MOZART'S WOMEN: His Family, His Friends, His Music by Jane Glover (Macmillan, £20): IT is a timeworn adage that behind every successful man is a woman.
In the case of Mozart, there were many who inspired him to create some of the world's most extraordinary music and greatest opera roles. This engrossing book unveils his relationships with the most important women in his life and how they influenced his music.
Maria Anna, his loving mother, gave him shelter from his domineering father. His sister Nannerl was every bit as much a prodigy as he was as they toured Europe together, but she was soon left to languish at home. Mozart's first love was the renowned singer Aloysian Weber who famously jilted him, yet their fruitful working relationship continued and he wrote many arias for her, including Donna Anna, which she sang in the first performances of Don Giovanni. Another sister, Josefa, was the first Queen of the Night in The Magic Flute. Mozart married yet another sister, Contanze, for whom he composed a solo in his unfinished C minor Mass. She was much maligned by history and depicted rather cruelly in Peter Schaffer's movie Amadeus. The author forces a rethink of her character, showing how Constanze was in fact an astute entrepreneur who worked hard to consolidate Mozart's reputation after his death.
An eminent conductor, Glover brings all her experience to bear in illuminating the characters, music and libretti of Mozart's operas. A must for devotees.
THE VIRTUOSO CONDUCTORS by Raymond Holden (Yale University Press, £22.50)
IF ever there was proof of mental telepathy at work, it is to be found in the art of conducting. With a raised eyebrow, a momentary glance or flick of a baton, a conductor can conjure up the magic of a score; and the maestros in turn create their own unique imprints with the subtlest of inflexions. This author takes a look at some of the greatest conductors in the Austro-German tradition, tracing a lineage from Wagner to Karajan. We read of Arthur Nikisch's ability to shape an orchestra's sound and of Gustav Mahler's volatile temper and abrasive manner coupled with an immaculate musicianship. Richard Strauss used a thin tapered baton, believing that shorter movements of the arm with greater emphasis on the wrist ensured the players' complete attention. He maintained: "the left hand has nothing to do with conducting. Its proper place is in the waistcoat pocket". One of the more interesting portraits to emerge from the book is that of Wilhelm Furtwangler a "transcendental figure who was able to imbue established masterpieces with fresh insights at each successive performance". No book on conductors would be complete without "Das Wunder Karajan", who drove fast cars and flew planes. Astutely aware of his image, he ensured his photograph dominated his record sleeves and insisted on the best photographers to capture the right mood. This thoroughly researched book will have particular appeal to the aficionado.
Published: 03/01/2006
