INSERT INTO `wp_posts` VALUES (1781,45,'2011-10-10 11:25:27','2011-10-10 17:25:27','<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Haydn_portrait_by_Thomas_Hardy_small1.jpg\"><img class=\"alignnone size-full wp-image-1772\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Haydn_portrait_by_Thomas_Hardy_small1.jpg\" alt=\"\" width=\"215\" height=\"231\" /></a></p>\r\n<p style=\"text-align: right\">(Joseph Haydn)</p>\r\n<p style=\"text-align: center\"><a href=\"http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg\">http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg</a></p>\r\n<p style=\"text-align: center\">Josef Haydn was born March 31, 1732. His mother secretly desired the idea of her child joining the priesthood. His father, however, hoped Joseph would lead towards a musical career and, despite poverty, was determined to aid Joseph in every way he could. A distant relative, Johann Mathias Frankh, arrived for a visit one day and noted Josef and his toy violin. Seeing Joseph had the makings of a musician, he offered to take him to teach him the ways of music.</p>\r\n<p style=\"text-align: left\"><!--more--></p>\r\nJosef Haydn wrote the “<em>Surprise”</em> Symphony in London in 1791. The work opens and proceeds in the most subdued manner of slow movement. Once the audience may be imagined to have comfortably settled, a sudden explosive fortissimo chord is introduced. This symphony was composed for the first of Haydn\'s two extended visits to London, in 1791. Its first performance did not appear until March 23, 1792. The composition includes flutes, oboes, bassoons, horns and trumpets in pairs, with timpani and strings and lasts for 23 minutes. The symphony has remained exceedingly popular in the repertoire for its various musical qualities. It is particularly memorable for the surprise fortissimo in the second movement (<em>Andante</em>),<em> </em>which, according to Haydn, would make the women scream.\r\n\r\nThe effect of this new composure was incredibly successful. It brought numerous, and varied, descriptions and interpretations in the premier’s press reports. The insightful writer in <em>The Diary </em>was pleased to describe the slow movement as “<em>simple, profound, and sublime</em>,” but his colleague in <em>The Oracle </em>wrote:\r\n\r\n“<em>The surprise might not be inaptly likened to the situation of a beautiful Shepherdess who, lulled to slumber by the murmur of a distant Water-fall, starts alarmed by the unexpected firing of a fowling-piece</em>.”\r\n\r\nThe symphony was from then on known as the “Surprise Symphony” in English and French areas. It is known as <em>Sinfonie mit dem Paukenschlag</em> (“Symphony with the Drumbeat”) in German. Today, the symphony is still popular. It is still performed, recorded, and frequently adapted to teach musical beginners. For instance, the composer Charles Ives wrote a parody of the second movement (1909). He wrote the words “Nice little easy sugar-plum sounds” using the opening notes, which were a fitting choice for Ives\'s purpose since the notes of Haydn\'s second movement are very simple.\r\n\r\nDespite his clever and unusual addition to the “Surprise” symphony, Haydn cited popular tunes in his symphonies quite often, particularly in the variation-type slow movements. He based the <em>Andante </em>of this Symphony in G major on a universal tune (we know it by the name of “Twinkle, twinkle, little star”). Mozart had already composed keyboard variations on this tune (known by its French title “<em>Ah, vous dirai-je, Maman</em>”). Less than a hundred years ago, Ernst von Dohnányi (a Hungarian composer/pianist/conductor) used the tune as the foundation for “<em>Variations on a Nursery Song</em>” (which was written for pianos and orchestras).\r\n\r\nHaydn\'s original intention for the second movement of this symphony was to write variations on a well-known tune. The famous double-forte outburst (which gave the work its nickname) was put in really more of an afterthought. It was not provoked by his supposed wish to wake the audience and make them jump. He saw it as a significant piece towards the need to be competitive with his former pupil Ignaz Pleyel (who had been brought toEnglandby a rival of Salomon, a German-bornLondonmusician and impresario who proposed Haydn visitLondonand compose symphonies there). Pleyel had similar devices in his own compositions, having gotten the idea from earlier symphonies of Haydn.\r\n\r\nBach’s famous “Goldberg” Variations (also a Baroque work and in the same form) contrast with the “Surprise” symphony. Bach’s work begins with a highly elaborate aria, but plays no part in the variations that follow it. Instead, each variation is independent. They are created, not from the aria’s melody, but from the bass line. Through this, Bach maintains the work’s overall unity as a set of variations. He achieves this on an unconscious level, however, since the audience isn’t expected to pay attention to the bass line. Each variation calls for a new theme specific to the feeling being expressed. Obviously, Haydn’s approach was quite different. In his symphony, the same simple tune reveals new emotion within each subsequent variation.\r\n\r\nI quite enjoy this piece. The first movement\'s gentle melodies and breathtaking harmonies may possibly put one to sleep. However, the abrupt fortissimo in the second movement will surely awaken you and recapture your attention, while the third and fourth movements provide a wonderful ending to this classical symphony. It would have been interesting though if Haydn had placed the surprise in a different place within the symphony every time it was preformed.\r\n\r\nI think this piece should be preserved because its composition illustrates the importance of sound patterns in perceiving music. Moreover, it proves how a sound that listeners are not expecting to hear can manipulate the listeners\' experience towards the music.','Haydn\'s \"Surprise\" Symphony','','inherit','open','open','','1764-revision-6','','','2011-10-10 11:25:27','2011-10-10 17:25:27','',1764,'http://jeanatacc.com/2011/?p=1781',0,'revision','',0),(1780,45,'2011-10-10 11:26:56','2011-10-10 17:26:56','','Haydn_portrait_by_Thomas_Hardy_(small)','','inherit','open','open','','haydn_portrait_by_thomas_hardy_small-4','','','2011-10-10 11:26:56','2011-10-10 17:26:56','',1764,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/Haydn_portrait_by_Thomas_Hardy_small3.jpg',0,'attachment','image/jpeg',0),(1785,41,'2011-10-10 11:29:12','2011-10-10 17:29:12','[caption id=\"attachment_1774\" align=\"alignleft\" width=\"196\" caption=\"Wolfgang Amadeus Mozart (1756-1791)\"]<a href=\"http://www.biographyonline.net/music/mozart.html\"><img class=\"size-full wp-image-1774 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Mozart1.jpg\" alt=\"\" width=\"196\" height=\"256\" /></a>[/caption]\n\nIf Ludwig van Beethoven were alive today he would be mounting a formidable effort to request a prestigious spot in the Classical Music Hall of Fame at the Royal College of Music, for Wolfgang Amadeus Mozart (1756-1791). Many details about the genesis of Eine Kleine Nachtmusik are still a mystery but the fact remains that this piece is the most well-known of Mozart\'s 600+ works. Mozart\'s acclaimed composition created the foundation of classical music in Vienna and is the fundamental reason why Mozart deserves a coveted place in the Classical Music Hall of Fame [Einstein].<!--more-->\nIn 1787, when Eine Kleine Nachtmusik\'s (German translation, \"a little night music\" or \"a little serenade\") was composed, the world was experiencing growing pains due to international commerce, a rising middle class, political upheaval, and civil unrest. These difficulties washed over Europe and the Americas. The Spanish and Austrian Succession, Seven Years War, American and French Revolutions created a groundswell of democracy and the emergence of an increasingly independent and powerful middle class. This fact, when coupled with the Industrial Revolution, brought about a style of music that abandoned the grandiosity and ornamentation of the Baroque family of styles and, instead, focused on simplistic harmonies and textures. This new style was a direct representation of the ascent of the middle class and the crumbling of the aristocracy [Siepmann].\nEine Kleine Nachtmusik encapsulates the Classical-style because it is a sonata and contains a clearer and more symmetrical expression of emotions. The economical use of four or five chords and two or three short themes evokes a distinctive departure from previous pretentious styles, and most musical historians believe that this has roots in the affluent middle-class that was beginning to commission such works [Siepmann].\nFor example, Luigi Boccherini\'s Minuetto is a perfect example of Baroque-style that the aristocracy adored. It is opulent and pompous and was created to impress listeners. Click on the following link to listen to Boccherini\'s Minuetto:\n<a href=\"http://www.youtube.com/watch?v=kSE15tLBdso\">Luigi Boccherini\\\'s Minuetto </a>\n\nMozart created Eine Kleine Nachtmusik to cater to the newly affluent middle-class in a way that was elegant, respectful, and tasteful, but definitely not pompous. His composition was straightforward and melodic. It seems worlds apart when compared to Baroque-style compositions of just a couple of years prior. Click on the following link to listen to Mozart\'s Eine Kleine Nachtmusik, Romananza, fourth movement:\n<a href=\"http://www.youtube.com/watch?v=2Okl6WSDfLE\">Mozart\\\'s Eine Kleine Nachtmusik - Romananza</a>\n\nThe structure of Eine Kleine Nachtmusik\'s four movements was innovative and original because, according to Siepmann,\n\"It is overwhelmingly these [four movements] that have ensured Mozart\'s immortality as a symphonist. In their perfection of form, variety of character, individuality of tone and emotional and spiritual reach, they are like nothing written before them, not even by Haydn.\" He goes on to say that, for the first time in musical history, Mozart \"liberated the wind instruments.\"\nWhen this composition was written Mozart was 31, but it was first published posthumously in 1827. Although it is not known who commissioned the piece, it is thought to have originally contained five movements, one of which has been lost forever. Whether the fifth movement was stolen by a music rival or simply destroyed by Mozart will never be known [Einstein].\nWhen compared to Haydn\'s Surprise II, Symphony No. 94 in G Major, published in 1791, Mozart\'s compositions show quite a bit more restraint and less aggressive transitions. Although the melodic elements are very similar, Haydn seems to focus on startling (or \"surprising\") his audience, as evidenced by the fortissimo chord at the end of the lovely, and almost mesmerizing, opening theme of the second movement. Click on the following link to listen (be prepared for the \"surprise\" chord) to Haydn\'s Surprise II, Symphony No. 94 in G Major:\n<a href=\"http://www.youtube.com/watch?v=lLjwkamp3lI\">Haydn\\\'s Surprise II, Symphony No. 94 in G Major</a>\n\nWhen Eine Kleine Nachtmusik was composed Mozart had deep emotional turmoil surrounding him. The changing relationship between the Church and the aristocracy was directly affecting him especially since Emperor Joseph II had banned \"loud\" church music (Mozart\'s bread and butter)[Keefe]. He lost two children that year and had met a new student, the sixteen-year-old Ludwig van Beethoven. Mozart was appointed to the Kammer Musik as its sole composer and this left only two composers at Court, Mozart and Antonio Salieri[Keefe]. Mozart was suffering financially and he viewed his appointment as a new start professionally. Salieri and Mozart quickly became musical rivals and stories have long been told about the circumstances of Mozart\'s death just four years after his appointment. If the stories are true, and Salieri did poison Mozart, then Salieri did not get the result he desired. After Mozart\'s death his music soared in popularity [Sadie].\nEven though Mozart was appointed a rather prestigious post in Court, his pay was minimal, and his ability to sway the fickle public ran hot and cold. He was commissioned to write pieces for wealthy middle-class families and his work was generally well-liked at the time; however, he was seen as just another composer among many. Most of his professional success was never realized until after his death, in 1791, at the young age of thirty-five. Since it is not known who commissioned this piece and it was not published until 36 years after his death, it is believed that very few people had knowledge of or ever heard the composition [Sadie].\nToday, when conducting an Internet search of Mozart\'s Eine Kleine Nachtmusik, I found 1.8 million sites related to this one specific work. It has been played by well-known symphony orchestras throughout the world and it is chosen for hundreds of collections of top ten classical compositions. It is amazing to me that one man\'s \"throw away\" symphony may have been lost forever and never played or published. Mozart did not seem to value this piece since he did not ever perform it publicly and never delivered it to whomever commissioned the work. It was found amongst a pile of unpublished works that his wife eventually sold after his death. Fiero states, \"Mozart achieved a balance between lyrical invention and formal clarity that brought the classical style to its peak.\" I completely agree with Fiero and feel that although this composer made little money during his lifetime and never received accolades befitting his talent while he was alive, he would certainly deserve a spot in the Classical Music Hall of Fame. Future generations could benefit from his example of spending your life doing what you love even if you don\'t make much money.\nWORKS CITED\nEINSTEIN, Alfred., Mozart: His Character, His Work. Oxford University Press, New York, 1945, p144; p157-159; This is a book that I used to research the simplistic composition of Eine Kleine Nachtmusik and the limited number of keys Mozart selected.\n\nSIEPMANN, Jeremy., Mozart: His Life &amp; Music, Sourcebooks Media Fusion, Naperville, Illinois, 2006, p163-167; p169-171; This is a book that I used to research how this piece was innovative or unusual for its time.\n\nKEEFE, Simon., The Cambridge Companion to Mozart, Cambridge University Press, Cambridge, United Kingdom, 2003, p xii-xvii; This is a book that I used to research the chronology of Mozart\'s life and learn about the events occurring in his life at the time he composed Eine Kleine Nachtmusik. I also researched his appointment to the Kammer Musik in this book.\n\nSADIE, Stanley., The New Grove: Mozart, Norton, New York, 1980, p108-115; This is a book that I used to research Mozart\'s life and associations in Vienna during the years of 1785 to 1788.\n\nFIERO, Gloria., The Humanist Tradition, Volume Two, Chapter 26, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed October 2-7, 2011. This is a book that I used to learn about Mozart\'s connection to Haydn and different elements that he brought to Classically-styled music.','Mozart in the Hall of Fame?','','inherit','open','open','','1749-revision-6','','','2011-10-10 11:29:12','2011-10-10 17:29:12','',1749,'http://jeanatacc.com/2011/?p=1785',0,'revision','',0),(1783,41,'2011-10-10 11:27:57','2011-10-10 17:27:57','[caption id=\"attachment_1774\" align=\"alignleft\" width=\"196\" caption=\"Wolfgang Amadeus Mozart (1756-1791)\"]<a href=\"http://www.biographyonline.net/music/mozart.html\"><img class=\"size-full wp-image-1774 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Mozart1.jpg\" alt=\"\" width=\"196\" height=\"256\" /></a>[/caption]\r\n\r\n&nbsp;\r\n\r\nIf Ludwig van Beethoven were alive today he would be mounting a formidable effort to request a prestigious spot in the Classical Music Hall of Fame at the Royal College of Music, for Wolfgang Amadeus Mozart (1756-1791). While many details about the genesis of Eine Kleine Nachtmusik are still a mystery, the fact remains that this one musical piece is the most well-known of Mozart\'s 600+ works. Mozart\'s acclaimed composition created the foundation of classical music in Vienna and is the fundamental reason why Mozart deserves a coveted place in the Classical Music Hall of Fame [Einstein].<!--more-->\r\nIn 1787, when Eine Kleine Nachtmusik\'s (German translation, \"a little night music\" or \"a little serenade\") was composed, the world was experiencing growing pains due to international commerce, a rising middle class, political upheaval, and civil unrest. These difficulties washed over Europe and the Americas. The Spanish and Austrian Succession, Seven Years War, American and French Revolutions created a groundswell of democracy and the emergence of an increasingly independent and powerful middle class. This fact, when coupled with the Industrial Revolution, brought about a style of music that abandoned the grandiosity and ornamentation of the Baroque family of styles and, instead, focused on simplistic harmonies and textures. This new style was a direct representation of the ascent of the middle class and the crumbling of the aristocracy [Siepmann].\r\nEine Kleine Nachtmusik encapsulates the Classical-style because it is a sonata and contains a clearer and more symmetrical expression of emotions. The economical use of four or five chords and two or three short themes evokes a distinctive departure from previous pretentious styles, and most musical historians believe that this has roots in the affluent middle-class that was beginning to commission such works [Siepmann].\r\nFor example, Luigi Boccherini\'s Minuetto is a perfect example of Baroque-style that the aristocracy adored. It is opulent and pompous and was created to impress listeners. Click on the following link to listen to Boccherini\'s Minuetto:\r\n<a href=\"http://www.youtube.com/watch?v=kSE15tLBdso\">Luigi Boccherini\\\'s Minuetto </a>\r\n\r\nMozart created Eine Kleine Nachtmusik to cater to the newly affluent middle-class in a way that was elegant, respectful, and tasteful, but definitely not pompous. His composition was straightforward and melodic. It seems worlds apart when compared to Baroque-style compositions of just a couple of years prior. Click on the following link to listen to Mozart\'s Eine Kleine Nachtmusik, Romananza, fourth movement:\r\n<a href=\"http://www.youtube.com/watch?v=2Okl6WSDfLE\">Mozart\\\'s Eine Kleine Nachtmusik - Romananza</a>\r\n\r\nThe structure of Eine Kleine Nachtmusik\'s four movements was innovative and original because, according to Siepmann,\r\n\"It is overwhelmingly these [four movements] that have ensured Mozart\'s immortality as a symphonist. In their perfection of form, variety of character, individuality of tone and emotional and spiritual reach, they are like nothing written before them, not even by Haydn.\" He goes on to say that, for the first time in musical history, Mozart \"liberated the wind instruments.\"\r\nWhen this composition was written Mozart was 31, but it was first published posthumously in 1827. Although it is not known who commissioned the piece, it is thought to have originally contained five movements, one of which has been lost forever. Whether the fifth movement was stolen by a music rival or simply destroyed by Mozart will never be known [Einstein].\r\nWhen compared to Haydn\'s Surprise II, Symphony No. 94 in G Major, published in 1791, Mozart\'s compositions show quite a bit more restraint and less aggressive transitions. Although the melodic elements are very similar, Haydn seems to focus on startling (or \"surprising\") his audience, as evidenced by the fortissimo chord at the end of the lovely, and almost mesmerizing, opening theme of the second movement. Click on the following link to listen (be prepared for the \"surprise\" chord) to Haydn\'s Surprise II, Symphony No. 94 in G Major:\r\n<a href=\"http://www.youtube.com/watch?v=lLjwkamp3lI\">Haydn\\\'s Surprise II, Symphony No. 94 in G Major</a>\r\n\r\nWhen Eine Kleine Nachtmusik was composed Mozart had deep emotional turmoil surrounding him. The changing relationship between the Church and the aristocracy was directly affecting him especially since Emperor Joseph II had banned \"loud\" church music (Mozart\'s bread and butter)[Keefe]. He lost two children that year and had met a new student, the sixteen-year-old Ludwig van Beethoven. Mozart was appointed to the Kammer Musik as its sole composer and this left only two composers at Court, Mozart and Antonio Salieri[Keefe]. Mozart was suffering financially and he viewed his appointment as a new start professionally. Salieri and Mozart quickly became musical rivals and stories have long been told about the circumstances of Mozart\'s death just four years after his appointment. If the stories are true, and Salieri did poison Mozart, then Salieri did not get the result he desired. After Mozart\'s death his music soared in popularity [Sadie].