Mondonville (1711–1772)
John Hebden (1712–1765)
Sayat Nova (1712–1795)
John Stanley (1712–1786)
Friedrich II der Grosse (the Great) (1712–1786)
Jan Benda (1713–1752)
Johann Ludwig Krebs (1713–1780)
Pedro António Avondano (1714–1782)
Gottfried August Homilius (1714–1785)
Carl Philipp Emanuel Bach (1714–1788)
Christoph Willibald von Gluck (1714–1787)
Nicoló Jommelli (1714–1774)
Jacques Duphly (1715–1789)
Georg Christoph Wagenseil (1715–1777)
James Nares (1715–1783)
Girolamo Abos (1715–1760)
Mathias Georg Monn|Man (1717–1750)
Jan Václav (Johann) Stamitz|Stamic (1717–1757)
Jean-Baptiste Quentin (1718–1750)
Leopold August Abel (1718–1794)
Ferdinand Zellbell (der Jüngere) (1719–1780)
Leopold Mozart (1719–1787)
Domenico Porretti (1720–1783)
Johan Nicolaas Lentz (1720–1782)
Johann Schobert (1720–1767)
Posh Spice (1720-1767)
Wolf Blitzer (1720-1788)
Just Checking to See If (1720-1769)
If You’re Still Reading (1720-1800)
Johann Friedrich Agricola (1720–1774)
Maria Teresa Agnesi Pinottini (1720–1795)
Carlo Antonio Campioni (1720–1788)
Pieter Hellendaal (1721–1799)
Johann Philipp Kirnberger (1721–1783)
Johann Ernst Bach (1722–1777)
Pietro Nardini (1722–1793)
Nardini Is My Favorite Name (1722-1788)
Schobert is My Second Favorite (1722-1777)
Jiři Antonin Benda (1722–1795)
Christian Ernst Graaf|Graf (1723–1804)
Anna Amalia von Preußen (1723–1787)
Karl Friedrich Abel (1723–1787)
Maria Antonia Walpurga|Walpurgis (1724–1780)
Ignaz (Ignace) Vitzthumb (1724–1816)
Giovanni Battista Cirri (1724–1808)
Gioseffo Ferdinando Bertoni (1725–1813)
François-André Philidor (1725–1795)
Johann George Tromlitz (1725–1805)
Charles Burney (1726–1814)
Henri Hardouin (1727–1808)
Johann Wilhelm Hertel (1727–1789)
Claude-Benigne Balbastre (1727–1799)
Armand-Louis Couperin (1727–1789)
Johann Gottlieb Goldberg (1727–1756)
Tommaso Traetta (1727–1779)
Pasquale Anfossi (1727–1797)
Nicoló Piccinni (1728–1800)
Johann Gottfried Müthel (1728–1788)
Franz Xaver Pokorny (1728–1794)
Johann Adam Hiller (1728–1804)
And Now a Wonderfully Musical Name (1728-1791)
Pellegrino Tomeoni (1729–1816)
Florian Leopold Gaßmann (1729–1774)
Anton Cajetan Adlgasser (1729–1777)
Pieter van Maldere (1729–1768)
Pierre-Alexandre Monsigny (1729–1817)
Giuseppe Sarti (1729–1802)
Padre Antonio Soler (1729–1783)
And Now a Not So Musical Name (1729-1789)
Leontzi Honauer (1730–1790)
Antonio Maria Gaspare Sacchini (1730–1786)
Capel Bond (1730–1790)
For All Your Bail Bond Needs (1731-1797)
Gaetano Pugnani (1731–1798)
Frantisek Xaver Dušek (1731–1799)
(Johann) Christian Cannabich (1731–1798)
Johann Christian Kittel (1732–1809)
František (Franz) Xaver Brixi (1732–1771)
Franz Joseph Haydn (1732–1809)
Johann Christoph Friedrich Bach (1732–1795)
Thomas Linley (the elder) (1733–1795)
Anton Filtz|Fils|Filts (1733–1760)
Benjamin Cooke (1734–1793)
Luka Sorkočević (1734–1789)
François-Joseph Gossec (1734–1829)
Franz Ignaz Beck (1734–1809)
Johann Ernst Altenburg (1734–1801)
Giovanni Mane Giornovichi|Ivan Jarnovick (1735–1804)
Johann Gottfried Eckard (1735–1809)
Johann Christian Bach (1735–1782)
Johann Georg Albrechtsberger (1736–1809)
Carl Friedrich Christian Fasch (1736–1800)
Jean-François Tapray (1737–1819)
Josef Myslivecek (1737–1781)
