<I>

  <&>Wellington Corpus of Spoken New Zealand English Version One</&>
  <&>Copyright 1998 School of Linguistics & Applied Language Studies</&>
  <&>Victoria University of Wellington</&>

  <&>side two</&>
  <&>0:42</&>
  

  <WSC#MST002:0005:PW>
      mozart's talents as a keyboard player and composer were
      recognised at a very early age <,>

  <WSC#MST002:0010:PW>
      his skills as a string player were even then less well known

  <WSC#MST002:0015:PW>
      mozart was in fact a fine violinist <,>

  <WSC#MST002:0020:PW>
      we know a great deal about his grounding on the instrument

  <WSC#MST002:0025:PW>
      the violin on <&>1:00</&> which he played as a child still
      survives a three quarter size instrument made by a local
      salzburg maker andreas ferdinand meyer

  <WSC#MST002:0030:PW>
      his teacher was of course his father leopold

  <WSC#MST002:0035:PW>
      leopold's views on violin technique and style are very clear
      indeed since in seventeen fifty six <,>

  <WSC#MST002:0040:PW>
      the year of wolfgang's birth

  <WSC#MST002:0045:PW>
      he published his treatise on violin playing <,>

  <WSC#MST002:0050:PW>
      mozart clearly made exceptional progress

  <WSC#MST002:0055:PW>
      at the age of thirteen he was appointed third concertmeister of
      the salzburg court orchestra ahead of players with many years'
      experience

  <WSC#MST002:0060:PW>
      in seventeen seventy four he was promoted to the position of
      second concertmeister

  <WSC#MST002:0065:PW>
      the first concertmeister was the much respected michael haydn
      <,>

  <WSC#MST002:0070:PW>
      mozart's attitude to violin playing was however always rather
      ambivalent

  <WSC#MST002:0075:PW>
      at the age of fourteen in a letter home to his sister written
      from bologna he wrote

  <WSC#MST002:0080:PW>
      <reads>my fiddle has now been restrung and i play every day but
      i add this <&>2:00</&> simply because mama wanted to know
      whether i still play the fiddle</reads>

  <WSC#MST002:0085:PW>
      while the anxieties about practice here will sound familiar to
      many a parent almost everything emanating from the mozart family
      about wolfgang's abilities as a violinist indicates that he
      himself would rather have concentrated his energies as a
      performer into keyboard playing <,>

  <WSC#MST002:0090:PW>
      we hear most about his violin playing during his travels of
      seventeen seventy seven to seventy eight

  <WSC#MST002:0095:PW>
      just as wolfgang and his mother left munich leopold voiced the
      same old worries about practice

  <WSC#MST002:0100:PW>
      and at the same time tried to encourage him by passing on the
      praise of antonio brunetti the salzburg court orchestra's first
      violinist

  <WSC#MST002:0105:PW>
      he wrote

  <WSC#MST002:0110:PW>
      <reads>when you were in munich you probably did not practise the
      violin at all but i should be sorry to hear this

  <WSC#MST002:0115:PW>
      brunetti now praises you to the skies and when i was saying the
      other day that after all you played the violin <foreign=Italian>passibilamente</foreign=Italian>
      he burst out WHAT

  <WSC#MST002:0120:PW>
      NONSENSE

  <WSC#MST002:0125:PW>
      why he could play <&>3:00</&> anything</reads> <,>

  <WSC#MST002:0130:PW>
      it turned out that mozart had been playing the violin in munich

  <WSC#MST002:0135:PW>
      in a letter which must have crossed with leopold's he talks
      about a private concert given to celebrate the name day of his
      music loving inn keeper <,>

  <WSC#MST002:0140:PW>
      mozart took part in two michael haydn quintets

  <WSC#MST002:0145:PW>
      performed three piano concerti

  <WSC#MST002:0150:PW>
      and then as a finale he says took up his violin again to play
      the divertamento in b flat k two eight seven

  <WSC#MST002:0155:PW>
      a work which contains a first violin part of considerable
      virtuosity

  <WSC#MST002:0160:PW>
      he reported to his father

  <WSC#MST002:0165:PW>
      <reads>they all opened their eyes

  <WSC#MST002:0170:PW>
      i played as though i were the finest fiddler in all europe</reads>
      <,>

  <WSC#MST002:0175:PW>
      a number of mozart divertamenti or serenades written at about
      this time are multi movement works which enclose as it were a
      violin concerto <,>