\r\nEven though Mozart was appointed a rather prestigious post in Court, his pay was minimal, and his ability to sway the fickle public ran hot and cold. He was commissioned to write pieces for wealthy middle-class families and his work was generally well-liked at the time; however, he was seen as just another composer among many. Most of his professional success was never realized until after his death, in 1791, at the young age of thirty-five. Since it is not known who commissioned this piece and it was not published until 36 years after his death, it is believed that very few people had knowledge of or ever heard the composition [Sadie].\r\nToday, when conducting an Internet search of Mozart\'s Eine Kleine Nachtmusik, I found 1.8 million sites related to this one specific work. It has been played by well-known symphony orchestras throughout the world and it is chosen for hundreds of collections of top ten classical compositions. It is amazing to me that one man\'s \"throw away\" symphony may have been lost forever and never played or published. Mozart did not seem to value this piece since he did not ever perform it publicly and never delivered it to whomever commissioned the work. It was found amongst a pile of unpublished works that his wife eventually sold after his death. Fiero states, \"Mozart achieved a balance between lyrical invention and formal clarity that brought the classical style to its peak.\" I completely agree with Fiero and feel that although this composer made little money during his lifetime and never received accolades befitting his talent while he was alive, he would certainly deserve a spot in the Classical Music Hall of Fame. Future generations could benefit from his example of spending your life doing what you love even if you don\'t make much money.\r\nWORKS CITED\r\nEINSTEIN, Alfred., Mozart: His Character, His Work. Oxford University Press, New York, 1945, p144; p157-159; This is a book that I used to research the simplistic composition of Eine Kleine Nachtmusik and the limited number of keys Mozart selected.\r\n\r\nSIEPMANN, Jeremy., Mozart: His Life &amp; Music, Sourcebooks Media Fusion, Naperville, Illinois, 2006, p163-167; p169-171; This is a book that I used to research how this piece was innovative or unusual for its time.\r\n\r\nKEEFE, Simon., The Cambridge Companion to Mozart, Cambridge University Press, Cambridge, United Kingdom, 2003, p xii-xvii; This is a book that I used to research the chronology of Mozart\'s life and learn about the events occurring in his life at the time he composed Eine Kleine Nachtmusik. I also researched his appointment to the Kammer Musik in this book.\r\n\r\nSADIE, Stanley., The New Grove: Mozart, Norton, New York, 1980, p108-115; This is a book that I used to research Mozart\'s life and associations in Vienna during the years of 1785 to 1788.\r\n\r\nFIERO, Gloria., The Humanist Tradition, Volume Two, Chapter 26, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed October 2-7, 2011. This is a book that I used to learn about Mozart\'s connection to Haydn and different elements that he brought to Classically-styled music.','Mozart in the Hall of Fame?','','inherit','open','open','','1749-revision-5','','','2011-10-10 11:27:57','2011-10-10 17:27:57','',1749,'http://jeanatacc.com/2011/?p=1783',0,'revision','',0),(1784,45,'2011-10-10 11:27:39','2011-10-10 17:27:39','<p style=\"text-align: center\"> </p>\r\n<p style=\"text-align: center\"></p>\r\n<p style=\"text-align: center\">(Joseph Haydn)</p>\r\n<p style=\"text-align: center\"><a href=\"http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg\">http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg</a></p>\r\n<p style=\"text-align: center\">Josef Haydn was born March 31, 1732. His mother secretly desired the idea of her child joining the priesthood. His father, however, hoped Joseph would lead towards a musical career and, despite poverty, was determined to aid Joseph in every way he could. A distant relative, Johann Mathias Frankh, arrived for a visit one day and noted Josef and his toy violin. Seeing Joseph had the makings of a musician, he offered to take him to teach him the ways of music.</p>\r\n<p style=\"text-align: left\"><!--more--></p>\r\nJosef Haydn wrote the “<em>Surprise”</em> Symphony in London in 1791. The work opens and proceeds in the most subdued manner of slow movement. Once the audience may be imagined to have comfortably settled, a sudden explosive fortissimo chord is introduced. This symphony was composed for the first of Haydn\'s two extended visits to London, in 1791. Its first performance did not appear until March 23, 1792. The composition includes flutes, oboes, bassoons, horns and trumpets in pairs, with timpani and strings and lasts for 23 minutes. The symphony has remained exceedingly popular in the repertoire for its various musical qualities. It is particularly memorable for the surprise fortissimo in the second movement (<em>Andante</em>),<em> </em>which, according to Haydn, would make the women scream.\r\n\r\nThe effect of this new composure was incredibly successful. It brought numerous, and varied, descriptions and interpretations in the premier’s press reports. The insightful writer in <em>The Diary </em>was pleased to describe the slow movement as “<em>simple, profound, and sublime</em>,” but his colleague in <em>The Oracle </em>wrote:\r\n\r\n“<em>The surprise might not be inaptly likened to the situation of a beautiful Shepherdess who, lulled to slumber by the murmur of a distant Water-fall, starts alarmed by the unexpected firing of a fowling-piece</em>.”\r\n\r\nThe symphony was from then on known as the “Surprise Symphony” in English and French areas. It is known as <em>Sinfonie mit dem Paukenschlag</em> (“Symphony with the Drumbeat”) in German. Today, the symphony is still popular. It is still performed, recorded, and frequently adapted to teach musical beginners. For instance, the composer Charles Ives wrote a parody of the second movement (1909). He wrote the words “Nice little easy sugar-plum sounds” using the opening notes, which were a fitting choice for Ives\'s purpose since the notes of Haydn\'s second movement are very simple.\r\n\r\nDespite his clever and unusual addition to the “Surprise” symphony, Haydn cited popular tunes in his symphonies quite often, particularly in the variation-type slow movements. He based the <em>Andante </em>of this Symphony in G major on a universal tune (we know it by the name of “Twinkle, twinkle, little star”). Mozart had already composed keyboard variations on this tune (known by its French title “<em>Ah, vous dirai-je, Maman</em>”). Less than a hundred years ago, Ernst von Dohnányi (a Hungarian composer/pianist/conductor) used the tune as the foundation for “<em>Variations on a Nursery Song</em>” (which was written for pianos and orchestras).\r\n\r\nHaydn\'s original intention for the second movement of this symphony was to write variations on a well-known tune. The famous double-forte outburst (which gave the work its nickname) was put in really more of an afterthought. It was not provoked by his supposed wish to wake the audience and make them jump. He saw it as a significant piece towards the need to be competitive with his former pupil Ignaz Pleyel (who had been brought toEnglandby a rival of Salomon, a German-bornLondonmusician and impresario who proposed Haydn visitLondonand compose symphonies there). Pleyel had similar devices in his own compositions, having gotten the idea from earlier symphonies of Haydn.\r\n\r\nBach’s famous “Goldberg” Variations (also a Baroque work and in the same form) contrast with the “Surprise” symphony. Bach’s work begins with a highly elaborate aria, but plays no part in the variations that follow it. Instead, each variation is independent. They are created, not from the aria’s melody, but from the bass line. Through this, Bach maintains the work’s overall unity as a set of variations. He achieves this on an unconscious level, however, since the audience isn’t expected to pay attention to the bass line. Each variation calls for a new theme specific to the feeling being expressed. Obviously, Haydn’s approach was quite different. In his symphony, the same simple tune reveals new emotion within each subsequent variation.\r\n\r\nI quite enjoy this piece. The first movement\'s gentle melodies and breathtaking harmonies may possibly put one to sleep. However, the abrupt fortissimo in the second movement will surely awaken you and recapture your attention, while the third and fourth movements provide a wonderful ending to this classical symphony. It would have been interesting though if Haydn had placed the surprise in a different place within the symphony every time it was preformed.\r\n\r\nI think this piece should be preserved because its composition illustrates the importance of sound patterns in perceiving music. Moreover, it proves how a sound that listeners are not expecting to hear can manipulate the listeners\' experience towards the music.','Haydn\'s \"Surprise\" Symphony','','inherit','open','open','','1764-revision-7','','','2011-10-10 11:27:39','2011-10-10 17:27:39','',1764,'http://jeanatacc.com/2011/?p=1784',0,'revision','',0),(1786,45,'2011-10-10 11:31:56','2011-10-10 17:31:56','','Haydn_portrait_by_Thomas_Hardy_(small)','','inherit','open','open','','haydn_portrait_by_thomas_hardy_small-5','','','2011-10-10 11:31:56','2011-10-10 17:31:56','',1764,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/Haydn_portrait_by_Thomas_Hardy_small4.jpg',0,'attachment','image/jpeg',0),(1787,45,'2011-10-10 11:28:25','2011-10-10 17:28:25','<p style=\"text-align: center\"> </p>\r\n<p style=\"text-align: center\"></p>\r\n<p style=\"text-align: center\">(Joseph Haydn)</p>\r\n<p style=\"text-align: center\"><a href=\"http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg\">http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg</a></p>\r\n<p style=\"text-align: center\">Josef Haydn was born March 31, 1732. His mother secretly desired the idea of her child joining the priesthood. His father, however, hoped Joseph would lead towards a musical career and, despite poverty, was determined to aid Joseph in every way he could. A distant relative, Johann Mathias Frankh, arrived for a visit one day and noted Josef and his toy violin. Seeing Joseph had the makings of a musician, he offered to take him to teach him the ways of music.</p>\r\n<p style=\"text-align: left\"><!--more--></p>\r\nJosef Haydn wrote the “<em>Surprise”</em> Symphony in London in 1791. The work opens and proceeds in the most subdued manner of slow movement. Once the audience may be imagined to have comfortably settled, a sudden explosive fortissimo chord is introduced. This symphony was composed for the first of Haydn\'s two extended visits to London, in 1791. Its first performance did not appear until March 23, 1792. The composition includes flutes, oboes, bassoons, horns and trumpets in pairs, with timpani and strings and lasts for 23 minutes. The symphony has remained exceedingly popular in the repertoire for its various musical qualities. It is particularly memorable for the surprise fortissimo in the second movement (<em>Andante</em>),<em> </em>which, according to Haydn, would make the women scream.\r\n\r\nThe effect of this new composure was incredibly successful. It brought numerous, and varied, descriptions and interpretations in the premier’s press reports. The insightful writer in <em>The Diary </em>was pleased to describe the slow movement as “<em>simple, profound, and sublime</em>,” but his colleague in <em>The Oracle </em>wrote:\r\n\r\n“<em>The surprise might not be inaptly likened to the situation of a beautiful Shepherdess who, lulled to slumber by the murmur of a distant Water-fall, starts alarmed by the unexpected firing of a fowling-piece</em>.”\r\n\r\nThe symphony was from then on known as the “Surprise Symphony” in English and French areas. It is known as <em>Sinfonie mit dem Paukenschlag</em> (“Symphony with the Drumbeat”) in German. Today, the symphony is still popular. It is still performed, recorded, and frequently adapted to teach musical beginners. For instance, the composer Charles Ives wrote a parody of the second movement (1909). He wrote the words “Nice little easy sugar-plum sounds” using the opening notes, which were a fitting choice for Ives\'s purpose since the notes of Haydn\'s second movement are very simple.\r\n\r\nDespite his clever and unusual addition to the “Surprise” symphony, Haydn cited popular tunes in his symphonies quite often, particularly in the variation-type slow movements. He based the <em>Andante </em>of this Symphony in G major on a universal tune (we know it by the name of “Twinkle, twinkle, little star”). Mozart had already composed keyboard variations on this tune (known by its French title “<em>Ah, vous dirai-je, Maman</em>”). Less than a hundred years ago, Ernst von Dohnányi (a Hungarian composer/pianist/conductor) used the tune as the foundation for “<em>Variations on a Nursery Song</em>” (which was written for pianos and orchestras).\r\n\r\nHaydn\'s original intention for the second movement of this symphony was to write variations on a well-known tune. The famous double-forte outburst (which gave the work its nickname) was put in really more of an afterthought. It was not provoked by his supposed wish to wake the audience and make them jump. He saw it as a significant piece towards the need to be competitive with his former pupil Ignaz Pleyel (who had been brought toEnglandby a rival of Salomon, a German-bornLondonmusician and impresario who proposed Haydn visitLondonand compose symphonies there). Pleyel had similar devices in his own compositions, having gotten the idea from earlier symphonies of Haydn.\r\n\r\nBach’s famous “Goldberg” Variations (also a Baroque work and in the same form) contrast with the “Surprise” symphony. Bach’s work begins with a highly elaborate aria, but plays no part in the variations that follow it. Instead, each variation is independent. They are created, not from the aria’s melody, but from the bass line. Through this, Bach maintains the work’s overall unity as a set of variations. He achieves this on an unconscious level, however, since the audience isn’t expected to pay attention to the bass line. Each variation calls for a new theme specific to the feeling being expressed. Obviously, Haydn’s approach was quite different. In his symphony, the same simple tune reveals new emotion within each subsequent variation.\r\n\r\nI quite enjoy this piece. The first movement\'s gentle melodies and breathtaking harmonies may possibly put one to sleep. However, the abrupt fortissimo in the second movement will surely awaken you and recapture your attention, while the third and fourth movements provide a wonderful ending to this classical symphony. It would have been interesting though if Haydn had placed the surprise in a different place within the symphony every time it was preformed.\r\n\r\nI think this piece should be preserved because its composition illustrates the importance of sound patterns in perceiving music. Moreover, it proves how a sound that listeners are not expecting to hear can manipulate the listeners\' experience towards the music.','Haydn\'s \"Surprise\" Symphony','','inherit','open','open','','1764-revision-8','','','2011-10-10 11:28:25','2011-10-10 17:28:25','',1764,'http://jeanatacc.com/2011/?p=1787',0,'revision','',0),(1791,45,'2011-10-10 11:34:10','2011-10-10 17:34:10',' <img class=\"alignnone size-full wp-image-1786\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Haydn_portrait_by_Thomas_Hardy_small4.jpg\" alt=\"\" width=\"215\" height=\"231\" />\r\n<p style=\"text-align: center\">(Joseph Haydn)</p>\r\n<p style=\"text-align: center\"><a href=\"http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg\">http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg</a></p>\r\n<p style=\"text-align: left\">Josef Haydn was born March 31, 1732. His mother secretly desired the idea of her child joining the priesthood. His father, however, hoped Joseph would lead towards a musical career and, despite poverty, was determined to aid Joseph in every way he could. A distant relative, Johann Mathias Frankh, arrived for a visit one day and noted Josef and his toy violin. Seeing Joseph had the makings of a musician, he offered to take him to teach him the ways of music.</p>\r\n<p style=\"text-align: left\"><!--more--></p>\r\nJosef Haydn wrote the “<em>Surprise”</em> Symphony in London in 1791. The work opens and proceeds in the most subdued manner of slow movement. Once the audience may be imagined to have comfortably settled, a sudden explosive fortissimo chord is introduced. This symphony was composed for the first of Haydn\'s two extended visits to London, in 1791. Its first performance did not appear until March 23, 1792. The composition includes flutes, oboes, bassoons, horns and trumpets in pairs, with timpani and strings and lasts for 23 minutes. The symphony has remained exceedingly popular in the repertoire for its various musical qualities. It is particularly memorable for the surprise fortissimo in the second movement (<em>Andante</em>),<em> </em>which, according to Haydn, would make the women scream.\r\n\r\nThe effect of this new composure was incredibly successful. It brought numerous, and varied, descriptions and interpretations in the premier’s press reports. The insightful writer in <em>The Diary </em>was pleased to describe the slow movement as “<em>simple, profound, and sublime</em>,” but his colleague in <em>The Oracle </em>wrote:\r\n\r\n“<em>The surprise might not be inaptly likened to the situation of a beautiful Shepherdess who, lulled to slumber by the murmur of a distant Water-fall, starts alarmed by the unexpected firing of a fowling-piece</em>.”\r\n\r\nThe symphony was from then on known as the “Surprise Symphony” in English and French areas. It is known as <em>Sinfonie mit dem Paukenschlag</em> (“Symphony with the Drumbeat”) in German. Today, the symphony is still popular. It is still performed, recorded, and frequently adapted to teach musical beginners. For instance, the composer Charles Ives wrote a parody of the second movement (1909). He wrote the words “Nice little easy sugar-plum sounds” using the opening notes, which were a fitting choice for Ives\'s purpose since the notes of Haydn\'s second movement are very simple.\r\n\r\nDespite his clever and unusual addition to the “Surprise” symphony, Haydn cited popular tunes in his symphonies quite often, particularly in the variation-type slow movements. He based the <em>Andante </em>of this Symphony in G major on a universal tune (we know it by the name of “Twinkle, twinkle, little star”). Mozart had already composed keyboard variations on this tune (known by its French title “<em>Ah, vous dirai-je, Maman</em>”). Less than a hundred years ago, Ernst von Dohnányi (a Hungarian composer/pianist/conductor) used the tune as the foundation for “<em>Variations on a Nursery Song</em>” (which was written for pianos and orchestras).\r\n\r\nHaydn\'s original intention for the second movement of this symphony was to write variations on a well-known tune. The famous double-forte outburst (which gave the work its nickname) was put in really more of an afterthought. It was not provoked by his supposed wish to wake the audience and make them jump. He saw it as a significant piece towards the need to be competitive with his former pupil Ignaz Pleyel (who had been brought toEnglandby a rival of Salomon, a German-bornLondonmusician and impresario who proposed Haydn visitLondonand compose symphonies there). Pleyel had similar devices in his own compositions, having gotten the idea from earlier symphonies of Haydn.\r\n\r\nBach’s famous “Goldberg” Variations (also a Baroque work and in the same form) contrast with the “Surprise” symphony. Bach’s work begins with a highly elaborate aria, but plays no part in the variations that follow it. Instead, each variation is independent. They are created, not from the aria’s melody, but from the bass line. Through this, Bach maintains the work’s overall unity as a set of variations. He achieves this on an unconscious level, however, since the audience isn’t expected to pay attention to the bass line. Each variation calls for a new theme specific to the feeling being expressed. Obviously, Haydn’s approach was quite different. In his symphony, the same simple tune reveals new emotion within each subsequent variation.