Michael Haydn (1737–1806)
Constantin Reindl (1738–1799)
Leopold Hofmann (1738–1793)
Jan Evangelista Antonin Kozeluh (1738–1814)
Johann Baptist Vanhal (1739–1813)
Friedrich Wilhelm Rust (1739–1796)
Karl Ditters von Dittersdorf (1739–1799)
Giovanni Paisiello (1740–1816)
Henri-Joseph Riegel|Rigel (1741–1799)
André-Ernest-Modeste Grétry (1741–1813)
Johann André (1741–1799)
Johann Gottlieb Naumann (1741–1801)
Vaclav (Wenzel) Pichl (1741–1805)
Jerónimo Francisco Lima (1741–1822)
Anton Zimmermann (1741–1781)
(father) Roman(us) Hoffstetter|Hofstetter (1742–1815)
Luigi Boccherini (1743–1805)
Francesco Petrini (1744–1819)
There’s a Lot of Names (1744-1823)
I Know (1744-1801)
But I Don’t Want You To Miss Any (1744-1818)
Because They All Wrote Good Music (1744-1798)
João Pedro de Almeida Mota (1744–1817)
But Really I Bet Mr. Ortiz’s Question (1744-1210)
Is Only Hypophora (1744-1789)
A Stupid Rhetorical Device (1744-1806)
That Gets Things Moving (1744-1801)
By Asking a Question (1744-1779)
Either Way It’s (1744-1790)
Pretty Lame If You Ask Me (1744-1822)
Marianne Anna Martinez (1744–1812)
Besides What Possible Relevance Could (1745-1830)
This Have In Any Discussion (1745-1811)
Concerning a New Disc Of A (1745-1823)
Lesser Known Composer (1745-1808)
That’s What the Review’s About (1745-1789)
By the Way (1745-1803)
Georg (Jiři) Druschetzky|Druzecky (1745–1819)
Jan Václav Knéžek (1745–1806)
João de Sousa Carvalho (1745–1798)
Johann Baptist Krumpholz (1745–1790)
Carl Stamitz (1745–1801)
Giuseppe Giordani (1745–1798)
Joseph Boulogne, Chevalier de Saint-Georges (1745–1799)
Ivan Evstaf’evich Khandoshkin (1746–1804)
James Hook (1746–1827)
Argh! Shiver Me Timbers and Such (1746-1821)
William Billings (1746–1800)
(Louis) Joseph (Marie) Quesnel (1746–1809)
Johann Wilhelm Hässler (1747–1822)
Johann Abraham Peter Schulz (1747–1800)
Leopold Kozeluh (1747–1818)
Theodor Freiherr von Schacht (1748–1823)
Christian Gottlob Neefe (1748–1798)
Francesco Azopardi (1748–1809)
Jean-Frédéric (Johan-Fredreric) Edelmann (1749–1794)
Domenico Cimarosa (1749–1801)
Antonio Rosetti|Rossetti|Rősler|Rössler|Rosety (1750–1792)
Names Used Under the Witness Protection Program (1750-1820)
Jean-Balthasar Tricklir (1750–1813)
Daniel Gottlob Türk (1750–1813)
Antonio Salieri (1750–1825)
Why Does It Seem Like (1750-1831)
Every Time Salieri Is Mentioned (1750-1811)
It’s Always In Reference To (1750-1795)
That Movie About Mozart? (1750-1808)
Hasn’t Anyone Ever Heard His Music (1750-1749)
It’s Quite Good (1750-1820)
Johann Franz Xaver Sterkel (1750–1817)
Dmitri Stepanovich Bortniansky (1752–1825)
José Maurício (1752–1815)
Muzio Clementi (1752–1832)
Nicola Antonio Zingarelli (1752–1837)
Ludwig August Lebrun (1752–1790)
Justin Heinrich Knecht|Knechtl (1752–1817)
Johann Friedrich Reichardt (1752–1814)
Pedro Étienne Solère (1753–1817)
Nicolas-Marie Dalayrac (1753–1809)
Jean-Baptiste Bréval (1753–1823)
Johann Baptist Schenk (1753–1836)
Michel Yost (1754–1786)
Vicente Martín y Soler (1754–1806)
Franz Anton Hoffmeister (1754–1812)
Mateo Pérez de Albéniz (1755–1831)
Giovanni Battista Viotti (1755–1824)
Federigo Fiorillo (1755–1823)
Antonio Capuzzi (1755–1818)
I Know Him (1755-1812)
He Owns a Pizzeria (1755-1810)