  <WSC#MST002:0180:PW>
      here's an allegro from the serenade in d

  <WSC#MST002:0185:PW>
      k two oh four

  <WSC#MST002:0190:PW>
      played by jaap schroeder with the smithsonian chamber orchestra
      <&>4:00</&> <&>five seconds music has been cut from tape</&>
      <&>4:05</&>

  <WSC#MST002:0195:PW>
      leopold responded to his son's report of the munich divertimento
      performance with a characteristic blend of anxiety about his
      son's behaviour and more particularly pride <,>

  <WSC#MST002:0200:PW>
      <reads>you yourself do not KNOW how well you play the violin</reads>
      he wrote

  <WSC#MST002:0205:PW>
      <reads>if you will only do yourself credit and play with energy

  <WSC#MST002:0210:PW>
      with your whole heart and mind

  <WSC#MST002:0215:PW>
      yes just as if you WERE the first violinist in europe

  <WSC#MST002:0220:PW>
      you must not play carelessly or people will think that from some
      foolish conceit you consider yourself to be a great player
      seeing that many people do not even KNOW that you play the
      violin

  <WSC#MST002:0225:PW>
      you have after all been known from childhood as a clavier player

  <WSC#MST002:0230:PW>
      so whence could you draw the grounds for such conceit and
      presumption

  <WSC#MST002:0235:PW>
      say these words first

  <WSC#MST002:0240:PW>
      i really must apologise but i am no violinist

  <WSC#MST002:0245:PW>
      then play with your whole mind and you will overcome all
      difficulties

  <WSC#MST002:0250:PW>
      oh how often you hear a great violinist play <&>5:00</&> who has
      a great reputation and feel very sorry for him</reads> <,,>

  <WSC#MST002:0255:PW>
      between munich and mannheim mozart visited leopold's home city
      of augsburg where he played the violin in one of his own
      symphonies with an orchestra which he said was enough to give
      one a fit

  <WSC#MST002:0260:PW>
      a few days later at the holy cross monastery he performed a <?>van
      heil</?> violin concerto and one of his own <,>

  <WSC#MST002:0265:PW>
      he reported <reads>in spite of their poor fiddling I prefer the
      monastery players to the augsburg orchestra

  <WSC#MST002:0270:PW>
      i performed a symphony and played <?>van heil's</?> violin
      concerto in b flat which was unanimously applauded

  <WSC#MST002:0275:PW>
      in the evening at supper i played my strasbourg concerto which
      went very smoothly

  <WSC#MST002:0280:PW>
      everyone praised my beautiful pure tone</reads> <,,>

  <WSC#MST002:0285:PW>
      no one is quite sure what mozart meant by his strasbourg
      concerto

  <WSC#MST002:0290:PW>
      probably the concerto number three in g or number four in d

  <WSC#MST002:0295:PW>
      in any case it is clear that mozart played all five of his own
      <&>6:00</&> violin concerti

  <WSC#MST002:0300:PW>
      here with jaap schroeder again as soloist is the rondo from the
      second concerto in d

  <WSC#MST002:0305:PW>
      k two eleven <&>6:08</&> <&>nine seconds music music has been
      cut</&> <&>6:18</&>

  <WSC#MST002:0310:PW>
      just before mozart's report of his augsburg concert leopold had
      written from salzburg that antonio brunetti had also played the
      strasbourg concerto <reads>most excellently but in the two
      allegros he played wrong notes occasionally and once nearly came
      to grief in a cadenza</reads>

  <WSC#MST002:0315:PW>
      the comparison suggests that mozart could have held his own with
      some of europe's leading violinists <,>

  <WSC#MST002:0320:PW>
      brunetti had arrived in salzburg in seventeen seventy six to
      take up a position as concertmeister

  <WSC#MST002:0325:PW>
      in such a role his responsibilities included not just playing
      the violin but directing orchestral performances

  <WSC#MST002:0330:PW>
      in the light of what happens next in mozart's own violin playing
      career this is worth noting <,>

  <WSC#MST002:0335:PW>
      during mozart's stay in paris one of the <&>7:00</&> most
      important musical events for him was the performance of the
      symphony he had written especially for the orchestra at the
      concert spirituel <,>

  <WSC#MST002:0340:PW>
      mozart was not at all happy with the way the single rehearsal of
      this work had gone under the direction of pierre <?>lahoussey</?>
      a <?>tatini</?> pupil <,>