\r\n\r\nI quite enjoy this piece. The first movement\'s gentle melodies and breathtaking harmonies may possibly put one to sleep. However, the abrupt fortissimo in the second movement will surely awaken you and recapture your attention, while the third and fourth movements provide a wonderful ending to this classical symphony. It would have been interesting though if Haydn had placed the surprise in a different place within the symphony every time it was preformed.\r\n\r\nI think this piece should be preserved because its composition illustrates the importance of sound patterns in perceiving music. Moreover, it proves how a sound that listeners are not expecting to hear can manipulate the listeners\' experience towards the music.','Haydn\'s \"Surprise\" Symphony','','inherit','open','open','','1764-revision-12','','','2011-10-10 11:34:10','2011-10-10 17:34:10','',1764,'http://jeanatacc.com/2011/?p=1791',0,'revision','',0),(1789,45,'2011-10-10 11:33:28','2011-10-10 17:33:28','<p style=\"text-align: center\"> <img class=\"alignnone size-full wp-image-1786\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Haydn_portrait_by_Thomas_Hardy_small4.jpg\" alt=\"\" width=\"215\" height=\"231\" /></p>\r\n<p style=\"text-align: center\">(Joseph Haydn)</p>\r\n<p style=\"text-align: center\"><a href=\"http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg\">http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg</a></p>\r\n<p style=\"text-align: left\">Josef Haydn was born March 31, 1732. His mother secretly desired the idea of her child joining the priesthood. His father, however, hoped Joseph would lead towards a musical career and, despite poverty, was determined to aid Joseph in every way he could. A distant relative, Johann Mathias Frankh, arrived for a visit one day and noted Josef and his toy violin. Seeing Joseph had the makings of a musician, he offered to take him to teach him the ways of music.</p>\r\n<p style=\"text-align: left\"><!--more--></p>\r\nJosef Haydn wrote the “<em>Surprise”</em> Symphony in London in 1791. The work opens and proceeds in the most subdued manner of slow movement. Once the audience may be imagined to have comfortably settled, a sudden explosive fortissimo chord is introduced. This symphony was composed for the first of Haydn\'s two extended visits to London, in 1791. Its first performance did not appear until March 23, 1792. The composition includes flutes, oboes, bassoons, horns and trumpets in pairs, with timpani and strings and lasts for 23 minutes. The symphony has remained exceedingly popular in the repertoire for its various musical qualities. It is particularly memorable for the surprise fortissimo in the second movement (<em>Andante</em>),<em> </em>which, according to Haydn, would make the women scream.\r\n\r\nThe effect of this new composure was incredibly successful. It brought numerous, and varied, descriptions and interpretations in the premier’s press reports. The insightful writer in <em>The Diary </em>was pleased to describe the slow movement as “<em>simple, profound, and sublime</em>,” but his colleague in <em>The Oracle </em>wrote:\r\n\r\n“<em>The surprise might not be inaptly likened to the situation of a beautiful Shepherdess who, lulled to slumber by the murmur of a distant Water-fall, starts alarmed by the unexpected firing of a fowling-piece</em>.”\r\n\r\nThe symphony was from then on known as the “Surprise Symphony” in English and French areas. It is known as <em>Sinfonie mit dem Paukenschlag</em> (“Symphony with the Drumbeat”) in German. Today, the symphony is still popular. It is still performed, recorded, and frequently adapted to teach musical beginners. For instance, the composer Charles Ives wrote a parody of the second movement (1909). He wrote the words “Nice little easy sugar-plum sounds” using the opening notes, which were a fitting choice for Ives\'s purpose since the notes of Haydn\'s second movement are very simple.\r\n\r\nDespite his clever and unusual addition to the “Surprise” symphony, Haydn cited popular tunes in his symphonies quite often, particularly in the variation-type slow movements. He based the <em>Andante </em>of this Symphony in G major on a universal tune (we know it by the name of “Twinkle, twinkle, little star”). Mozart had already composed keyboard variations on this tune (known by its French title “<em>Ah, vous dirai-je, Maman</em>”). Less than a hundred years ago, Ernst von Dohnányi (a Hungarian composer/pianist/conductor) used the tune as the foundation for “<em>Variations on a Nursery Song</em>” (which was written for pianos and orchestras).\r\n\r\nHaydn\'s original intention for the second movement of this symphony was to write variations on a well-known tune. The famous double-forte outburst (which gave the work its nickname) was put in really more of an afterthought. It was not provoked by his supposed wish to wake the audience and make them jump. He saw it as a significant piece towards the need to be competitive with his former pupil Ignaz Pleyel (who had been brought toEnglandby a rival of Salomon, a German-bornLondonmusician and impresario who proposed Haydn visitLondonand compose symphonies there). Pleyel had similar devices in his own compositions, having gotten the idea from earlier symphonies of Haydn.\r\n\r\nBach’s famous “Goldberg” Variations (also a Baroque work and in the same form) contrast with the “Surprise” symphony. Bach’s work begins with a highly elaborate aria, but plays no part in the variations that follow it. Instead, each variation is independent. They are created, not from the aria’s melody, but from the bass line. Through this, Bach maintains the work’s overall unity as a set of variations. He achieves this on an unconscious level, however, since the audience isn’t expected to pay attention to the bass line. Each variation calls for a new theme specific to the feeling being expressed. Obviously, Haydn’s approach was quite different. In his symphony, the same simple tune reveals new emotion within each subsequent variation.\r\n\r\nI quite enjoy this piece. The first movement\'s gentle melodies and breathtaking harmonies may possibly put one to sleep. However, the abrupt fortissimo in the second movement will surely awaken you and recapture your attention, while the third and fourth movements provide a wonderful ending to this classical symphony. It would have been interesting though if Haydn had placed the surprise in a different place within the symphony every time it was preformed.\r\n\r\nI think this piece should be preserved because its composition illustrates the importance of sound patterns in perceiving music. Moreover, it proves how a sound that listeners are not expecting to hear can manipulate the listeners\' experience towards the music.','Haydn\'s \"Surprise\" Symphony','','inherit','open','open','','1764-revision-10','','','2011-10-10 11:33:28','2011-10-10 17:33:28','',1764,'http://jeanatacc.com/2011/?p=1789',0,'revision','',0),(1788,45,'2011-10-10 11:32:47','2011-10-10 17:32:47','<p style=\"text-align: center\"> <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Haydn_portrait_by_Thomas_Hardy_small4.jpg\"><img class=\"alignnone size-full wp-image-1786\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Haydn_portrait_by_Thomas_Hardy_small4.jpg\" alt=\"\" width=\"215\" height=\"231\" /></a></p>\n<p style=\"text-align: center\">(Joseph Haydn)</p>\n<p style=\"text-align: center\"><a href=\"http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg\">http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg</a></p>\n<p style=\"text-align: center\">Josef Haydn was born March 31, 1732. His mother secretly desired the idea of her child joining the priesthood. His father, however, hoped Joseph would lead towards a musical career and, despite poverty, was determined to aid Joseph in every way he could. A distant relative, Johann Mathias Frankh, arrived for a visit one day and noted Josef and his toy violin. Seeing Joseph had the makings of a musician, he offered to take him to teach him the ways of music.</p>\n<p style=\"text-align: left\"><!--more--></p>\nJosef Haydn wrote the “<em>Surprise”</em> Symphony in London in 1791. The work opens and proceeds in the most subdued manner of slow movement. Once the audience may be imagined to have comfortably settled, a sudden explosive fortissimo chord is introduced. This symphony was composed for the first of Haydn\'s two extended visits to London, in 1791. Its first performance did not appear until March 23, 1792. The composition includes flutes, oboes, bassoons, horns and trumpets in pairs, with timpani and strings and lasts for 23 minutes. The symphony has remained exceedingly popular in the repertoire for its various musical qualities. It is particularly memorable for the surprise fortissimo in the second movement (<em>Andante</em>),<em> </em>which, according to Haydn, would make the women scream.\n\nThe effect of this new composure was incredibly successful. It brought numerous, and varied, descriptions and interpretations in the premier’s press reports. The insightful writer in <em>The Diary </em>was pleased to describe the slow movement as “<em>simple, profound, and sublime</em>,” but his colleague in <em>The Oracle </em>wrote:\n\n“<em>The surprise might not be inaptly likened to the situation of a beautiful Shepherdess who, lulled to slumber by the murmur of a distant Water-fall, starts alarmed by the unexpected firing of a fowling-piece</em>.”\n\nThe symphony was from then on known as the “Surprise Symphony” in English and French areas. It is known as <em>Sinfonie mit dem Paukenschlag</em> (“Symphony with the Drumbeat”) in German. Today, the symphony is still popular. It is still performed, recorded, and frequently adapted to teach musical beginners. For instance, the composer Charles Ives wrote a parody of the second movement (1909). He wrote the words “Nice little easy sugar-plum sounds” using the opening notes, which were a fitting choice for Ives\'s purpose since the notes of Haydn\'s second movement are very simple.\n\nDespite his clever and unusual addition to the “Surprise” symphony, Haydn cited popular tunes in his symphonies quite often, particularly in the variation-type slow movements. He based the <em>Andante </em>of this Symphony in G major on a universal tune (we know it by the name of “Twinkle, twinkle, little star”). Mozart had already composed keyboard variations on this tune (known by its French title “<em>Ah, vous dirai-je, Maman</em>”). Less than a hundred years ago, Ernst von Dohnányi (a Hungarian composer/pianist/conductor) used the tune as the foundation for “<em>Variations on a Nursery Song</em>” (which was written for pianos and orchestras).\n\nHaydn\'s original intention for the second movement of this symphony was to write variations on a well-known tune. The famous double-forte outburst (which gave the work its nickname) was put in really more of an afterthought. It was not provoked by his supposed wish to wake the audience and make them jump. He saw it as a significant piece towards the need to be competitive with his former pupil Ignaz Pleyel (who had been brought toEnglandby a rival of Salomon, a German-bornLondonmusician and impresario who proposed Haydn visitLondonand compose symphonies there). Pleyel had similar devices in his own compositions, having gotten the idea from earlier symphonies of Haydn.\n\nBach’s famous “Goldberg” Variations (also a Baroque work and in the same form) contrast with the “Surprise” symphony. Bach’s work begins with a highly elaborate aria, but plays no part in the variations that follow it. Instead, each variation is independent. They are created, not from the aria’s melody, but from the bass line. Through this, Bach maintains the work’s overall unity as a set of variations. He achieves this on an unconscious level, however, since the audience isn’t expected to pay attention to the bass line. Each variation calls for a new theme specific to the feeling being expressed. Obviously, Haydn’s approach was quite different. In his symphony, the same simple tune reveals new emotion within each subsequent variation.\n\nI quite enjoy this piece. The first movement\'s gentle melodies and breathtaking harmonies may possibly put one to sleep. However, the abrupt fortissimo in the second movement will surely awaken you and recapture your attention, while the third and fourth movements provide a wonderful ending to this classical symphony. It would have been interesting though if Haydn had placed the surprise in a different place within the symphony every time it was preformed.\n\nI think this piece should be preserved because its composition illustrates the importance of sound patterns in perceiving music. Moreover, it proves how a sound that listeners are not expecting to hear can manipulate the listeners\' experience towards the music.','Haydn\'s \"Surprise\" Symphony','','inherit','open','open','','1764-revision-9','','','2011-10-10 11:32:47','2011-10-10 17:32:47','',1764,'http://jeanatacc.com/2011/?p=1788',0,'revision','',0),(1790,45,'2011-10-10 11:33:58','2011-10-10 17:33:58','<p style=\"text-align: center\"> <img class=\"alignnone size-full wp-image-1786\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Haydn_portrait_by_Thomas_Hardy_small4.jpg\" alt=\"\" width=\"215\" height=\"231\" /></p>\r\n<p style=\"text-align: center\">(Joseph Haydn)</p>\r\n<p style=\"text-align: center\"><a href=\"http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg\">http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg</a></p>\r\n<p style=\"text-align: left\">Josef Haydn was born March 31, 1732. His mother secretly desired the idea of her child joining the priesthood. His father, however, hoped Joseph would lead towards a musical career and, despite poverty, was determined to aid Joseph in every way he could. A distant relative, Johann Mathias Frankh, arrived for a visit one day and noted Josef and his toy violin. Seeing Joseph had the makings of a musician, he offered to take him to teach him the ways of music.</p>\r\n<p style=\"text-align: left\"><!--more--></p>\r\nJosef Haydn wrote the “<em>Surprise”</em> Symphony in London in 1791. The work opens and proceeds in the most subdued manner of slow movement. Once the audience may be imagined to have comfortably settled, a sudden explosive fortissimo chord is introduced. This symphony was composed for the first of Haydn\'s two extended visits to London, in 1791. Its first performance did not appear until March 23, 1792. The composition includes flutes, oboes, bassoons, horns and trumpets in pairs, with timpani and strings and lasts for 23 minutes. The symphony has remained exceedingly popular in the repertoire for its various musical qualities. It is particularly memorable for the surprise fortissimo in the second movement (<em>Andante</em>),<em> </em>which, according to Haydn, would make the women scream.\r\n\r\nThe effect of this new composure was incredibly successful. It brought numerous, and varied, descriptions and interpretations in the premier’s press reports. The insightful writer in <em>The Diary </em>was pleased to describe the slow movement as “<em>simple, profound, and sublime</em>,” but his colleague in <em>The Oracle </em>wrote:\r\n\r\n“<em>The surprise might not be inaptly likened to the situation of a beautiful Shepherdess who, lulled to slumber by the murmur of a distant Water-fall, starts alarmed by the unexpected firing of a fowling-piece</em>.”\r\n\r\nThe symphony was from then on known as the “Surprise Symphony” in English and French areas. It is known as <em>Sinfonie mit dem Paukenschlag</em> (“Symphony with the Drumbeat”) in German. Today, the symphony is still popular. It is still performed, recorded, and frequently adapted to teach musical beginners. For instance, the composer Charles Ives wrote a parody of the second movement (1909). He wrote the words “Nice little easy sugar-plum sounds” using the opening notes, which were a fitting choice for Ives\'s purpose since the notes of Haydn\'s second movement are very simple.\r\n\r\nDespite his clever and unusual addition to the “Surprise” symphony, Haydn cited popular tunes in his symphonies quite often, particularly in the variation-type slow movements. He based the <em>Andante </em>of this Symphony in G major on a universal tune (we know it by the name of “Twinkle, twinkle, little star”). Mozart had already composed keyboard variations on this tune (known by its French title “<em>Ah, vous dirai-je, Maman</em>”). Less than a hundred years ago, Ernst von Dohnányi (a Hungarian composer/pianist/conductor) used the tune as the foundation for “<em>Variations on a Nursery Song</em>” (which was written for pianos and orchestras).\r\n\r\nHaydn\'s original intention for the second movement of this symphony was to write variations on a well-known tune. The famous double-forte outburst (which gave the work its nickname) was put in really more of an afterthought. It was not provoked by his supposed wish to wake the audience and make them jump. He saw it as a significant piece towards the need to be competitive with his former pupil Ignaz Pleyel (who had been brought toEnglandby a rival of Salomon, a German-bornLondonmusician and impresario who proposed Haydn visitLondonand compose symphonies there). Pleyel had similar devices in his own compositions, having gotten the idea from earlier symphonies of Haydn.\r\n\r\nBach’s famous “Goldberg” Variations (also a Baroque work and in the same form) contrast with the “Surprise” symphony. Bach’s work begins with a highly elaborate aria, but plays no part in the variations that follow it. Instead, each variation is independent. They are created, not from the aria’s melody, but from the bass line. Through this, Bach maintains the work’s overall unity as a set of variations. He achieves this on an unconscious level, however, since the audience isn’t expected to pay attention to the bass line. Each variation calls for a new theme specific to the feeling being expressed. Obviously, Haydn’s approach was quite different. In his symphony, the same simple tune reveals new emotion within each subsequent variation.\r\n\r\nI quite enjoy this piece. The first movement\'s gentle melodies and breathtaking harmonies may possibly put one to sleep. However, the abrupt fortissimo in the second movement will surely awaken you and recapture your attention, while the third and fourth movements provide a wonderful ending to this classical symphony. It would have been interesting though if Haydn had placed the surprise in a different place within the symphony every time it was preformed.\r\n\r\nI think this piece should be preserved because its composition illustrates the importance of sound patterns in perceiving music. Moreover, it proves how a sound that listeners are not expecting to hear can manipulate the listeners\' experience towards the music.','Haydn\'s \"Surprise\" Symphony','','inherit','open','open','','1764-revision-11','','','2011-10-10 11:33:58','2011-10-10 17:33:58','',1764,'http://jeanatacc.com/2011/?p=1790',0,'revision','',0),(1792,41,'2011-10-10 11:36:05','2011-10-10 17:36:05','','Statue of Boccherini in Pisa, Italy','Statue of Boccherini in Pisa, Italy','inherit','open','open','','boccherini','','','2011-10-10 11:36:05','2011-10-10 17:36:05','',1749,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/Boccherini.bmp',0,'attachment','image/bmp',0),(1793,45,'2011-10-10 11:34:46','2011-10-10 17:34:46','<p style=\"text-align: center\"> <img class=\"size-full wp-image-1786 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Haydn_portrait_by_Thomas_Hardy_small4.jpg\" alt=\"\" width=\"215\" height=\"231\" /></p>\r\n<p style=\"text-align: center\">(Joseph Haydn)</p>\r\n<p style=\"text-align: center\"><a href=\"http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg\">http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg</a></p>\r\n<p style=\"text-align: left\">Josef Haydn was born March 31, 1732. His mother secretly desired the idea of her child joining the priesthood. His father, however, hoped Joseph would lead towards a musical career and, despite poverty, was determined to aid Joseph in every way he could. A distant relative, Johann Mathias Frankh, arrived for a visit one day and noted Josef and his toy violin. Seeing Joseph had the makings of a musician, he offered to take him to teach him the ways of music.