In Queens and Has Been Known (1755-1829)
To Associate With a Certain (1755-1804)
Fast Eddie (1755-1817)
Christian Kalkbrenner (1755–1806)
Johann Christoph Vogel (1756–1788)
Thomas Linley (the younger) (1756–1778)
Joseph Martin Kraus (1756–1792)
Pavel (Paul) Vranický|Wranitzky (1756–1808)
Alessandro Rolla (1757–1841)
Ignaz Josef Pleyel (1757–1831)
António Leal Moreira (1758–1819)
Karl Friedrich Zelter (1758–1832)
François Devienne (1759–1803)
Jacques(-Christian-Michel) Widerkehr (1759–1823)
Franz Vinzenz Krommer|Křamer (1759–1831)
Franz Christoph Neubauer (1760–1795)
Nicolas Rozé (1760–1823)
For A Good Time Call Joshua Kosman (510-555-5555)
Johann Rudolf Zumsteeg (1760–1802)
Jan Ladislav Dušek|Dussek|Dusík (1760–1812)
Jean-François Le Sueur|Lesueur (1760–1837)
Luigi Cherubini (1760–1842)
Evstigney Ipatovich Fomin (1761–1800)
Johann Christian Ludwig Abeille (1761–1838)
Antonín (Anton) Vranický|Wranitzky (1761–1820)
Feliks Janiewicz (1762–1848)
Marcos Antonio Portugal (1762–1830)
Franz Wilhelm Tausch (1762–1817)
Adalbert (Vojtech) Gyrowetz|Jirovec (1763–1850)
Franz Danzi (1763–1826)
Étienne-Nicolas Méhul (1763–1817)
Anton Eberl (1765–1807)
Jan Jakub Ryba (1765–1815)
John Addison (1766–1844)
Samuel Wesley (1766–1837)
Rodolphe Kreutzer (1766–1831)
Seriously Though ((1766-1812)
This Opening Question Begs Another (1766-1820)
How Many Composers Can Edward Name? (1767-1819)
If He Can't Come Up With (1767-1831)
Joseph Haydn You Know (1767-1840)
Off the Top of His Head (1767-1822)
In Like Two Seconds...? (1767-1841)
José Maurício Nunes Garcia (1767–1830)
I Mean I Could Have Named (1767-1855)
A Couple Dozen of These Guys (1767-1841)
But Then Again, I'm Supposed to (1767-1810)
Know More Than the Average Person Right? (1767-1847)
Andreas Jakob Romberg (1767–1821)
Christian Friedrich Gottlieb Schwencke (1767–1822)
Bernhard Heinrich Romberg (1767–1841)
Johann Georg Heinrich Back(h)ofen (1768–1839)
Carolus Antonius (Antoine) Fodor (1768–1846)
Louis-Emmanuel Jadin (1768–1853)
(Jean Baptiste) Edouard Du Puy (1770–1822)
João José Baldi (1770–1816)
Ferdinando Carulli (1770–1841)
Johann Christian Heinrich Rinck (1770–1846)
Anton Reicha (1770–1836)
Max Keller (1770–1855)
Friedrich Witt (1770–1836)
Peter Hansel (1770–1831)
Ludwig van Beethoven (1770–1827)
...to name a few.
So, those were some of Mozart’s near-contemporaries and worthy peers. Pray tell, then, why would you like to know, Mr. Ortiz, sir?
For most, the only name that comes to mind is composer Antonio Salieri.
Aw shit. I knew it.
And this is only because of Salieri's appearance as a major character in the Oscar-winning film "Amadeus."
I wish that movie was never made.
Um, Haydn, perhaps? No. He’s not a composer that comes to mind as a worthy peer of Mozart’s? To you, Ed, maybe.
But talent was not scarce in Mozart's time.
You think? Good work.
-
8/14/08
Between the Lines, Some Useless Information
Posted by Empiricus at 5:50 AM
Labels: Antonio Salieri, Edward Ortiz, Fast Eddie, Lots of Composers, Mozart, Sacramento Bee, stupid hypophora
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15 comments:
Johann Christoph Vogel? "Worthy"? Him? Really?
What? He's clearly as good if not better than Johann Baptist Schenk.