  <WSC#MST002:0345:PW>
      mozart was in fact so depressed after the rehearsal that he
      considered not going to the concert but in the end as he wrote
      to his father he decided to go <,>

  <WSC#MST002:0350:PW>
      <reads>i at last made up my mind to go determined that if my
      symphony went as badly as it did at the rehearsal i would
      certainly make my way into the orchestra

  <WSC#MST002:0355:PW>
      snatch the fiddle out of the hands of <?>lahoussey</?> the first
      violin and conduct myself</reads> <,>

  <WSC#MST002:0360:PW>
      the performance was in fact a tremendous success with the
      audience bursting into spontaneous applause during the opening
      movement <,>

  <WSC#MST002:0365:PW>
      leopold who was delighted to hear about this was nevertheless
      HORRIFIED when he read of his son's plan to intervene if
      <&>8:00</&> things had not gone well

  <WSC#MST002:0370:PW>
      in july seventeen seventy eight he wrote back to wolfgang <,>

  <WSC#MST002:0375:PW>
      <reads>i congratulate you on having got through the concert
      spirituel so successfully with your symphony

  <WSC#MST002:0380:PW>
      i can imagine your nervousness <,>

  <WSC#MST002:0385:PW>
      your determination to dash off into the orchestra if the
      performance had not gone off well was surely only a wild idea

  <WSC#MST002:0390:PW>
      GOD FORBID you must put all such fancies out of your head for
      they are wholly injudicious

  <WSC#MST002:0395:PW>
      such a step might cost you your life which no man in his senses
      risks for a symphony

  <WSC#MST002:0400:PW>
      such an insult and what is more a PUBLIC insult

  <WSC#MST002:0405:PW>
      not only a FRENCHman but everyone who values his honour would
      and OUGHT to avenge sword in hand

  <WSC#MST002:0410:PW>
      an italian would say nothing

  <WSC#MST002:0415:PW>
      he would lie in wait for you at a street corner and shoot you
      dead</reads> <&>8:48</&> <&>seven seconds music music has been
      cut from tape</&> <&>8:55</&>

  <WSC#MST002:0420:PW>
      brunetti and <?>lahoussey</?> were both violinists who by virtue
      of their skill as players had <&>9:00</&> risen to positions
      where they directed orchestral performances

  <WSC#MST002:0425:PW>
      in other words they combined the roles which we now associate
      with leader or concertmaster and conductor

  <WSC#MST002:0430:PW>
      the concertmeister was subordinate only to the <?>kapellmeister</?>
      who might be a violinist or more likely a keyboard player <,>

  <WSC#MST002:0435:PW>
      leopold and wolfgang mozart both had a clear sense of the
      desirability of such a position

  <WSC#MST002:0440:PW>
      leopold hoped himself to be appointed <?>kapellmeister</?> in
      salzburg but never quite made it

  <WSC#MST002:0445:PW>
      thanks largely it seems to the long absences he took with his
      talented children <,>

  <WSC#MST002:0450:PW>
      even more than for himself leopold hoped for such a position for
      wolfgang

  <WSC#MST002:0455:PW>
      the mozart correspondence quite often shows one or other of them
      casting a jealous eye at the success of others

  <WSC#MST002:0460:PW>
      when in seventeen sixty three leopold saw the conditions which
      nicolo jommelli enjoyed in ludwigsburg he could scarcely contain
      himself

  <WSC#MST002:0465:PW>
      he wrote <reads>jommelli is doing his best to weed out
      <&>10:00</&> the germans at this court and put in italians only

  <WSC#MST002:0470:PW>
      he has almost succeeded too and will succeed completely

  <WSC#MST002:0475:PW>
      for apart from his yearly income of four thousand gulden

  <WSC#MST002:0480:PW>
      his allowances for four horses wood and light

  <WSC#MST002:0485:PW>
      a house in stuttgart and another one in ludwigsburg

  <WSC#MST002:0490:PW>
      he enjoys to the full the favour of the duke of wurttemburg and
      his wife is promised a pension of two thousand gulden after his
      death

  <WSC#MST002:0495:PW>
      what do you think of THAT for a <?>kapellmeister's</?> post

  <WSC#MST002:0500:PW>
      furthermore he has unlimited control over his orchestra and that
      explains its excellence</reads> <,>

  <WSC#MST002:0505:PW>
      in fact jommelli's conditions of employment were not quite as
      advantageous as they seemed to leopold