</p>\r\n<p style=\"text-align: left\"><!--more--></p>\r\nJosef Haydn wrote the “<em>Surprise”</em> Symphony in London in 1791. The work opens and proceeds in the most subdued manner of slow movement. Once the audience may be imagined to have comfortably settled, a sudden explosive fortissimo chord is introduced. This symphony was composed for the first of Haydn\'s two extended visits to London, in 1791. Its first performance did not appear until March 23, 1792. The composition includes flutes, oboes, bassoons, horns and trumpets in pairs, with timpani and strings and lasts for 23 minutes. The symphony has remained exceedingly popular in the repertoire for its various musical qualities. It is particularly memorable for the surprise fortissimo in the second movement (<em>Andante</em>),<em> </em>which, according to Haydn, would make the women scream.\r\n\r\nThe effect of this new composure was incredibly successful. It brought numerous, and varied, descriptions and interpretations in the premier’s press reports. The insightful writer in <em>The Diary </em>was pleased to describe the slow movement as “<em>simple, profound, and sublime</em>,” but his colleague in <em>The Oracle </em>wrote:\r\n\r\n“<em>The surprise might not be inaptly likened to the situation of a beautiful Shepherdess who, lulled to slumber by the murmur of a distant Water-fall, starts alarmed by the unexpected firing of a fowling-piece</em>.”\r\n\r\nThe symphony was from then on known as the “Surprise Symphony” in English and French areas. It is known as <em>Sinfonie mit dem Paukenschlag</em> (“Symphony with the Drumbeat”) in German. Today, the symphony is still popular. It is still performed, recorded, and frequently adapted to teach musical beginners. For instance, the composer Charles Ives wrote a parody of the second movement (1909). He wrote the words “Nice little easy sugar-plum sounds” using the opening notes, which were a fitting choice for Ives\'s purpose since the notes of Haydn\'s second movement are very simple.\r\n\r\nDespite his clever and unusual addition to the “Surprise” symphony, Haydn cited popular tunes in his symphonies quite often, particularly in the variation-type slow movements. He based the <em>Andante </em>of this Symphony in G major on a universal tune (we know it by the name of “Twinkle, twinkle, little star”). Mozart had already composed keyboard variations on this tune (known by its French title “<em>Ah, vous dirai-je, Maman</em>”). Less than a hundred years ago, Ernst von Dohnányi (a Hungarian composer/pianist/conductor) used the tune as the foundation for “<em>Variations on a Nursery Song</em>” (which was written for pianos and orchestras).\r\n\r\nHaydn\'s original intention for the second movement of this symphony was to write variations on a well-known tune. The famous double-forte outburst (which gave the work its nickname) was put in really more of an afterthought. It was not provoked by his supposed wish to wake the audience and make them jump. He saw it as a significant piece towards the need to be competitive with his former pupil Ignaz Pleyel (who had been brought toEnglandby a rival of Salomon, a German-bornLondonmusician and impresario who proposed Haydn visitLondonand compose symphonies there). Pleyel had similar devices in his own compositions, having gotten the idea from earlier symphonies of Haydn.\r\n\r\nBach’s famous “Goldberg” Variations (also a Baroque work and in the same form) contrast with the “Surprise” symphony. Bach’s work begins with a highly elaborate aria, but plays no part in the variations that follow it. Instead, each variation is independent. They are created, not from the aria’s melody, but from the bass line. Through this, Bach maintains the work’s overall unity as a set of variations. He achieves this on an unconscious level, however, since the audience isn’t expected to pay attention to the bass line. Each variation calls for a new theme specific to the feeling being expressed. Obviously, Haydn’s approach was quite different. In his symphony, the same simple tune reveals new emotion within each subsequent variation.\r\n\r\nI quite enjoy this piece. The first movement\'s gentle melodies and breathtaking harmonies may possibly put one to sleep. However, the abrupt fortissimo in the second movement will surely awaken you and recapture your attention, while the third and fourth movements provide a wonderful ending to this classical symphony. It would have been interesting though if Haydn had placed the surprise in a different place within the symphony every time it was preformed.\r\n\r\nI think this piece should be preserved because its composition illustrates the importance of sound patterns in perceiving music. Moreover, it proves how a sound that listeners are not expecting to hear can manipulate the listeners\' experience towards the music.','Haydn\'s \"Surprise\" Symphony','','inherit','open','open','','1764-revision-13','','','2011-10-10 11:34:46','2011-10-10 17:34:46','',1764,'http://jeanatacc.com/2011/?p=1793',0,'revision','',0),(1794,41,'2011-10-10 11:47:18','2011-10-10 17:47:18','[caption id=\"attachment_1774\" align=\"alignleft\" width=\"196\" caption=\"Wolfgang Amadeus Mozart (1756-1791)\"]<a href=\"http://www.biographyonline.net/music/mozart.html\"><img class=\"size-full wp-image-1774 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Mozart1.jpg\" alt=\"\" width=\"196\" height=\"256\" /></a>[/caption]\n\nIf Ludwig van Beethoven were alive today he would be mounting a formidable effort to request a prestigious spot in the Classical Music Hall of Fame at the Royal College of Music, for Wolfgang Amadeus Mozart (1756-1791). Many details about the genesis of Eine Kleine Nachtmusik are still a mystery but the fact remains that this piece is the most well-known of Mozart\'s 600+ works. Mozart\'s acclaimed composition created the foundation of classical music in Vienna and is the fundamental reason why Mozart deserves a coveted place in the Classical Music Hall of Fame [Einstein].<!--more-->\nIn 1787, when Eine Kleine Nachtmusik\'s (German translation, \"a little night music\" or \"a little serenade\") was composed, the world was experiencing growing pains due to international commerce, a rising middle class, political upheaval, and civil unrest. These difficulties washed over Europe and the Americas. The Spanish and Austrian Succession, Seven Years War, American and French Revolutions created a groundswell of democracy and the emergence of an increasingly independent and powerful middle class. This fact, when coupled with the Industrial Revolution, brought about a style of music that abandoned the grandiosity and ornamentation of the Baroque family of styles and, instead, focused on simplistic harmonies and textures. This new style was a direct representation of the ascent of the middle class and the crumbling of the aristocracy [Siepmann].\n\nEine Kleine Nachtmusik encapsulates the Classical-style because it is a sonata and contains a clearer and more symmetrical expression of emotions. The economical use of four or five chords and two or three short themes evokes a distinctive departure from previous pretentious styles, like Baroque, and most musical historians believe that this element has roots in the affluent middle-class that was beginning to commission such works for special occasions [Siepmann].\n\n[caption id=\"attachment_1792\" align=\"alignright\" width=\"192\" caption=\"Statue of Boccherini in Pisa, Italy http://tinyurl.com/3kd6r2g\"]<a href=\"http://tinyurl.com/3kd6r2g\"><img class=\"size-full wp-image-1792\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Boccherini.bmp\" alt=\"\" width=\"192\" height=\"173\" /></a>[/caption]\n\nFor example, Luigi Boccherini\'s Minuetto is a perfect example of Baroque-style that the aristocracy adored. It is opulent and pompous and was created to impress listeners.\n\nClick on the following link to listen to Boccherini\'s Minuetto:\n<a href=\"http://www.youtube.com/watch?v=kSE15tLBdso\">Luigi Boccherini\\\'s Minuetto </a>\n\nMozart created Eine Kleine Nachtmusik to cater to the newly affluent middle-class in a way that was elegant, respectful, and tasteful, but definitely not pompous. His composition was straightforward and melodic. It seems worlds apart when compared to Baroque-style compositions of just a couple of years prior. Click on the following link to listen to Mozart\'s Eine Kleine Nachtmusik, Romananza, fourth movement:\n<a href=\"http://www.youtube.com/watch?v=2Okl6WSDfLE\">Mozart\\\'s Eine Kleine Nachtmusik - Romananza</a>\n\nThe structure of Eine Kleine Nachtmusik\'s four movements was innovative and original because, according to Siepmann,\n\"It is overwhelmingly these [four movements] that have ensured Mozart\'s immortality as a symphonist. In their perfection of form, variety of character, individuality of tone and emotional and spiritual reach, they are like nothing written before them, not even by Haydn.\" He goes on to say that, for the first time in musical history, Mozart \"liberated the wind instruments.\"\nWhen this composition was written Mozart was 31, but it was first published posthumously in 1827. Although it is not known who commissioned the piece, it is thought to have originally contained five movements, one of which has been lost forever. Whether the fifth movement was stolen by a music rival or simply destroyed by Mozart will never be known [Einstein].\nWhen compared to Haydn\'s Surprise II, Symphony No. 94 in G Major, published in 1791, Mozart\'s compositions show quite a bit more restraint and less aggressive transitions. Although the melodic elements are very similar, Haydn seems to focus on startling (or \"surprising\") his audience, as evidenced by the fortissimo chord at the end of the lovely, and almost mesmerizing, opening theme of the second movement. Click on the following link to listen (be prepared for the \"surprise\" chord) to Haydn\'s Surprise II, Symphony No. 94 in G Major:\n<a href=\"http://www.youtube.com/watch?v=lLjwkamp3lI\">Haydn\\\'s Surprise II, Symphony No. 94 in G Major</a>\n\nWhen Eine Kleine Nachtmusik was composed Mozart had deep emotional turmoil surrounding him. The changing relationship between the Church and the aristocracy was directly affecting him especially since Emperor Joseph II had banned \"loud\" church music (Mozart\'s bread and butter)[Keefe]. He lost two children that year and had met a new student, the sixteen-year-old Ludwig van Beethoven. Mozart was appointed to the Kammer Musik as its sole composer and this left only two composers at Court, Mozart and Antonio Salieri[Keefe]. Mozart was suffering financially and he viewed his appointment as a new start professionally. Salieri and Mozart quickly became musical rivals and stories have long been told about the circumstances of Mozart\'s death just four years after his appointment. If the stories are true, and Salieri did poison Mozart, then Salieri did not get the result he desired. After Mozart\'s death his music soared in popularity [Sadie].\nEven though Mozart was appointed a rather prestigious post in Court, his pay was minimal, and his ability to sway the fickle public ran hot and cold. He was commissioned to write pieces for wealthy middle-class families and his work was generally well-liked at the time; however, he was seen as just another composer among many. Most of his professional success was never realized until after his death, in 1791, at the young age of thirty-five. Since it is not known who commissioned this piece and it was not published until 36 years after his death, it is believed that very few people had knowledge of or ever heard the composition [Sadie].\nToday, when conducting an Internet search of Mozart\'s Eine Kleine Nachtmusik, I found 1.8 million sites related to this one specific work. It has been played by well-known symphony orchestras throughout the world and it is chosen for hundreds of collections of top ten classical compositions. It is amazing to me that one man\'s \"throw away\" symphony may have been lost forever and never played or published. Mozart did not seem to value this piece since he did not ever perform it publicly and never delivered it to whomever commissioned the work. It was found amongst a pile of unpublished works that his wife eventually sold after his death. Fiero states, \"Mozart achieved a balance between lyrical invention and formal clarity that brought the classical style to its peak.\" I completely agree with Fiero and feel that although this composer made little money during his lifetime and never received accolades befitting his talent while he was alive, he would certainly deserve a spot in the Classical Music Hall of Fame. Future generations could benefit from his example of spending your life doing what you love even if you don\'t make much money.\nWORKS CITED\nEINSTEIN, Alfred., Mozart: His Character, His Work. Oxford University Press, New York, 1945, p144; p157-159; This is a book that I used to research the simplistic composition of Eine Kleine Nachtmusik and the limited number of keys Mozart selected.\n\nSIEPMANN, Jeremy., Mozart: His Life &amp; Music, Sourcebooks Media Fusion, Naperville, Illinois, 2006, p163-167; p169-171; This is a book that I used to research how this piece was innovative or unusual for its time.\n\nKEEFE, Simon., The Cambridge Companion to Mozart, Cambridge University Press, Cambridge, United Kingdom, 2003, p xii-xvii; This is a book that I used to research the chronology of Mozart\'s life and learn about the events occurring in his life at the time he composed Eine Kleine Nachtmusik. I also researched his appointment to the Kammer Musik in this book.\n\nSADIE, Stanley., The New Grove: Mozart, Norton, New York, 1980, p108-115; This is a book that I used to research Mozart\'s life and associations in Vienna during the years of 1785 to 1788.\n\nFIERO, Gloria., The Humanist Tradition, Volume Two, Chapter 26, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed October 2-7, 2011. This is a book that I used to learn about Mozart\'s connection to Haydn and different elements that he brought to Classically-styled music.','Mozart in the Hall of Fame?','','inherit','open','open','','1749-revision-7','','','2011-10-10 11:47:18','2011-10-10 17:47:18','',1749,'http://jeanatacc.com/2011/?p=1794',0,'revision','',0),(1795,41,'2011-10-10 11:47:42','2011-10-10 17:47:42','[caption id=\"attachment_1774\" align=\"alignleft\" width=\"157\" caption=\"Wolfgang Amadeus Mozart (1756-1791) http://www.biographyonline.net/music/mozart.html\"]<a href=\"http://www.biographyonline.net/music/mozart.html\"><img class=\"size-full wp-image-1774  \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Mozart1.jpg\" alt=\"\" width=\"157\" height=\"205\" /></a>[/caption]\r\n\r\nIf Ludwig van Beethoven were alive today he would be mounting a formidable effort to request a prestigious spot in the Classical Music Hall of Fame at the Royal College of Music, for Wolfgang Amadeus Mozart (1756-1791). Many details about the genesis of Eine Kleine Nachtmusik are still a mystery but the fact remains that this piece is the most well-known of Mozart\'s 600+ works. Mozart\'s acclaimed composition created the foundation of classical music in Vienna and is the fundamental reason why Mozart deserves a coveted place in the Classical Music Hall of Fame [Einstein].<!--more-->\r\nIn 1787, when Eine Kleine Nachtmusik\'s (German translation, \"a little night music\" or \"a little serenade\") was composed, the world was experiencing growing pains due to international commerce, a rising middle class, political upheaval, and civil unrest. These difficulties washed over Europe and the Americas. The Spanish and Austrian Succession, Seven Years War, American and French Revolutions created a groundswell of democracy and the emergence of an increasingly independent and powerful middle class. This fact, when coupled with the Industrial Revolution, brought about a style of music that abandoned the grandiosity and ornamentation of the Baroque family of styles and, instead, focused on simplistic harmonies and textures. This new style was a direct representation of the ascent of the middle class and the crumbling of the aristocracy [Siepmann].\r\n\r\nEine Kleine Nachtmusik encapsulates the Classical-style because it is a sonata and contains a clearer and more symmetrical expression of emotions. The economical use of four or five chords and two or three short themes evokes a distinctive departure from previous pretentious styles, like Baroque, and most musical historians believe that this element has roots in the affluent middle-class that was beginning to commission such works for special occasions [Siepmann].\r\n\r\n[caption id=\"attachment_1792\" align=\"alignright\" width=\"192\" caption=\"Statue of Boccherini in Pisa, Italy http://tinyurl.com/3kd6r2g\"]<a href=\"http://tinyurl.com/3kd6r2g\"><img class=\"size-full wp-image-1792\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Boccherini.bmp\" alt=\"\" width=\"192\" height=\"173\" /></a>[/caption]\r\n\r\nFor example, Luigi Boccherini\'s Minuetto is a perfect example of Baroque-style that the aristocracy adored. It is opulent and pompous and was created to impress listeners.\r\n\r\nClick on the following link to listen to Boccherini\'s Minuetto:\r\n<a href=\"http://www.youtube.com/watch?v=kSE15tLBdso\">Luigi Boccherini\\\'s Minuetto </a>\r\n\r\nMozart created Eine Kleine Nachtmusik to cater to the newly affluent middle-class in a way that was elegant, respectful, and tasteful, but definitely not pompous. His composition was straightforward and melodic. It seems worlds apart when compared to Baroque-style compositions of just a couple of years prior. Click on the following link to listen to Mozart\'s Eine Kleine Nachtmusik, Romananza, fourth movement:\r\n<a href=\"http://www.youtube.com/watch?v=2Okl6WSDfLE\">Mozart\\\'s Eine Kleine Nachtmusik - Romananza</a>\r\n\r\nThe structure of Eine Kleine Nachtmusik\'s four movements was innovative and original because, according to Siepmann,\r\n\"It is overwhelmingly these [four movements] that have ensured Mozart\'s immortality as a symphonist. In their perfection of form, variety of character, individuality of tone and emotional and spiritual reach, they are like nothing written before them, not even by Haydn.\" He goes on to say that, for the first time in musical history, Mozart \"liberated the wind instruments.\"\r\nWhen this composition was written Mozart was 31, but it was first published posthumously in 1827. Although it is not known who commissioned the piece, it is thought to have originally contained five movements, one of which has been lost forever. Whether the fifth movement was stolen by a music rival or simply destroyed by Mozart will never be known [Einstein].\r\nWhen compared to Haydn\'s Surprise II, Symphony No. 94 in G Major, published in 1791, Mozart\'s compositions show quite a bit more restraint and less aggressive transitions. Although the melodic elements are very similar, Haydn seems to focus on startling (or \"surprising\") his audience, as evidenced by the fortissimo chord at the end of the lovely, and almost mesmerizing, opening theme of the second movement. Click on the following link to listen (be prepared for the \"surprise\" chord) to Haydn\'s Surprise II, Symphony No. 94 in G Major:\r\n<a href=\"http://www.youtube.com/watch?v=lLjwkamp3lI\">Haydn\\\'s Surprise II, Symphony No. 94 in G Major</a>\r\n\r\nWhen Eine Kleine Nachtmusik was composed Mozart had deep emotional turmoil surrounding him. The changing relationship between the Church and the aristocracy was directly affecting him especially since Emperor Joseph II had banned \"loud\" church music (Mozart\'s bread and butter)[Keefe]. He lost two children that year and had met a new student, the sixteen-year-old Ludwig van Beethoven. Mozart was appointed to the Kammer Musik as its sole composer and this left only two composers at Court, Mozart and Antonio Salieri[Keefe]. Mozart was suffering financially and he viewed his appointment as a new start professionally. Salieri and Mozart quickly became musical rivals and stories have long been told about the circumstances of Mozart\'s death just four years after his appointment. If the stories are true, and Salieri did poison Mozart, then Salieri did not get the result he desired. After Mozart\'s death his music soared in popularity [Sadie].