Mozarts The first tour to Italy with his father Leapold in 1769 he was 13 yrs old the first stop on the southward journey was at Lodi, where Wolfgang completed his first string quartet, K. 80/73f.[25] After a few days in Parma, The Mozarts moved on to Bologna, a "centre for masters, artists and scholars", according to Leopold.[25] Their letter from Firmian introduced them to Count Pallavicini-Centurioni, a leading patron of the arts, who immediately arranged a concert for the local nobility in his palace. Among the guests was Giovanni Battista Martini, the leading musical theorist of his day and Europe's most renowned expert in Baroque counterpoint.[25] Martini received the young composer and tested him with exercises in fugue. Always with an eye upon Wolfgang's future prospects in the courts of Europe, Leopold was anxious for engagement with the great master; but time was short, so he arranged a return to Bologna in the summer for extended tuition.[26] The pair left on 29 March, carrying letters from Pallavicini that might clear the way for an audience with Pope Clement XIV in Rome.[27] Before they left, they made the acquaintance of the Czech composer Josef Mysliveček, whose opera La Nitteti was being prepared for performance. Later in 1770, Wolfgang would use the Mysliveček opera as a source of motives for his own opera Mitridate, re di Ponto and various symphonies. More broadly, it marked the beginning of a close association between Mysliveček and the Mozart family that lasted until 1778. Wolfgang used his works repeatedly as models of compositional style.[28][29] The next day they arrived in Florence, where Pallavicini's recommendation gained them a meeting at the Palazzo Pitti with the Grand Duke and future emperor Leopold. He remembered the Mozarts from 1768 in Vienna, and asked after Nannerl.[30][31] In Florence they encountered the violinist Pietro Nardini, whom they had met at the start of their grand tour of Europe;[32] Nardini and Wolfgang performed together in a long evening concert at the Duke's summer palace.[30] Wolfgang also met Thomas Linley, an English violin prodigy and a pupil of Nardini's. The two formed a close friendship, making music and playing together "not as boys but as men", as Leopold remarked.[30] Gutman reports that "a melancholy Thomas followed the Mozarts' coach as they departed for Rome on 6 April". The boys never met again; Linley, after a brief career as a composer and violinist, died in a boating accident in 1778, at the age of 22.[33]
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@@horsemumbler1 Good point. I'm almost sure for each of the genres of music he composed in (piano sonata, piano concerto, string quartet, etc.), his first of them (Piano sonata no. 1 in C, String quartet no. 1 in G, etc.) wasn't really his first, and he had a few practice ones before them. But who knows! He was exceptionally good so maybe this really is his first String Quartet!
Gracias a quienes subieron esta colección de los cuartetos para cuerdas de W A Mozart. Como aporte para mejorar el conocimiento de estas obras adjunto un documento de Wikipedia que presenta una síntesis muy breve y una clasificación de los cuartetos. es.wikipedia.org/wiki/Anexo:Cuartetos_de_cuerda_de_Wolfgang_Amadeus_Mozart
+Brian McCarthy Yes, there was a difference before the universal _A_ was adopted as 440Hz at the 1939 international conference which was enforced by the British Standards Institute. However, it's been well documented that Mozart's piano was actually tuned to *421.6Hz*, as there was no standard at that time - which would've made period tuning _higher_ than today, not lower. Either way, the pitch _A_ fluctuated greatly in this era because of a town's central church organ (a common reference point). This, of course was problematic due to pipe warping from a lack of temperature-controlled environments in churches back then. That said, this recording _could_ be using period instrument-tuning, but my guess is that the recording is just off from rendering issues.
+maxcohen13 You're correct to point out that there was no real standard for tuning in the 18th century. I wish to point out, however, that 421.6 Hz for A is lower than the 440 standard of today. Church organs were usually about a note higher than today because the metal pipes were tuned by hammering on them thus shortening them. This is know as church, organ, or choir pitch. Chamber instruments were usually tuned to the lower pitch, and modern HIP ensembles seem to have standardized on A=415.
May be you are talking about the second movement which is probably in D major (dominant of G) (I didnt listened to it yet) but because of lower tuning it seems to be in D-flat. Just guessing :p
maxcohen13 Hi. I just wanted to know if there is a way to read more or understand more about the phenomenon you're mentioning (the differences in tuning, impact of recording). Seems fascinating!