Who the fuck is Beethoven?
Also, did Michel Yost used to play for the Brewers?
Vogel?
Come on!
I prefer Carl Friedrich Christian Fasch. Or as I like to call him, "Mr. F"
Seriously though, Reicha and Pleyel are god awful. I speak from experience (Reicha's woodwind quintets, especially...) I can't condone their inclusion on the list.
And if you had asked Mozart himself, he wouldn't have included Gluck on this list of worthy composers either.
I believe the quote was something to the effect of, "My cook knows more counterpoint than Gluck does." (or was that Handel who said that? Whatever.)
To what can we attribute Empiricus' animus to hypophora, a most useful and elegant rhetorical device? And why would he respond to Ortiz's humble opening gambit with a litany extended to the point of hyperbole, itself a shaky rhetorical tool?
The answers, I think, lie in both an inexplicable, obsessive desire to compile and share yards-long lists of obscure composers and a chronic lack of going outside to play.
And now, some exciting news: I'm commissioning Wolf Blitzer for a new concerto for keyed trumpet and orchestra. I'm heading to the Situation Room now to give Wolf a quick lesson in building and permuting tone rows. Except for the tone rows, the concerto will be modeled on that of Hummel (who was 3 when Mozart died, and thus technically qualified for Empiricus' list).
Which brings us to Anton Weidinger, a pal of both Haydn and young master Hummel and the inventor of the keyed trumpet, which, lucky for Wolf, can play all 12 tones without cumbersome changing of crooks.
Despite that advantage, almost everyone from 1796 on refused to play the thing because it just sounds bad. With any luck at all, no trumpeter will touch the horn to play Wolf's beginner serialist concerto, thus turning the whole thing into conceptual art. Which would be awesome.
Wait. What?
--Strini
I'm going to do something that I've never done before...ugh...L.O.L., Strini. And a happy touche!
It's the dog days of summer, after all. Besides, I think we're all entitled to an impressive looking list once in a while, if only to belabor a point. To be fair, though, he did ask me a question.
And sure, Ortiz's review wasn't offensive. A little dense, if you ask me, but not offensive. I mean, this is what he's essentially saying:
"There's only one name that represents the whole of the Classical Period--Mozart. Oh, but there's this other guy, whose music you've never heard, that you probably know existed, because of a twenty-four year-old movie, which was based on something which was based loosely on reality. His name is Salieri. Other than that, you don't know anyone else. Neither did I. But I am here to tell you there is another guy, who you should know about. He wrote uplifting vocal pieces that have 'vocal runs and orchestral bursts of color.'" Now that you know about him, you should buy this album. What's that you say? No. I've never heard of a Michael Haydn nor his brother."
At least, that's how I read it, because (and maybe I'm jaded here but) I would like to think that anyone interested in reading this obscure review, or writing it for that matter, would instantaneously come up with FJ Haydn and not Salieri. Unless you're the type that giggles and snorts out loud when Joseph II (aka Principle Rooney) says, "too many notes," then Haydn is the first worthy peer that comes to mind.
And no, I don't get out to play very much these days.
Hummel was 13 when Mozart died, having studied with Mozart.
Posh Spice is really more a post-Classical composer.
Don't forget the accent on the word "touché". Otherwise you end up saying something unintentionally hilarious.
Lazy with the HTML, so no accents for me.
Hey Rakowski,
You mean I only missed Hummel's birth by 10 years? Pretty close for a former guitar major, eh? -- Strini
Former? Once a guitar major, always a guitar major.
Trombone minor here. That just looks funny when you type it.
Empman, that there has been, are, and will be, many composers is a given. But what is the list of composers we've heard? Then you'll get closer to the answer for "worthy" on this one. Not that we shouldn't listen to all the others... but I think you'll generally find (as I have) that the others show us why Mozart carts his around in a wheelbarrow.
Certainly, I'm not going to take sides for this composer or that, but forgetting Haydn is a sin. Plain and simple. Take a card--pass hell, collect animosity.
I don't know or have listened to most of those I named. But if a fictional character is all I got, then I have stupid tattooed on my forehead. Nuff said.
And if you think Mozart is a head above Haydn, okay. But Salieri? C'mon. Use a little knowledge that, you know, might qualify you for a job reviewing classical music.
i think giovanni battista viotti was a better composer than mozart.
also joseph de boulogne and ivan jarnovic, pierre rode and rodolphe kreutzer...
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