\r\nEven though Mozart was appointed a rather prestigious post in Court, his pay was minimal, and his ability to sway the fickle public ran hot and cold. He was commissioned to write pieces for wealthy middle-class families and his work was generally well-liked at the time; however, he was seen as just another composer among many. Most of his professional success was never realized until after his death, in 1791, at the young age of thirty-five. Since it is not known who commissioned this piece and it was not published until 36 years after his death, it is believed that very few people had knowledge of or ever heard the composition [Sadie].\r\nToday, when conducting an Internet search of Mozart\'s Eine Kleine Nachtmusik, I found 1.8 million sites related to this one specific work. It has been played by well-known symphony orchestras throughout the world and it is chosen for hundreds of collections of top ten classical compositions. It is amazing to me that one man\'s \"throw away\" symphony may have been lost forever and never played or published. Mozart did not seem to value this piece since he did not ever perform it publicly and never delivered it to whomever commissioned the work. It was found amongst a pile of unpublished works that his wife eventually sold after his death. Fiero states, \"Mozart achieved a balance between lyrical invention and formal clarity that brought the classical style to its peak.\" I completely agree with Fiero and feel that although this composer made little money during his lifetime and never received accolades befitting his talent while he was alive, he would certainly deserve a spot in the Classical Music Hall of Fame. Future generations could benefit from his example of spending your life doing what you love even if you don\'t make much money.\r\nWORKS CITED\r\nEINSTEIN, Alfred., Mozart: His Character, His Work. Oxford University Press, New York, 1945, p144; p157-159; This is a book that I used to research the simplistic composition of Eine Kleine Nachtmusik and the limited number of keys Mozart selected.\r\n\r\nSIEPMANN, Jeremy., Mozart: His Life &amp; Music, Sourcebooks Media Fusion, Naperville, Illinois, 2006, p163-167; p169-171; This is a book that I used to research how this piece was innovative or unusual for its time.\r\n\r\nKEEFE, Simon., The Cambridge Companion to Mozart, Cambridge University Press, Cambridge, United Kingdom, 2003, p xii-xvii; This is a book that I used to research the chronology of Mozart\'s life and learn about the events occurring in his life at the time he composed Eine Kleine Nachtmusik. I also researched his appointment to the Kammer Musik in this book.\r\n\r\nSADIE, Stanley., The New Grove: Mozart, Norton, New York, 1980, p108-115; This is a book that I used to research Mozart\'s life and associations in Vienna during the years of 1785 to 1788.\r\n\r\nFIERO, Gloria., The Humanist Tradition, Volume Two, Chapter 26, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed October 2-7, 2011. This is a book that I used to learn about Mozart\'s connection to Haydn and different elements that he brought to Classically-styled music.','Mozart in the Hall of Fame?','','inherit','open','open','','1749-revision-8','','','2011-10-10 11:47:42','2011-10-10 17:47:42','',1749,'http://jeanatacc.com/2011/?p=1795',0,'revision','',0),(1796,41,'2011-10-10 11:48:28','2011-10-10 17:48:28','[caption id=\"attachment_1774\" align=\"alignleft\" width=\"157\" caption=\"Wolfgang Amadeus Mozart (1756-1791) http://www.biographyonline.net/music/mozart.html\"]<a href=\"http://www.biographyonline.net/music/mozart.html\"><img class=\"size-full wp-image-1774  \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Mozart1.jpg\" alt=\"\" width=\"157\" height=\"205\" /></a>[/caption]\r\n\r\nIf Ludwig van Beethoven were alive today he would be mounting a formidable effort to request a prestigious spot in the Classical Music Hall of Fame at the Royal College of Music, for Wolfgang Amadeus Mozart (1756-1791). Many details about the genesis of Eine Kleine Nachtmusik are still a mystery but the fact remains that this piece is the most well-known of Mozart\'s 600+ works. Mozart\'s acclaimed composition created the foundation of classical music in Vienna and is the fundamental reason why Mozart deserves a coveted place in the Classical Music Hall of Fame [Einstein].<!--more-->\r\nIn 1787, when Eine Kleine Nachtmusik\'s (German translation, \"a little night music\" or \"a little serenade\") was composed, the world was experiencing growing pains due to international commerce, a rising middle class, political upheaval, and civil unrest. These difficulties washed over Europe and the Americas. The Spanish and Austrian Succession, Seven Years War, American and French Revolutions created a groundswell of democracy and the emergence of an increasingly independent and powerful middle class. This fact, when coupled with the Industrial Revolution, brought about a style of music that abandoned the grandiosity and ornamentation of the Baroque family of styles and, instead, focused on simplistic harmonies and textures. This new style was a direct representation of the ascent of the middle class and the crumbling of the aristocracy [Siepmann].\r\n\r\nEine Kleine Nachtmusik encapsulates the Classical-style because it is a sonata and contains a clearer and more symmetrical expression of emotions. The economical use of four or five chords and two or three short themes evokes a distinctive departure from previous pretentious styles, like Baroque, and most musical historians believe that this element has roots in the affluent middle-class that was beginning to commission such works for special occasions [Siepmann].\r\n\r\n[caption id=\"attachment_1792\" align=\"alignright\" width=\"192\" caption=\"Statue of Boccherini in Pisa, Italy http://tinyurl.com/3kd6r2g\"]<a href=\"http://tinyurl.com/3kd6r2g\"><img class=\"size-full wp-image-1792\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Boccherini.bmp\" alt=\"\" width=\"192\" height=\"173\" /></a>[/caption]\r\n\r\nFor example, Luigi Boccherini\'s Minuetto is a perfect example of Baroque-style that the aristocracy adored. It is opulent and pompous and was created to impress listeners.\r\n\r\nClick on the following link to listen to Boccherini\'s Minuetto:\r\n<a href=\"http://www.youtube.com/watch?v=kSE15tLBdso\">Luigi Boccherini\\\'s Minuetto </a>\r\n\r\nMozart created Eine Kleine Nachtmusik to cater to the newly affluent middle-class in a way that was elegant, respectful, and tasteful, but definitely not pompous. His composition was straightforward and melodic. It seems worlds apart when compared to Baroque-style compositions of just a couple of years prior. Click on the following link to listen to Mozart\'s Eine Kleine Nachtmusik, Romananza, fourth movement:\r\n<a href=\"http://www.youtube.com/watch?v=2Okl6WSDfLE\">Mozart\\\'s Eine Kleine Nachtmusik - Romananza</a>\r\n\r\nThe structure of Eine Kleine Nachtmusik\'s four movements was innovative and original because, according to Siepmann,\r\n\"It is overwhelmingly these [four movements] that have ensured Mozart\'s immortality as a symphonist. In their perfection of form, variety of character, individuality of tone and emotional and spiritual reach, they are like nothing written before them, not even by Haydn.\" He goes on to say that, for the first time in musical history, Mozart \"liberated the wind instruments.\"\r\nWhen this composition was written Mozart was 31, but it was first published posthumously in 1827. Although it is not known who commissioned the piece, it is thought to have originally contained five movements, one of which has been lost forever. Whether the fifth movement was stolen by a music rival or simply destroyed by Mozart will never be known [Einstein].\r\nWhen compared to Haydn\'s Surprise II, Symphony No. 94 in G Major, published in 1791, Mozart\'s compositions show quite a bit more restraint and less aggressive transitions. Although the melodic elements are very similar, Haydn seems to focus on startling (or \"surprising\") his audience, as evidenced by the fortissimo chord at the end of the lovely, and almost mesmerizing, opening theme of the second movement. Click on the following link to listen (be prepared for the \"surprise\" chord) to Haydn\'s Surprise II, Symphony No. 94 in G Major:\r\n<a href=\"http://www.youtube.com/watch?v=lLjwkamp3lI\">Haydn\\\'s Surprise II, Symphony No. 94 in G Major</a>\r\n\r\nWhen Eine Kleine Nachtmusik was composed Mozart had deep emotional turmoil surrounding him. The changing relationship between the Church and the aristocracy was directly affecting him especially since Emperor Joseph II had banned \"loud\" church music (Mozart\'s bread and butter)[Keefe]. He lost two children that year and had met a new student, the sixteen-year-old Ludwig van Beethoven. Mozart was appointed to the Kammer Musik as its sole composer and this left only two composers at Court, Mozart and Antonio Salieri[Keefe]. Mozart was suffering financially and he viewed his appointment as a new start professionally. Salieri and Mozart quickly became musical rivals and stories have long been told about the circumstances of Mozart\'s death just four years after his appointment. If the stories are true, and Salieri did poison Mozart, then Salieri did not get the result he desired. After Mozart\'s death his music soared in popularity [Sadie].\r\nEven though Mozart was appointed a rather prestigious post in Court, his pay was minimal, and his ability to sway the fickle public ran hot and cold. He was commissioned to write pieces for wealthy middle-class families and his work was generally well-liked at the time; however, he was seen as just another composer among many. Most of his professional success was never realized until after his death, in 1791, at the young age of thirty-five. Since it is not known who commissioned this piece and it was not published until 36 years after his death, it is believed that very few people had knowledge of or ever heard the composition [Sadie].\r\nToday, when conducting an Internet search of Mozart\'s Eine Kleine Nachtmusik, I found 1.8 million sites related to this one specific work. It has been played by well-known symphony orchestras throughout the world and it is chosen for hundreds of collections of top ten classical compositions. It is amazing to me that one man\'s \"throw away\" symphony may have been lost forever and never played or published. Mozart did not seem to value this piece since he did not ever perform it publicly and never delivered it to whomever commissioned the work. It was found amongst a pile of unpublished works that his wife eventually sold after his death. Fiero states, \"Mozart achieved a balance between lyrical invention and formal clarity that brought the classical style to its peak.\" I completely agree with Fiero and feel that although this composer made little money during his lifetime and never received accolades befitting his talent while he was alive, he would certainly deserve a spot in the Classical Music Hall of Fame. Future generations could benefit from his example of spending your life doing what you love even if you don\'t make much money.\r\nWORKS CITED\r\nEINSTEIN, Alfred., Mozart: His Character, His Work. Oxford University Press, New York, 1945, p144; p157-159; This is a book that I used to research the simplistic composition of Eine Kleine Nachtmusik and the limited number of keys Mozart selected.\r\n\r\nSIEPMANN, Jeremy., Mozart: His Life &amp; Music, Sourcebooks Media Fusion, Naperville, Illinois, 2006, p163-167; p169-171; This is a book that I used to research how this piece was innovative or unusual for its time.\r\n\r\nKEEFE, Simon., The Cambridge Companion to Mozart, Cambridge University Press, Cambridge, United Kingdom, 2003, p xii-xvii; This is a book that I used to research the chronology of Mozart\'s life and learn about the events occurring in his life at the time he composed Eine Kleine Nachtmusik. I also researched his appointment to the Kammer Musik in this book.\r\n\r\nSADIE, Stanley., The New Grove: Mozart, Norton, New York, 1980, p108-115; This is a book that I used to research Mozart\'s life and associations in Vienna during the years of 1785 to 1788.\r\n\r\nFIERO, Gloria., The Humanist Tradition, Volume Two, Chapter 26, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed October 2-7, 2011. This is a book that I used to learn about Mozart\'s connection to Haydn and different elements that he brought to Classically-styled music.','Mozart in the Hall of Fame?','','inherit','open','open','','1749-revision-9','','','2011-10-10 11:48:28','2011-10-10 17:48:28','',1749,'http://jeanatacc.com/2011/?p=1796',0,'revision','',0),(1797,41,'2011-10-10 11:51:26','2011-10-10 17:51:26','','blue waters','','inherit','open','open','','blue-waters','','','2011-10-10 11:51:26','2011-10-10 17:51:26','',1749,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/blue-waters.jpg',0,'attachment','image/jpeg',0),(1798,41,'2011-10-10 11:54:38','2011-10-10 17:54:38','[caption id=\"attachment_1774\" align=\"alignleft\" width=\"157\" caption=\"Wolfgang Amadeus Mozart (1756-1791) http://www.biographyonline.net/music/mozart.html\"]<a href=\"http://www.biographyonline.net/music/mozart.html\"><img class=\"size-full wp-image-1774  \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Mozart1.jpg\" alt=\"\" width=\"157\" height=\"205\" /></a>[/caption]\n\nIf Ludwig van Beethoven were alive today he would be mounting a formidable effort to request a prestigious spot in the Classical Music Hall of Fame at the Royal College of Music, for Wolfgang Amadeus Mozart (1756-1791). Many details about the genesis of <em>Eine Kleine Nachtmusik</em> are still a mystery but the fact remains that this piece is the most well-known of Mozart\'s 600+ works. Mozart\'s acclaimed composition created the foundation of classical music in Vienna and is the fundamental reason why Mozart deserves a coveted place in the Classical Music Hall of Fame [Einstein].<!--more-->\nIn 1787, when <em>Eine Kleine Nachtmusik\'s</em> (German translation, \"a little night music\" or \"a little serenade\") was composed, the world was experiencing growing pains due to international commerce, a rising middle class, political upheaval, and civil unrest. These difficulties washed over Europe and the Americas. The Spanish and Austrian Succession, Seven Years War, American and French Revolutions created a groundswell of democracy and the emergence of an increasingly independent and powerful middle class. This fact, when coupled with the Industrial Revolution, brought about a style of music that abandoned the grandiosity and ornamentation of the Baroque family of styles and, instead, focused on simplistic harmonies and textures. This new style was a direct representation of the ascent of the middle class and the crumbling of the aristocracy [Siepmann].\n\n<em>Eine Kleine Nachtmusik</em> encapsulates the Classical-style because it is a sonata and contains a clearer and more symmetrical expression of emotions. The economical use of four or five chords and two or three short themes evokes a distinctive departure from previous pretentious styles, like Baroque, and most musical historians believe that this element has roots in the affluent middle-class that was beginning to commission such works for special occasions [Siepmann].\n\n[caption id=\"attachment_1792\" align=\"alignright\" width=\"192\" caption=\"Statue of Boccherini in Pisa, Italy http://tinyurl.com/3kd6r2g\"]<a href=\"http://tinyurl.com/3kd6r2g\"><img class=\"size-full wp-image-1792\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Boccherini.bmp\" alt=\"\" width=\"192\" height=\"173\" /></a>[/caption]\n\nFor example, Luigi Boccherini\'s <em>Minuetto</em> is a perfect example of Baroque-style that the aristocracy adored. It is opulent and pompous and was created to impress listeners.\n\nClick on the following link to listen to Boccherini\'s <em>Minuetto</em>:\n<a href=\"http://www.youtube.com/watch?v=kSE15tLBdso\">Luigi Boccherini\\\'s Minuetto </a>\n\nMozart created <em>Eine Kleine Nachtmusik</em> to cater to the newly affluent middle-class in a way that was elegant, respectful, and tasteful, but definitely not pompous. His composition was straightforward and melodic. It seems worlds apart when compared to Baroque-style compositions of just a couple of years prior. MORE  ;DL BKMJRGI EPGJV  OI JG E KJ NN N  OUJN O O OIJHOIJ O OI JOIJ OIJ OPI J[OIJ O[IJ OIJ OI JOI JOI J OIJ ;L, ;L, ;L, , , \'POKIJ[ OIJ[OIJ [OIJ IJ[PJ[PJ IJ 09U T 6T6 9 [09I 9 987Y [09 09 S9OEROK  0OWERTI DFOGK PDOFGK OI-3K,VR0 GR -ERGK  EROGK  PERG4-0 DPROGK WPERKG 3P KERPO GWPEORGK OG   POOGK   RGKWEROG 3=T PRTOG  ROGTK POGK OKER  POQER ERO PERGKK30LFDEW= WGKS\'DPFGOKOR WPEROGK K[EROTKG WEPRGO 0-3KT FPORK GW]POGWERGOPKW WERGO KPGKW]ERPGOKE ]PWEORGKWQ]EP.\n\n[caption id=\"attachment_1797\" align=\"alignleft\" width=\"155\" caption=\"Exchange this photo at home http://jillbrockmann.com\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/blue-waters.jpg\"><img class=\"size-full wp-image-1797\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/blue-waters.jpg\" alt=\"\" width=\"155\" height=\"116\" /></a>[/caption]\n\nClick on the following link to listen to Mozart\'s Eine Kleine Nachtmusik, Romananza, fourth movement:\n<a href=\"http://www.youtube.com/watch?v=2Okl6WSDfLE\">Mozart\\\'s Eine Kleine Nachtmusik - Romananza</a>\n\nThe structure of Eine Kleine Nachtmusik\'s four movements was innovative and original because, according to Siepmann,\n\"It is overwhelmingly these [four movements] that have ensured Mozart\'s immortality    as a symphonist. In their perfection of form, variety of character, individuality of tone and emotional and spiritual reach, they are like nothing written before them, not even by Haydn.\" He goes on to say that, for the first time in musical history, Mozart \"liberated the wind instruments.\"\nWhen this composition was written Mozart was 31, but it was first published posthumously in 1827. Although it is not known who commissioned the piece, it is thought to have originally contained five movements, one of which has been lost forever. Whether the fifth movement was stolen by a music rival or simply destroyed by Mozart will never be known [Einstein].\nWhen compared to Haydn\'s Surprise II, Symphony No. 94 in G Major, published in 1791, Mozart\'s compositions show quite a bit more restraint and less aggressive transitions. Although the melodic elements are very similar, Haydn seems to focus on startling (or \"surprising\") his audience, as evidenced by the fortissimo chord at the end of the lovely, and almost mesmerizing, opening theme of the second movement. Click on the following link to listen (be prepared for the \"surprise\" chord) to Haydn\'s Surprise II, Symphony No. 94 in G Major:\n<a href=\"http://www.youtube.com/watch?v=lLjwkamp3lI\">Haydn\\\'s Surprise II, Symphony No. 94 in G Major</a>\n\nWhen Eine Kleine Nachtmusik was composed Mozart had deep emotional turmoil surrounding him. The changing relationship between the Church and the aristocracy was directly affecting him especially since Emperor Joseph II had banned \"loud\" church music (Mozart\'s bread and butter)[Keefe]. He lost two children that year and had met a new student, the sixteen-year-old Ludwig van Beethoven. Mozart was appointed to the Kammer Musik as its sole composer and this left only two composers at Court, Mozart and Antonio Salieri[Keefe]. Mozart was suffering financially and he viewed his appointment as a new start professionally. Salieri and Mozart quickly became musical rivals and stories have long been told about the circumstances of Mozart\'s death just four years after his appointment. If the stories are true, and Salieri did poison Mozart, then Salieri did not get the result he desired. After Mozart\'s death his music soared in popularity [Sadie].\nEven though Mozart was appointed a rather prestigious post in Court, his pay was minimal, and his ability to sway the fickle public ran hot and cold. He was commissioned to write pieces for wealthy middle-class families and his work was generally well-liked at the time; however, he was seen as just another composer among many. Most of his professional success was never realized until after his death, in 1791, at the young age of thirty-five. Since it is not known who commissioned this piece and it was not published until 36 years after his death, it is believed that very few people had knowledge of or ever heard the composition [Sadie].