June 29, 2003 |
It stops just short of promising eyesight to the blind or rain from dry skies. But disciples of "the Mozart effect" make impressive claims: Music, they say, can do everything from boosting Junior's math scores to curing the terminally ill to making dullards creative. The idea has become a phenomenon. Part of cultural gossip for years, it crystallized with the 1997 publication of Don Campbell's "The Mozart Effect."
September 24, 2002 |
Last spring, when Warner Home Video announced that it was releasing a director's cut of "Amadeus" on DVD (after a limited theatrical run), many observers assumed it was purely a marketing ploy to capitalize on the success of "Apocalypse Now Redux." Not so, according to producer Saul Zaentz and director Milos Forman.
October 12, 1999 |
L.A. is full of modern-day Antonio Salieris who think of themselves as thwarted, misunderstood Mozarts. As such, Peter Shaffer's 1979 "Amadeus" may well carry an extra layer of resonance here. Shaffer's play always had an ingenious pop hook in its favor. Its theme is hackdom, and hacks are universal. Fear of hackdom, or worse, the confirmed self-realization thereof, is an international fear, detectable far outside the entertainment industries. (No, really.) Everyone, everywhere knows envy.
May 1, 1999 |
Conductor Ami Porat thought he was sending a clear message to the world when he founded the Mozart Camerata in 1985. He soon learned that the name confused some people. "What kind of camera is that?" Porat said he and his board members have been asked "umpteen" times. "Camerata" is a word well understood in musical circles to mean chamber orchestra, the conductor said. "But it doesn't have as broad a meaning among a general public." This season, which ends Sunday at St.
January 1, 1999 |
What's the biggest challenge facing classical music? The decline of arts education? The rise of Celine Dion? No, as troubling as those things are, there is a larger and more insidious threat out there. It's the Mozart Industry. The Mozart Industry, not to be confused with the composer himself, is a sprawling multinational concern, with no identifiable headquarters. It manufactures not only merchandise but opinion.
December 25, 1998 |
Milos Forman's 1985 movie "Amadeus" radiated the glorious musical genius of the dissolute former child prodigy, Wolfgang Amadeus Mozart. Peter Shaffer wrote the screenplay, based on his play of the same name. The Knightsbridge Theatre revival of Shaffer's play, about a musical duel between the mediocre Salieri (Christian Noble) and the rebellious 18th century rock-star equivalent, Mozart (Dana Moran), can't capture the grandeur or overwhelming audiovisual power of the silver-screen adaptation.
CALIFORNIA | LOCAL
July 30, 1998
Laboratory rats exposed to a Mozart sonata (K. 448) before and after birth are able to complete mazes more rapidly and with fewer errors than those exposed to minimalist music (a Philip Glass composition), white noise or silence, researchers from the University of Wisconsin report in the July issue of Neurological Research. The rats were exposed to the sounds before birth and for 60 days after, then tested in mazes for five days.
June 12, 1997 |
An Iowa music history professor has found portions of two little-known Viennese operas he says were written by Wolfgang Amadeus Mozart, the New York Times reported. The discovery was made by David J. Buch, a professor of music history at the University of Northern Iowa last year in the archives of the City and University Library in Hamburg, Germany. Mozart's compositions are included in "The Philosopher's Stone" and "The Beneficent Dervish."
March 17, 1995 |
Playwright Peter Shaffer started out in life as a composer. That's why his plays are written like pieces of music and should be treated as such. That's also why his fascination with the immense gap between genius and mediocrity gave birth to "Amadeus," his apocryphal fable detailing Antonio Salieri's avowed destruction of rival Wolfgang Amadeus Mozart. Shaffer isn't historically serious, but he is ideologically.