  <WSC#MST002:0510:PW>
      his description though conveys a vivid picture of the
      desirability of such a post

  <WSC#MST002:0515:PW>
      in mannheim wolfgang had witnessed the fine musical results
      which christian <?>kanopic</?> was able to achieve as <?>kapellmeister</?>

  <WSC#MST002:0520:PW>
      he was impressed by the mixture of respect and fear with which
      the mannheim instrumentalists <&>11:00</&> regarded their
      director <,>

  <WSC#MST002:0525:PW>
      by october seventeen seventy eight leopold was anxious to have
      his son back in salzburg

  <WSC#MST002:0530:PW>
      we learn that he was doing his best to negotiate very favourable
      conditions for wolfgang with the archbishop

  <WSC#MST002:0535:PW>
      but violin playing became something of a sticking point <,>

  <WSC#MST002:0540:PW>
      he wrote to wolfgang

  <WSC#MST002:0545:PW>
      <reads>thanks to my perseverance the archbishop has agreed to
      everything</reads> <,>

  <WSC#MST002:0550:PW>
      but his son's response was less than excited <,>

  <WSC#MST002:0555:PW>
      mozart wrote <,> <reads>but there is ONE more thing i MUST
      settle about salzburg and THAT is that i SHALL not be kept to
      the violin as i used to be

  <WSC#MST002:0560:PW>
      i will no longer be a fiddler

  <WSC#MST002:0565:PW>
      I want to conduct at the clavier and accompany arias</reads> <,>

  <WSC#MST002:0570:PW>
      at the end of the same letter <,> mozart returns to emphasise
      this point

  <WSC#MST002:0575:PW>
      <reads>please see that everything the archbishop has promised
      you is absolutely assured and also what i asked you for

  <WSC#MST002:0580:PW>
      that is that MY place should be at the clavier</reads> <,>

  <WSC#MST002:0585:PW>
      what followed this bombshell was a very fraught <&>12:00</&>
      correspondence

  <WSC#MST002:0590:PW>
      leopold replied in high dudgeon

  <WSC#MST002:0595:PW>
      <reads>i must now urge you most insistently to abandon all your
      high flown ideas which are too exalted for our salzburg
      orchestra

  <WSC#MST002:0600:PW>
      YOU say i will no longer be a fiddler

  <WSC#MST002:0605:PW>
      why formerly you were nothing BUT a fiddler

  <WSC#MST002:0610:PW>
      and also incidentally concertmeister

  <WSC#MST002:0615:PW>
      but now you are concertmeister and court organist and your main
      duty WILL be to accompany at the clavier

  <WSC#MST002:0620:PW>
      as a lover of music you will not consider it beneath you to play
      the violin in the first symphony any more than does the
      archbishop himself and also the courtiers who play with us

  <WSC#MST002:0625:PW>
      and i wager that rather than let your own composition be bungled
      you will prefer to take part in the performance

  <WSC#MST002:0630:PW>
      it does not follow however that you will be regarded as a
      fiddler while others enjoy themselves and that you will have to
      play THEIR trios and quartets

  <WSC#MST002:0635:PW>
      not at ALL</reads> <,>

  <WSC#MST002:0640:PW>
      this letter tells us quite a lot about musical life <&>13:00</&>
      in salzburg

  <WSC#MST002:0645:PW>
      playing the violin in the first symphony reminds us that
      symphonies at this time were thought of as having an overture
      like function

  <WSC#MST002:0650:PW>
      something with which to start a concert mozart and more
      especially haydn were to change all of that

  <WSC#MST002:0655:PW>
      leopold's apparently positive attitude here towards the
      archbishop's OWN violin playing was unlikely to have cut much
      ice with wolfgang

  <WSC#MST002:0660:PW>
      shortly before this leopold had written with amused contempt
      about the music making of noble salzburg amateurs <,>

  <WSC#MST002:0665:PW>
      he himself regarded it as something of a penance to have to play
      with him

  <WSC#MST002:0670:PW>
      <reads>nobody</reads> he wrote at the time <reads>could tell
      whether the music was scraped or fiddled</reads> <,>

  <WSC#MST002:0675:PW>
      not surprisingly mozart was not reassured by his father's
      attempts to reconcile him to employment as a violinist in
      salzburg

  <WSC#MST002:0680:PW>
      his protesting reply makes it clear that it is in fact a matter
      of status rather than an antipathy to violin playing which is
      the problem <&>13:55</&>
</I>