\nToday, when conducting an Internet search of Mozart\'s Eine Kleine Nachtmusik, I found 1.8 million sites related to this one specific work. It has been played by well-known symphony orchestras throughout the world and it is chosen for hundreds of collections of top ten classical compositions. It is amazing to me that one man\'s \"throw away\" symphony may have been lost forever and never played or published. Mozart did not seem to value this piece since he did not ever perform it publicly and never delivered it to whomever commissioned the work. It was found amongst a pile of unpublished works that his wife eventually sold after his death. Fiero states, \"Mozart achieved a balance between lyrical invention and formal clarity that brought the classical style to its peak.\" I completely agree with Fiero and feel that although this composer made little money during his lifetime and never received accolades befitting his talent while he was alive, he would certainly deserve a spot in the Classical Music Hall of Fame. Future generations could benefit from his example of spending your life doing what you love even if you don\'t make much money.\nWORKS CITED\nEINSTEIN, Alfred., Mozart: His Character, His Work. Oxford University Press, New York, 1945, p144; p157-159; This is a book that I used to research the simplistic composition of Eine Kleine Nachtmusik and the limited number of keys Mozart selected.\n\nSIEPMANN, Jeremy., Mozart: His Life &amp; Music, Sourcebooks Media Fusion, Naperville, Illinois, 2006, p163-167; p169-171; This is a book that I used to research how this piece was innovative or unusual for its time.\n\nKEEFE, Simon., The Cambridge Companion to Mozart, Cambridge University Press, Cambridge, United Kingdom, 2003, p xii-xvii; This is a book that I used to research the chronology of Mozart\'s life and learn about the events occurring in his life at the time he composed Eine Kleine Nachtmusik. I also researched his appointment to the Kammer Musik in this book.\n\nSADIE, Stanley., The New Grove: Mozart, Norton, New York, 1980, p108-115; This is a book that I used to research Mozart\'s life and associations in Vienna during the years of 1785 to 1788.\n\nFIERO, Gloria., The Humanist Tradition, Volume Two, Chapter 26, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed October 2-7, 2011. This is a book that I used to learn about Mozart\'s connection to Haydn and different elements that he brought to Classically-styled music.','Mozart in the Hall of Fame?','','inherit','open','open','','1749-revision-10','','','2011-10-10 11:54:38','2011-10-10 17:54:38','',1749,'http://jeanatacc.com/2011/?p=1798',0,'revision','',0),(1799,41,'2011-10-10 11:58:42','2011-10-10 17:58:42','','Water lilies','Water Lillies','inherit','open','open','','water-lilies','','','2011-10-10 11:58:42','2011-10-10 17:58:42','',1749,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/Water-lilies.jpg',0,'attachment','image/jpeg',0),(1800,45,'2011-10-10 11:37:21','2011-10-10 17:37:21','<p style=\"text-align: center\"> <img class=\"size-full wp-image-1786 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Haydn_portrait_by_Thomas_Hardy_small4.jpg\" alt=\"\" width=\"215\" height=\"231\" /></p>\n<p style=\"text-align: center\">(Joseph Haydn)</p>\n<p style=\"text-align: center\"><a href=\"http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg\">http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg</a></p>\n<p style=\"text-align: left\">Josef Haydn was born March 31, 1732. His mother secretly desired the idea of her child joining the priesthood. His father, however, hoped Joseph would lead towards a musical career and, despite poverty, was determined to aid Joseph in every way he could. A distant relative, Johann Mathias Frankh, arrived for a visit one day and noted Josef and his toy violin. Seeing Joseph had the makings of a musician, he offered to take him to teach him the ways of music.</p>\n<p style=\"text-align: left\"><!--more--></p>\nJosef Haydn wrote the “<em>Surprise”</em> Symphony in London in 1791. The work opens and proceeds in the most subdued manner of slow movement. Once the audience may be imagined to have comfortably settled, a sudden explosive fortissimo chord is introduced. This symphony was composed for the first of Haydn\'s two extended visits to London, in 1791. Its first performance did not appear until March 23, 1792. The composition includes flutes, oboes, bassoons, horns and trumpets in pairs, with timpani and strings and lasts for 23 minutes. The symphony has remained exceedingly popular in the repertoire for its various musical qualities. It is particularly memorable for the surprise fortissimo in the second movement (<em>Andante</em>),<em> </em>which, according to Haydn, would make the women scream.\n\nThe effect of this new composure was incredibly successful. It brought numerous, and varied, descriptions and interpretations in the premier’s press reports. The insightful writer in <em>The Diary </em>was pleased to describe the slow movement as “<em>simple, profound, and sublime</em>,” but his colleague in <em>The Oracle </em>wrote:\n\n“<em>The surprise might not be inaptly likened to the situation of a beautiful Shepherdess who, lulled to slumber by the murmur of a distant Water-fall, starts alarmed by the unexpected firing of a fowling-piece</em>.”\n\nThe symphony was from then on known as the “Surprise Symphony” in English and French areas. It is known as <em>Sinfonie mit dem Paukenschlag</em> (“Symphony with the Drumbeat”) in German. Today, the symphony is still popular. It is still performed, recorded, and frequently adapted to teach musical beginners. For instance, the composer Charles Ives wrote a parody of the second movement (1909). He wrote the words “Nice little easy sugar-plum sounds” using the opening notes, which were a fitting choice for Ives\'s purpose since the notes of Haydn\'s second movement are very simple.\n\nDespite his clever and unusual addition to the “Surprise” symphony, Haydn cited popular tunes in his symphonies quite often, particularly in the variation-type slow movements. He based the <em>Andante </em>of this Symphony in G major on a universal tune (we know it by the name of “Twinkle, twinkle, little star”). Mozart had already composed keyboard variations on this tune (known by its French title “<em>Ah, vous dirai-je, Maman</em>”). Less than a hundred years ago, Ernst von Dohnányi (a Hungarian composer/pianist/conductor) used the tune as the foundation for “<em>Variations on a Nursery Song</em>” (which was written for pianos and orchestras).\n\nHaydn\'s original intention for the second movement of this symphony was to write variations on a well-known tune. The famous double-forte outburst (which gave the work its nickname) was put in really more of an afterthought. It was not provoked by his supposed wish to wake the audience and make them jump. He saw it as a significant piece towards the need to be competitive with his former pupil Ignaz Pleyel (who had been brought toEnglandby a rival of Salomon, a German-bornLondonmusician and impresario who proposed Haydn visitLondonand compose symphonies there). Pleyel had similar devices in his own compositions, having gotten the idea from earlier symphonies of Haydn.\n\nBach’s famous “Goldberg” Variations (also a Baroque work and in the same form) contrast with the “Surprise” symphony. Bach’s work begins with a highly elaborate aria, but plays no part in the variations that follow it. Instead, each variation is independent. They are created, not from the aria’s melody, but from the bass line. Through this, Bach maintains the work’s overall unity as a set of variations. He achieves this on an unconscious level, however, since the audience isn’t expected to pay attention to the bass line. Each variation calls for a new theme specific to the feeling being expressed. Obviously, Haydn’s approach was quite different. In his symphony, the same simple tune reveals new emotion within each subsequent variation.\n\nI quite enjoy this piece. The first movement\'s gentle melodies and breathtaking harmonies may possibly put one to sleep. However, the abrupt fortissimo in the second movement will surely awaken you and recapture your attention, while the third and fourth movements provide a wonderful ending to this classical symphony. It would have been interesting though if Haydn had placed the surprise in a different place within the symphony every time it was preformed.\n\nI think this piece should be preserved because its composition illustrates the importance of sound patterns in perceiving music. Moreover, it proves how a sound that listeners are not expecting to hear can manipulate the listeners\' experience towards the music.\n\n&nbsp;','Haydn\'s \"Surprise\" Symphony','','inherit','open','open','','1764-revision-14','','','2011-10-10 11:37:21','2011-10-10 17:37:21','',1764,'http://jeanatacc.com/2011/?p=1800',0,'revision','',0),(1801,45,'2011-10-10 12:03:37','2011-10-10 18:03:37','<p style=\"text-align: center\"> <img class=\"size-full wp-image-1786 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Haydn_portrait_by_Thomas_Hardy_small4.jpg\" alt=\"\" width=\"215\" height=\"231\" /></p>\r\n<p style=\"text-align: center\">(Joseph Haydn)</p>\r\n<p style=\"text-align: center\"><a href=\"http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg\">http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg</a></p>\r\n<p style=\"text-align: left\">Josef Haydn was born March 31, 1732. His mother secretly desired the idea of her child joining the priesthood. His father, however, hoped Joseph would lead towards a musical career and, despite poverty, was determined to aid Joseph in every way he could. A distant relative, Johann Mathias Frankh, arrived for a visit one day and noted Josef and his toy violin. Seeing Joseph had the makings of a musician, he offered to take him to teach him the ways of music.</p>\r\n<p style=\"text-align: left\"><!--more--></p>\r\nJosef Haydn wrote the “<em>Surprise”</em> Symphony in London in 1791. The work opens and proceeds in the most subdued manner of slow movement. Once the audience may be imagined to have comfortably settled, a sudden explosive fortissimo chord is introduced. This symphony was composed for the first of Haydn\'s two extended visits to London, in 1791. Its first performance did not appear until March 23, 1792. The composition includes flutes, oboes, bassoons, horns and trumpets in pairs, with timpani and strings and lasts for 23 minutes. The symphony has remained exceedingly popular in the repertoire for its various musical qualities. It is particularly memorable for the surprise fortissimo in the second movement (<em>Andante</em>),<em> </em>which, according to Haydn, would make the women scream.\r\n\r\nThe effect of this new composure was incredibly successful. It brought numerous, and varied, descriptions and interpretations in the premier’s press reports. The insightful writer in <em>The Diary </em>was pleased to describe the slow movement as “<em>simple, profound, and sublime</em>,” but his colleague in <em>The Oracle </em>wrote:\r\n\r\n“<em>The surprise might not be inaptly likened to the situation of a beautiful Shepherdess who, lulled to slumber by the murmur of a distant Water-fall, starts alarmed by the unexpected firing of a fowling-piece</em>.”\r\n\r\nThe symphony was from then on known as the “Surprise Symphony” in English and French areas. It is known as <em>Sinfonie mit dem Paukenschlag</em> (“Symphony with the Drumbeat”) in German. Today, the symphony is still popular. It is still performed, recorded, and frequently adapted to teach musical beginners. For instance, the composer Charles Ives wrote a parody of the second movement (1909). He wrote the words “Nice little easy sugar-plum sounds” using the opening notes, which were a fitting choice for Ives\'s purpose since the notes of Haydn\'s second movement are very simple.\r\n\r\nDespite his clever and unusual addition to the “Surprise” symphony, Haydn cited popular tunes in his symphonies quite often, particularly in the variation-type slow movements. He based the <em>Andante </em>of this Symphony in G major on a universal tune (we know it by the name of “Twinkle, twinkle, little star”). Mozart had already composed keyboard variations on this tune (known by its French title “<em>Ah, vous dirai-je, Maman</em>”). Less than a hundred years ago, Ernst von Dohnányi (a Hungarian composer/pianist/conductor) used the tune as the foundation for “<em>Variations on a Nursery Song</em>” (which was written for pianos and orchestras).\r\n\r\nHaydn\'s original intention for the second movement of this symphony was to write variations on a well-known tune. The famous double-forte outburst (which gave the work its nickname) was put in really more of an afterthought. It was not provoked by his supposed wish to wake the audience and make them jump. He saw it as a significant piece towards the need to be competitive with his former pupil Ignaz Pleyel (who had been brought toEnglandby a rival of Salomon, a German-bornLondonmusician and impresario who proposed Haydn visitLondonand compose symphonies there). Pleyel had similar devices in his own compositions, having gotten the idea from earlier symphonies of Haydn.\r\n\r\nBach’s famous “Goldberg” Variations (also a Baroque work and in the same form) contrast with the “Surprise” symphony. Bach’s work begins with a highly elaborate aria, but plays no part in the variations that follow it. Instead, each variation is independent. They are created, not from the aria’s melody, but from the bass line. Through this, Bach maintains the work’s overall unity as a set of variations. He achieves this on an unconscious level, however, since the audience isn’t expected to pay attention to the bass line. Each variation calls for a new theme specific to the feeling being expressed. Obviously, Haydn’s approach was quite different. In his symphony, the same simple tune reveals new emotion within each subsequent variation.\r\n\r\nI quite enjoy this piece. The first movement\'s gentle melodies and breathtaking harmonies may possibly put one to sleep. However, the abrupt fortissimo in the second movement will surely awaken you and recapture your attention, while the third and fourth movements provide a wonderful ending to this classical symphony. It would have been interesting though if Haydn had placed the surprise in a different place within the symphony every time it was preformed.\r\n\r\nI think this piece should be preserved because its composition illustrates the importance of sound patterns in perceiving music. Moreover, it proves how a sound that listeners are not expecting to hear can manipulate the listeners\' experience towards the music.\r\n\r\n<span style=\"text-decoration: underline\">Works Cited</span>:\r\n<ul>\r\n	<li>Deverich, Robin. “<em>Piece: Surprise Symphony NO. 94, 2nd Movement</em>.” RK Deverich. 2011. Web. Accessed: October 5, 2011 &lt;<a href=\"http://www.violinonline.com/unit3_7.html\">http://www.violinonline.com/unit3_7.html</a>&gt;</li>\r\n</ul>\r\n&nbsp;\r\n<ul>\r\n	<li>Freed, Richard. “<em>Symphony No. 94 in G major, “Surprise”.</em>” The John F. Kennedy Center for the Performing Arts. 2004. Web. Accessed: October 5, 2011</li>\r\n</ul>\r\n&lt;<a href=\"http://www.kennedy-center.org/calendar/?fuseaction=composition&amp;composition_id=2843\">http://www.kennedy-center.org/calendar/?fuseaction=composition&amp;composition_id=2843</a>&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Gutmann, Peter<strong>. “</strong><em>Johann Sebastian Bach: Goldberg Variations.</em>”<strong> </strong>Classical Notes. 2002. Web. Accessed: October 5, 2012</li>\r\n</ul>\r\n&lt;<a href=\"http://www.classicalnotes.net/classics/goldberg.html\">http://www.classicalnotes.net/classics/goldberg.html</a>&gt;','Haydn\'s \"Surprise\" Symphony','','inherit','open','open','','1764-revision-15','','','2011-10-10 12:03:37','2011-10-10 18:03:37','',1764,'http://jeanatacc.com/2011/?p=1801',0,'revision','',0),(1802,39,'2011-10-10 13:20:03','2011-10-10 19:20:03','','dorc3a9-a-modest-proposal','','inherit','open','open','','dorc3a9-a-modest-proposal','','','2011-10-10 13:20:03','2011-10-10 19:20:03','',0,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/dorc3a9-a-modest-proposal.jpg',0,'attachment','image/jpeg',0),(1803,39,'2011-10-10 13:22:50','2011-10-10 19:22:50','<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/dorc3a9-a-modest-proposal1.jpg\"><img class=\"alignnone size-medium wp-image-1804\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/dorc3a9-a-modest-proposal1-300x231.jpg\" alt=\"\" width=\"300\" height=\"231\" /></a></p>\r\n<p align=\"center\">http://laliteraliteraria.files.wordpress.com/2011/05/dorc3a9-a-modest-proposal.jpg</p>\r\n          \"“A Modest Proposal” is a grimly ironic letter of advice in which a public-spirited citizen suggests that Ireland’s overpopulation and dire economic conditions could be alleviated if the babies of poor Irish parents were sold as edible delicacies to be eaten by the rich.\"<!--more--> (Britannica)  Written by Jonathan Swift and published anonymously in 1729 it was a groundbreaking piece of literature for its time.  It criticized the government for letting its people live in such poor conditions.  \"A Modest Proposal\" should be preserved not only for the look into the depravity of that time, but also due to the satirical nature Swift indirectly attacks the government with.\r\n\r\nHe had an interesting outlook on life described as, “He once confided (in a letter to the poet Alexander Pope) that he hated the human race, whose misuse of reason produced, in his view, an irredeemably corrupt society.” (Fierro)  Which is what separates him from other writers of his time. He was satirical in criticizing government using a ridiculous proposal to create an insane situation; however it has been built in order to draw attention to a serious problem. It also helps avoid him addressing the issue blatantly and upfront which assists in avoiding the negative spotlight.  Thus making \"A Modest Proposal\" a completely different type of literary work than what was being commonly seen or used in those days.  Most of the literature produced for the public in that time seemed to go directly to the point instead of grip the attention of the reader to display the main goal.\r\n\r\nAlthough satirical writing had been frowned upon it had recently become very powerful states Fiero, \"now became the favorite weapon of social reformers, who drew attention to the vast contradictions between morals and manners, intentions and actions, and, more generally, between Enlightenment aspirations and contemporary degradation.\" Swift\'s work was definitely innovative and unusual for its time though.  He did not speak directly, and hit on subjects while beating around the bush.  One critic describes his work saying, \"They proceed through deep historical contextualization, and many of them demand a degree of knowledge about Swift and his world that beginners are unlikely to have. All the essays are clear and readable, though, and specialists will be grateful for the sustained attention to Swift\'s less familiar works.\" (Lynch)  Stating even now that his works are very intricate and one must be able to look deeper into the picture than what Swift presents on the surface.  This is typical just to his writing style separating him from other writers of the time.  Although it was said that a bit down the line it was seen some eastern writers wrote in a satirical manner, “The European masters of satire found their East Asian counterpart in Li Ruzhen, an outspoken and witty critic of outmoded Chinese traditions.\" (Fierro)\r\n\r\nThe pamphlet was received differently in that time as most of Swifts work was.  The wealthier middle and upper classes were said to not have liked it because they are the ones who had no need for a change in living conditions.  The poor and the people Swift is writing to benefit did like Swift and his writings seeing what his true goal was with them.  \"Swift\'s best-known satire has occasioned delight and dismay, sometimes in the same reader. The early, hostile response was shaped largely by middle-class values of benevolism, refinement, and politeness.\" (Knowles)  Which comes as no surprise knowing how works that tore down the church, government, or the upper class were frowned upon greatly.  They would not want it read strictly for the threat of them losing some of their lavish comforts.\r\n\r\nAs said before Swift\'s work is still definitely difficult to understand unless the reader has a decent understanding of his purpose.  Today people look on the work as a critical piece of literature if understood.  Not only was it a new groundbreaking way to present ones literature, but it also presented a document that showed how truly horrible times were.  It has both literary and historical value, and even though some might not agree with his \"proposal\" (which makes no difference when looking at his goal).  Now a day it is easily seen that this man merely wanted a better life for the commonwealth of his country.  That was the attention getter screaming at the government for its assistance as its grossly overpopulated areas were turning into breeding grounds for crime and disease.\r\n\r\nHonestly I think the work is absolutely great.  He was a man who stood for what he believed in and for his country.  It is as if Swift was so set on bringing a change that he did not care what anyone would think.  Obviously he published this anonymously as he did with some of his other articles, but did not hold back at all expressing his disgust with the way times were.  He made his point heard loud and clear, if one can make it through reading the troubling details of cooking a child, it can be seen that he has only good intentions.  However I do find the severity of his proposal intriguing as it makes the piece that much better.  It is unspeakable but draws the reader in for the entire piece.  This sets the article up so that every reader would go to the end and see what his true purpose in writing the proposal really is.\r\n\r\nAs said in prior paragraphs \"A Modest Proposal\" is unlike any other works during its time.  However I put my foot in my mouth reading over an overview of Swift\'s work.  There is another work of the era that has the same values and structure as this.  The only other like piece of literature one could say is Swifts in \"Gulliver\'s Travels\".  One critic says, \"The character who “writes” the <em>Modest</em><em> Proposal</em> is one, like Gulliver and the hack writer of the <em>Tale</em> volume, that Swift will condemn for moral obtuseness. The “modest” fellow who presents the <em>Proposal</em> invites our confidence (as Gulliver does), by a conversational and polite tone and by an appearance of common sense and objectivity, only to betray it (as does Gulliver also).\" (Hunting)  Which is very true; the works are very similar for obvious reasons, but are both unique from most other politically motivated literature of the time.  As said before many who were writing did not write in such a satirical way except when they discovered some forms in the east.\r\n\r\nAnother piece of work that is similar to this is Upton Sinclair\'s \"The jungle\".  It is another piece of work that is politically driven for change and described as, \"novel about the ravages of the meatpacking industry in Chicago on the lives of nonunionized labor was instrumental in leading to reforms.\" (Albrecht) Not only does he address the issues that surround the labor force of men it also discusses, \"the ubiquitous prevalence of disability among children of the working classes.\" (Albrecht)  The two works could not be more similar.  They are speaking about poor conditions for not only the adult commonwealth, but the unfortunate circumstances that children of that time are going through to survive.\r\n\r\nThe most significant thing that future generations should be aware of is how dark things must have been for someone to even put these words on paper.  Swift was so tired of seeing all the depravity running rampant, woman trading sex for food, and starving children running around stealing for food.  So he wrote this work to criticize the world he was living in.  Proposing that rather than have these children even grow up and experience this life it was better that we eat them.  This is so startling it is not funny.  He was not serious saying he would actually eat children but it would be a better alternative for them to just be eaten.\r\n\r\nSwift’s work is nothing but pure genius.  He uses an out there writing style to criticize his government who is letting his country run itself into the ground.  He spoke out anonymously but the words had meaning without people being able to put a face to the words.  It caught the attention of many with its abrasive plan on how to tackle the wide spread poverty and overpopulation.  It enthralled the reader in unspeakable things only to reveal its true purpose at the end.  “A Modest Proposal” is a great piece of literature that should be preserved due to the stand it makes against a government letting its country waste away.\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\n            Albrecht , Gary L.. \"Upton Sinclair, from The Jungle (1906).\" <em>Encyclopedia of Disability</em>. Ed. Vol. 5. Thousand Oaks, CA: Sage Reference, 2006. 336-338. <em>Gale Virtual Reference Library</em>. Web. 10 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria“The Humanistic Tradition Vol 2” 6<sup>th</sup> edition Page B4.138, 06 October 2011  <a href=\"http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs\">http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs</a>\r\n\r\n&nbsp;\r\n\r\nHunting , Robert. \"Cathedral Dean and Patriot.\" <em>Jonathan Swift, Rev. ed.</em> Boston: Twayne, 1989. 79-93. Twayne\'s English Authors Series 42. <em>Gale Virtual Reference Library</em>. Web. 2 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\n\"Jonathan Swift.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition</em>. Encyclopædia Britannica, 2011. Web. 30 Sep. 2011. &lt;<a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/577008/Jonathan-Swift\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/577008/Jonathan-Swift</a>&gt;.\r\n\r\n&nbsp;\r\n\r\nKnowles, Ronald. <a title=\"Gulliver\'s Travels: The Politics of Satire\" href=\"http://go.galegroup.com/ps/aboutEbook.do?pubDate=119960000&amp;actionString=DO_DISPLAY_ABOUT_PAGE&amp;inPS=true&amp;prodId=GVRL&amp;userGroupName=txshracd2487&amp;searchType=BasicSearchForm&amp;docId=GALE%7C3EYX\">Gulliver\'s Travels: The Politics of Satire</a>. <em>Twayne\'s Masterwork Studies</em> <em>158</em>. New York: Twayne Publishers, 1996. p32-43.Word Count:4023. <em>Gale Virtual Reference Library. </em>Web. 7 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nLynch, J.T. \"Politics and literature in the age of Swift: English and Irish perspectives.\" <em>CHOICE: Current Reviews for Academic Libraries</em> Aug. 2011: 2310. <em>Literature Resource Center</em>. Web. 2 Oct. 2011.  (Quote about swifts literature question 2)\r\n\r\n&nbsp;','Swift\'s \"A Modest Proposal\"','','publish','open','open','','swifts-a-modest-proposal','','','2011-10-10 16:37:17','2011-10-10 22:37:17','',0,'http://jeanatacc.com/2011/?p=1803',0,'post','',11),(1804,39,'2011-10-10 13:21:47','2011-10-10 19:21:47','','dorc3a9-a-modest-proposal','','inherit','open','open','','dorc3a9-a-modest-proposal-2','','','2011-10-10 13:21:47','2011-10-10 19:21:47','',1803,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/dorc3a9-a-modest-proposal1.jpg',0,'attachment','image/jpeg',0),(1807,39,'2011-10-10 13:24:50','2011-10-10 19:24:50','<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/dorc3a9-a-modest-proposal1.jpg\"><img class=\"alignnone size-medium wp-image-1804\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/dorc3a9-a-modest-proposal1-300x231.jpg\" alt=\"\" width=\"300\" height=\"231\" /></a></p>\n<p align=\"center\">http://laliteraliteraria.files.wordpress.com/2011/05/dorc3a9-a-modest-proposal.jpg</p>\n          \"“A Modest Proposal” is a grimly ironic letter of advice in which a public-spirited citizen suggests that Ireland’s overpopulation and dire economic conditions could be alleviated if the babies of poor Irish parents were sold as edible delicacies to be eaten by the rich.\"<!--more--> (Britannica)  Written by Jonathan Swift and published anonymously in 1729 it was a groundbreaking piece of literature for its time.  It criticized the government for letting its people live in such poor conditions.  \"A Modest Proposal\" should be preserved not only for the look into the depravity of that time, but also due to the satirical nature Swift indirectly attacks the government with.\n\nHe had an interesting outlook on life described as, “He once confided (in a letter to the poet Alexander Pope) that he hated the human race, whose misuse of reason produced, in his view, an irredeemably corrupt society.” (Fierro)  Which is what separates him from other writers of his time. He was satirical in criticizing government using a ridiculous proposal to create an insane situation; however it has been built in order to draw attention to a serious problem. It also helps avoid him addressing the issue blatantly and upfront which assists in avoiding the negative spotlight.  Thus making \"A Modest Proposal\" a completely different type of literary work than what was being commonly seen or used in those days.  Most of the literature produced for the public in that time seemed to go directly to the point instead of grip the attention of the reader to display the main goal.\n\nAlthough satirical writing had been frowned upon it had recently become very powerful states Fiero, \"now became the favorite weapon of social reformers, who drew attention to the vast contradictions between morals and manners, intentions and actions, and, more generally, between Enlightenment aspirations and contemporary degradation.\" Swift\'s work was definitely innovative and unusual for its time though.  He did not speak directly, and hit on subjects while beating around the bush.  One critic describes his work saying, \"They proceed through deep historical contextualization, and many of them demand a degree of knowledge about Swift and his world that beginners are unlikely to have. All the essays are clear and readable, though, and specialists will be grateful for the sustained attention to Swift\'s less familiar works.\" (Lynch)  Stating even now that his works are very intricate and one must be able to look deeper into the picture than what Swift presents on the surface.  This is typical just to his writing style separating him from other writers of the time.  Although it was said that a bit down the line it was seen some eastern writers wrote in a satirical manner, “The European masters of satire found their East Asian counterpart in Li Ruzhen, an outspoken and witty critic of outmoded Chinese traditions.\" (Fierro)\n\nThe pamphlet was received differently in that time as most of Swifts work was.  The wealthier middle and upper classes were said to not have liked it because they are the ones who had no need for a change in living conditions.  The poor and the people Swift is writing to benefit did like Swift and his writings seeing what his true goal was with them.  \"Swift\'s best-known satire has occasioned delight and dismay, sometimes in the same reader. The early, hostile response was shaped largely by middle-class values of benevolism, refinement, and politeness.\" (Knowles)  Which comes as no surprise knowing how works that tore down the church, government, or the upper class were frowned upon greatly.  They would not want it read strictly for the threat of them losing some of their lavish comforts.\n\nAs said before Swift\'s work is still definitely difficult to understand unless the reader has a decent understanding of his purpose.  Today people look on the work as a critical piece of literature if understood.  Not only was it a new groundbreaking way to present ones literature, but it also presented a document that showed how truly horrible times were.  It has both literary and historical value, and even though some might not agree with his \"proposal\" (which makes no difference when looking at his goal).  Now a day it is easily seen that this man merely wanted a better life for the commonwealth of his country.  That was the attention getter screaming at the government for its assistance as its grossly overpopulated areas were turning into breeding grounds for crime and disease.\n\nHonestly I think the work is absolutely great.  He was a man who stood for what he believed in and for his country.  It is as if Swift was so set on bringing a change that he did not care what anyone would think.  Obviously he published this anonymously as he did with some of his other articles, but did not hold back at all expressing his disgust with the way times were.  He made his point heard loud and clear, if one can make it through reading the troubling details of cooking a child, it can be seen that he has only good intentions.  However I do find the severity of his proposal intriguing as it makes the piece that much better.  It is unspeakable but draws the reader in for the entire piece.  This sets the article up so that every reader would go to the end and see what his true purpose in writing the proposal really is.\n\nAs said in prior paragraphs \"A Modest Proposal\" is unlike any other works during its time.  However I put my foot in my mouth reading over an overview of Swift\'s work.  There is another work of the era that has the same values and structure as this.  The only other like piece of literature one could say is Swifts in \"Gulliver\'s Travels\".  One critic says, \"The character who “writes” the <em>Modest</em><em> Proposal</em> is one, like Gulliver and the hack writer of the <em>Tale</em> volume, that Swift will condemn for moral obtuseness. The “modest” fellow who presents the <em>Proposal</em> invites our confidence (as Gulliver does), by a conversational and polite tone and by an appearance of common sense and objectivity, only to betray it (as does Gulliver also).\" (Hunting)  Which is very true; the works are very similar for obvious reasons, but are both unique from most other politically motivated literature of the time.  As said before many who were writing did not write in such a satirical way except when they discovered some forms in the east.\n\nAnother piece of work that is similar to this is Upton Sinclair\'s \"The jungle\".  It is another piece of work that is politically driven for change and described as, \"novel about the ravages of the meatpacking industry in Chicago on the lives of nonunionized labor was instrumental in leading to reforms.\" (Albrecht) Not only does he address the issues that surround the labor force of men it also discusses, \"the ubiquitous prevalence of disability among children of the working classes.\" (Albrecht)  The two works could not be more similar.  They are speaking about poor conditions for not only the adult commonwealth, but the unfortunate circumstances that children of that time are going through to survive.\n\nThe most significant thing that future generations should be aware of is how dark things must have been for someone to even put these words on paper.  Swift was so tired of seeing all the depravity running rampant, woman trading sex for food, and starving children running around stealing for food.  So he wrote this work to criticize the world he was living in.  Proposing that rather than have these children even grow up and experience this life it was better that we eat them.  This is so startling it is not funny.  He was not serious saying he would actually eat children but it would be a better alternative for them to just be eaten.\n\nSwift’s work is nothing but pure genius.  He uses an out there writing style to criticize his government who is letting his country run itself into the ground.  He spoke out anonymously but the words had meaning without people being able to put a face to the words.  It caught the attention of many with its abrasive plan on how to tackle the wide spread poverty and overpopulation.  It enthralled the reader in unspeakable things only to reveal its true purpose at the end.  “A Modest Proposal” is a great piece of literature that should be preserved due to the stand it makes against a government letting its country waste away.\n\n&nbsp;\n<p align=\"center\">Works Cited</p>\n            Albrecht , Gary L.. \"Upton Sinclair, from The Jungle (1906).\" <em>Encyclopedia of Disability</em>. Ed. Vol. 5. Thousand Oaks, CA: Sage Reference, 2006. 336-338. <em>Gale Virtual Reference Library</em>. Web. 10 Oct. 2011.\n\n&nbsp;\n\nFiero, Gloria“The Humanistic Tradition Vol 2” 6<sup>th</sup> edition Page B4.138, 06 October 2011  <a href=\"http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs\">http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs</a>\n\n&nbsp;\n\nHunting , Robert. \"Cathedral Dean and Patriot.\" <em>Jonathan Swift, Rev. ed.</em> Boston: Twayne, 1989. 79-93. Twayne\'s English Authors Series 42. <em>Gale Virtual Reference Library</em>. Web. 2 Oct. 2011.\n\n&nbsp;\n\n\"Jonathan Swift.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition</em>. Encyclopædia Britannica, 2011. Web. 30 Sep. 2011. &lt;<a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/577008/Jonathan-Swift\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/577008/Jonathan-Swift</a>&gt;.\n\n&nbsp;\n\nKnowles, Ronald. <a title=\"Gulliver\'s Travels: The Politics of Satire\" href=\"http://go.galegroup.com/ps/aboutEbook.do?pubDate=119960000&amp;actionString=DO_DISPLAY_ABOUT_PAGE&amp;inPS=true&amp;prodId=GVRL&amp;userGroupName=txshracd2487&amp;searchType=BasicSearchForm&amp;docId=GALE%7C3EYX\">Gulliver\'s Travels: The Politics of Satire</a>. <em>Twayne\'s Masterwork Studies</em> <em>158</em>. New York: Twayne Publishers, 1996. p32-43.Word Count:4023. <em>Gale Virtual Reference Library. </em>Web. 7 Oct. 2011.\n\n&nbsp;\n\nLynch, J.T. \"Politics and literature in the age of Swift: English and Irish perspectives.\" <em>CHOICE: Current Reviews for Academic Libraries</em> Aug. 2011: 2310. <em>Literature Resource Center</em>. Web. 2 Oct. 2011.  (Quote about swifts literature question 2)\n\n&nbsp;','Swift\'s \"A Modest Proposal','','inherit','open','open','','1803-autosave','','','2011-10-10 13:24:50','2011-10-10 19:24:50','',1803,'http://jeanatacc.com/2011/?p=1807',0,'revision','',0),(1806,39,'2011-10-10 13:22:50','2011-10-10 19:22:50','<p align=\"center\"></p>\r\n<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/dorc3a9-a-modest-proposal1.jpg\"><img class=\"alignnone size-medium wp-image-1804\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/dorc3a9-a-modest-proposal1-300x231.jpg\" alt=\"\" width=\"300\" height=\"231\" /></a></p>\r\n<p align=\"center\">http://laliteraliteraria.files.wordpress.com/2011/05/dorc3a9-a-modest-proposal.jpg</p>\r\n          \"“A Modest Proposal” is a grimly ironic letter of advice in which a public-spirited citizen suggests that Ireland’s overpopulation and dire economic conditions could be alleviated if the babies of poor Irish parents were sold as edible delicacies to be eaten by the rich.\" (Britannica)  Written by Jonathan Swift and published anonymously in 1729 it was a groundbreaking piece of literature for its time.  It criticized the government for letting its people live in such poor conditions.  \"A Modest Proposal\" should be preserved not only for the look into the depravity of that time, but also due to the satirical nature Swift indirectly attacks the government with.\r\n\r\nHe had an interesting outlook on life described as, “He once confided (in a letter to the poet Alexander Pope) that he hated the human race, whose misuse of reason produced, in his view, an irredeemably corrupt society.” (Fierro)  Which is what separates him from other writers of his time. He was satirical in criticizing government using a ridiculous proposal to create an insane situation; however it has been built in order to draw attention to a serious problem. It also helps avoid him addressing the issue blatantly and upfront which assists in avoiding the negative spotlight.  Thus making \"A Modest Proposal\" a completely different type of literary work than what was being commonly seen or used in those days.  Most of the literature produced for the public in that time seemed to go directly to the point instead of grip the attention of the reader to display the main goal.\r\n\r\nAlthough satirical writing had been frowned upon it had recently become very powerful states Fiero, \"now became the favorite weapon of social reformers, who drew attention to the vast contradictions between morals and manners, intentions and actions, and, more generally, between Enlightenment aspirations and contemporary degradation.\" Swift\'s work was definitely innovative and unusual for its time though.  He did not speak directly, and hit on subjects while beating around the bush.  One critic describes his work saying, \"They proceed through deep historical contextualization, and many of them demand a degree of knowledge about Swift and his world that beginners are unlikely to have. All the essays are clear and readable, though, and specialists will be grateful for the sustained attention to Swift\'s less familiar works.\" (Lynch)  Stating even now that his works are very intricate and one must be able to look deeper into the picture than what Swift presents on the surface.  This is typical just to his writing style separating him from other writers of the time.  Although it was said that a bit down the line it was seen some eastern writers wrote in a satirical manner, “The European masters of satire found their East Asian counterpart in Li Ruzhen, an outspoken and witty critic of outmoded Chinese traditions.\" (Fierro)\r\n\r\nThe pamphlet was received differently in that time as most of Swifts work was.  The wealthier middle and upper classes were said to not have liked it because they are the ones who had no need for a change in living conditions.  The poor and the people Swift is writing to benefit did like Swift and his writings seeing what his true goal was with them.  \"Swift\'s best-known satire has occasioned delight and dismay, sometimes in the same reader. The early, hostile response was shaped largely by middle-class values of benevolism, refinement, and politeness.\" (Knowles)  Which comes as no surprise knowing how works that tore down the church, government, or the upper class were frowned upon greatly.  They would not want it read strictly for the threat of them losing some of their lavish comforts.\r\n\r\nAs said before Swift\'s work is still definitely difficult to understand unless the reader has a decent understanding of his purpose.  Today people look on the work as a critical piece of literature if understood.  Not only was it a new groundbreaking way to present ones literature, but it also presented a document that showed how truly horrible times were.  It has both literary and historical value, and even though some might not agree with his \"proposal\" (which makes no difference when looking at his goal).  Now a day it is easily seen that this man merely wanted a better life for the commonwealth of his country.  That was the attention getter screaming at the government for its assistance as its grossly overpopulated areas were turning into breeding grounds for crime and disease.\r\n\r\nHonestly I think the work is absolutely great.  He was a man who stood for what he believed in and for his country.  It is as if Swift was so set on bringing a change that he did not care what anyone would think.  Obviously he published this anonymously as he did with some of his other articles, but did not hold back at all expressing his disgust with the way times were.  He made his point heard loud and clear, if one can make it through reading the troubling details of cooking a child, it can be seen that he has only good intentions.  However I do find the severity of his proposal intriguing as it makes the piece that much better.  It is unspeakable but draws the reader in for the entire piece.  This sets the article up so that every reader would go to the end and see what his true purpose in writing the proposal really is.\r\n\r\nAs said in prior paragraphs \"A Modest Proposal\" is unlike any other works during its time.  However I put my foot in my mouth reading over an overview of Swift\'s work.  There is another work of the era that has the same values and structure as this.  The only other like piece of literature one could say is Swifts in \"Gulliver\'s Travels\".  One critic says, \"The character who “writes” the <em>Modest</em><em> Proposal</em> is one, like Gulliver and the hack writer of the <em>Tale</em> volume, that Swift will condemn for moral obtuseness. The “modest” fellow who presents the <em>Proposal</em> invites our confidence (as Gulliver does), by a conversational and polite tone and by an appearance of common sense and objectivity, only to betray it (as does Gulliver also).\" (Hunting)  Which is very true; the works are very similar for obvious reasons, but are both unique from most other politically motivated literature of the time.  As said before many who were writing did not write in such a satirical way except when they discovered some forms in the east.\r\n\r\nAnother piece of work that is similar to this is Upton Sinclair\'s \"The jungle\".  It is another piece of work that is politically driven for change and described as, \"novel about the ravages of the meatpacking industry in Chicago on the lives of nonunionized labor was instrumental in leading to reforms.\" (Albrecht) Not only does he address the issues that surround the labor force of men it also discusses, \"the ubiquitous prevalence of disability among children of the working classes.\" (Albrecht)  The two works could not be more similar.  They are speaking about poor conditions for not only the adult commonwealth, but the unfortunate circumstances that children of that time are going through to survive.\r\n\r\nThe most significant thing that future generations should be aware of is how dark things must have been for someone to even put these words on paper.  Swift was so tired of seeing all the depravity running rampant, woman trading sex for food, and starving children running around stealing for food.  So he wrote this work to criticize the world he was living in.  Proposing that rather than have these children even grow up and experience this life it was better that we eat them.  This is so startling it is not funny.  He was not serious saying he would actually eat children but it would be a better alternative for them to just be eaten.\r\n\r\nSwift’s work is nothing but pure genius.  He uses an out there writing style to criticize his government who is letting his country run itself into the ground.  He spoke out anonymously but the words had meaning without people being able to put a face to the words.  It caught the attention of many with its abrasive plan on how to tackle the wide spread poverty and overpopulation.  It enthralled the reader in unspeakable things only to reveal its true purpose at the end.  “A Modest Proposal” is a great piece of literature that should be preserved due to the stand it makes against a government letting its country waste away.\r\n\r\n&nbsp;\r\n<p align=\"center\"></p>\r\n<p align=\"center\">Works Cited</p>\r\n<p align=\"center\"></p>\r\n            Albrecht , Gary L.. \"Upton Sinclair, from The Jungle (1906).\" <em>Encyclopedia of Disability</em>. Ed. Vol. 5. Thousand Oaks, CA: Sage Reference, 2006. 336-338. <em>Gale Virtual Reference Library</em>. Web. 10 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria“The Humanistic Tradition Vol 2” 6<sup>th</sup> edition Page B4.138, 06 October 2011  <a href=\"http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs\">http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs</a>\r\n\r\n&nbsp;\r\n\r\nHunting , Robert. \"Cathedral Dean and Patriot.\" <em>Jonathan Swift, Rev. ed.</em> Boston: Twayne, 1989. 79-93. Twayne\'s English Authors Series 42. <em>Gale Virtual Reference Library</em>. Web. 2 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\n\"Jonathan Swift.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition</em>. Encyclopædia Britannica, 2011. Web. 30 Sep. 2011. &lt;<a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/577008/Jonathan-Swift\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/577008/Jonathan-Swift</a>&gt;.\r\n\r\n&nbsp;\r\n\r\nKnowles, Ronald. <a title=\"Gulliver\'s Travels: The Politics of Satire\" href=\"http://go.galegroup.com/ps/aboutEbook.do?pubDate=119960000&amp;actionString=DO_DISPLAY_ABOUT_PAGE&amp;inPS=true&amp;prodId=GVRL&amp;userGroupName=txshracd2487&amp;searchType=BasicSearchForm&amp;docId=GALE%7C3EYX\">Gulliver\'s Travels: The Politics of Satire</a>. <em>Twayne\'s Masterwork Studies</em> <em>158</em>. New York: Twayne Publishers, 1996. p32-43.Word Count:4023. <em>Gale Virtual Reference Library. </em>Web. 7 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nLynch, J.T. \"Politics and literature in the age of Swift: English and Irish perspectives.\" <em>CHOICE: Current Reviews for Academic Libraries</em> Aug. 2011: 2310. <em>Literature Resource Center</em>. Web. 2 Oct. 2011.  (Quote about swifts literature question 2)\r\n\r\n&nbsp;','Swift\'s \"A Modest Proposal','','inherit','open','open','','1803-revision-2','','','2011-10-10 13:22:50','2011-10-10 19:22:50','',1803,'http://jeanatacc.com/2011/?p=1806',0,'revision','',0),(1805,39,'2011-10-10 13:22:24','2011-10-10 19:22:24','<p align=\"center\"></p>\n<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/dorc3a9-a-modest-proposal1.jpg\"><img class=\"alignnone size-medium wp-image-1804\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/dorc3a9-a-modest-proposal1-300x231.jpg\" alt=\"\" width=\"300\" height=\"231\" /></a></p>\n<p align=\"center\">http://laliteraliteraria.files.wordpress.com/2011/05/dorc3a9-a-modest-proposal.jpg</p>\n          \"“A Modest Proposal” is a grimly ironic letter of advice in which a public-spirited citizen suggests that Ireland’s overpopulation and dire economic conditions could be alleviated if the babies of poor Irish parents were sold as edible delicacies to be eaten by the rich.\" (Britannica)  Written by Jonathan Swift and published anonymously in 1729 it was a groundbreaking piece of literature for its time.  It criticized the government for letting its people live in such poor conditions.  \"A Modest Proposal\" should be preserved not only for the look into the depravity of that time, but also due to the satirical nature Swift indirectly attacks the government with.\n\nHe had an interesting outlook on life described as, “He once confided (in a letter to the poet Alexander Pope) that he hated the human race, whose misuse of reason produced, in his view, an irredeemably corrupt society.” (Fierro)  Which is what separates him from other writers of his time. He was satirical in criticizing government using a ridiculous proposal to create an insane situation; however it has been built in order to draw attention to a serious problem. It also helps avoid him addressing the issue blatantly and upfront which assists in avoiding the negative spotlight.  Thus making \"A Modest Proposal\" a completely different type of literary work than what was being commonly seen or used in those days.  Most of the literature produced for the public in that time seemed to go directly to the point instead of grip the attention of the reader to display the main goal.\n\nAlthough satirical writing had been frowned upon it had recently become very powerful states Fiero, \"now became the favorite weapon of social reformers, who drew attention to the vast contradictions between morals and manners, intentions and actions, and, more generally, between Enlightenment aspirations and contemporary degradation.\" Swift\'s work was definitely innovative and unusual for its time though.  He did not speak directly, and hit on subjects while beating around the bush.  One critic describes his work saying, \"They proceed through deep historical contextualization, and many of them demand a degree of knowledge about Swift and his world that beginners are unlikely to have. All the essays are clear and readable, though, and specialists will be grateful for the sustained attention to Swift\'s less familiar works.\" (Lynch)  Stating even now that his works are very intricate and one must be able to look deeper into the picture than what Swift presents on the surface.  This is typical just to his writing style separating him from other writers of the time.  Although it was said that a bit down the line it was seen some eastern writers wrote in a satirical manner, “The European masters of satire found their East Asian counterpart in Li Ruzhen, an outspoken and witty critic of outmoded Chinese traditions.\" (Fierro)\n\nThe pamphlet was received differently in that time as most of Swifts work was.  The wealthier middle and upper classes were said to not have liked it because they are the ones who had no need for a change in living conditions.  The poor and the people Swift is writing to benefit did like Swift and his writings seeing what his true goal was with them.  \"Swift\'s best-known satire has occasioned delight and dismay, sometimes in the same reader. The early, hostile response was shaped largely by middle-class values of benevolism, refinement, and politeness.\" (Knowles)  Which comes as no surprise knowing how works that tore down the church, government, or the upper class were frowned upon greatly.  They would not want it read strictly for the threat of them losing some of their lavish comforts.\n\nAs said before Swift\'s work is still definitely difficult to understand unless the reader has a decent understanding of his purpose.  Today people look on the work as a critical piece of literature if understood.  Not only was it a new groundbreaking way to present ones literature, but it also presented a document that showed how truly horrible times were.  It has both literary and historical value, and even though some might not agree with his \"proposal\" (which makes no difference when looking at his goal).  Now a day it is easily seen that this man merely wanted a better life for the commonwealth of his country.  That was the attention getter screaming at the government for its assistance as its grossly overpopulated areas were turning into breeding grounds for crime and disease.\n\nHonestly I think the work is absolutely great.  He was a man who stood for what he believed in and for his country.  It is as if Swift was so set on bringing a change that he did not care what anyone would think.  Obviously he published this anonymously as he did with some of his other articles, but did not hold back at all expressing his disgust with the way times were.  He made his point heard loud and clear, if one can make it through reading the troubling details of cooking a child, it can be seen that he has only good intentions.  However I do find the severity of his proposal intriguing as it makes the piece that much better.  It is unspeakable but draws the reader in for the entire piece.  This sets the article up so that every reader would go to the end and see what his true purpose in writing the proposal really is.\n\nAs said in prior paragraphs \"A Modest Proposal\" is unlike any other works during its time.  However I put my foot in my mouth reading over an overview of Swift\'s work.  There is another work of the era that has the same values and structure as this.  The only other like piece of literature one could say is Swifts in \"Gulliver\'s Travels\".  One critic says, \"The character who “writes” the <em>Modest</em><em> Proposal</em> is one, like Gulliver and the hack writer of the <em>Tale</em> volume, that Swift will condemn for moral obtuseness. The “modest” fellow who presents the <em>Proposal</em> invites our confidence (as Gulliver does), by a conversational and polite tone and by an appearance of common sense and objectivity, only to betray it (as does Gulliver also).\" (Hunting)  Which is very true; the works are very similar for obvious reasons, but are both unique from most other politically motivated literature of the time.  As said before many who were writing did not write in such a satirical way except when they discovered some forms in the east.\n\nAnother piece of work that is similar to this is Upton Sinclair\'s \"The jungle\".  It is another piece of work that is politically driven for change and described as, \"novel about the ravages of the meatpacking industry in Chicago on the lives of nonunionized labor was instrumental in leading to reforms.\" (Albrecht) Not only does he address the issues that surround the labor force of men it also discusses, \"the ubiquitous prevalence of disability among children of the working classes.\" (Albrecht)  The two works could not be more similar.  They are speaking about poor conditions for not only the adult commonwealth, but the unfortunate circumstances that children of that time are going through to survive.\n\nThe most significant thing that future generations should be aware of is how dark things must have been for someone to even put these words on paper.  Swift was so tired of seeing all the depravity running rampant, woman trading sex for food, and starving children running around stealing for food.  So he wrote this work to criticize the world he was living in.  Proposing that rather than have these children even grow up and experience this life it was better that we eat them.  This is so startling it is not funny.  He was not serious saying he would actually eat children but it would be a better alternative for them to just be eaten.\n<p align=\"center\">            Swift’s work is nothing but pure genius.  He uses an out there writing style to criticize his government who is letting his country run itself into the ground.  He spoke out anonymously but the words had meaning without people being able to put a face to the words.  It caught the attention of many with its abrasive plan on how to tackle the wide spread poverty and overpopulation.  It enthralled the reader in unspeakable things only to reveal its true purpose at the end.  “A Modest Proposal” is a great piece of literature that should be preserved due to the stand it makes against a government letting its country waste away.</p>\n<p align=\"center\"></p>\n<p align=\"center\"></p>\n<p align=\"center\"></p>\n<p align=\"center\"></p>\n<p align=\"center\"></p>\n<p align=\"center\"></p>\n<p align=\"center\">Works Cited</p>\n<p align=\"center\"></p>\n            Albrecht , Gary L.. \"Upton Sinclair, from The Jungle (1906).\" <em>Encyclopedia of Disability</em>. Ed. Vol. 5. Thousand Oaks, CA: Sage Reference, 2006. 336-338. <em>Gale Virtual Reference Library</em>. Web. 10 Oct. 2011.\n\n&nbsp;\n\nFiero, Gloria“The Humanistic Tradition Vol 2” 6<sup>th</sup> edition Page B4.138, 06 October 2011  <a href=\"http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs\">http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs</a>\n\n&nbsp;\n\nHunting , Robert. \"Cathedral Dean and Patriot.\" <em>Jonathan Swift, Rev. ed.</em> Boston: Twayne, 1989. 79-93. Twayne\'s English Authors Series 42. <em>Gale Virtual Reference Library</em>. Web. 2 Oct. 2011.\n\n&nbsp;\n\n\"Jonathan Swift.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition</em>. Encyclopædia Britannica, 2011. Web. 30 Sep. 2011. &lt;<a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/577008/Jonathan-Swift\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/577008/Jonathan-Swift</a>&gt;.\n\n&nbsp;\n\nKnowles, Ronald. <a title=\"Gulliver\'s Travels: The Politics of Satire\" href=\"http://go.galegroup.com/ps/aboutEbook.do?pubDate=119960000&amp;actionString=DO_DISPLAY_ABOUT_PAGE&amp;inPS=true&amp;prodId=GVRL&amp;userGroupName=txshracd2487&amp;searchType=BasicSearchForm&amp;docId=GALE%7C3EYX\">Gulliver\'s Travels: The Politics of Satire</a>. <em>Twayne\'s Masterwork Studies</em> <em>158</em>. New York: Twayne Publishers, 1996. p32-43.Word Count:4023. <em>Gale Virtual Reference Library. </em>Web. 7 Oct. 2011.\n\n&nbsp;\n\nLynch, J.T. \"Politics and literature in the age of Swift: English and Irish perspectives.\" <em>CHOICE: Current Reviews for Academic Libraries</em> Aug. 2011: 2310. <em>Literature Resource Center</em>. Web. 2 Oct. 2011.  (Quote about swifts literature question 2)\n\n&nbsp;','Swift\'s \"A Modest Proposal','','inherit','open','open','','1803-revision','','','2011-10-10 13:22:24','2011-10-10 19:22:24','',1803,'http://jeanatacc.com/2011/?p=1805',0,'revision','',0),(1808,39,'2011-10-10 13:23:48','2011-10-10 19:23:48','<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/dorc3a9-a-modest-proposal1.jpg\"><img class=\"alignnone size-medium wp-image-1804\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/dorc3a9-a-modest-proposal1-300x231.jpg\" alt=\"\" width=\"300\" height=\"231\" /></a></p>\r\n<p align=\"center\">http://laliteraliteraria.files.wordpress.com/2011/05/dorc3a9-a-modest-proposal.jpg</p>\r\n          \"“A Modest Proposal” is a grimly ironic letter of advice in which a public-spirited citizen suggests that Ireland’s overpopulation and dire economic conditions could be alleviated if the babies of poor Irish parents were sold as edible delicacies to be eaten by the rich.\"<!--more--> (Britannica)  Written by Jonathan Swift and published anonymously in 1729 it was a groundbreaking piece of literature for its time.  It criticized the government for letting its people live in such poor conditions.  \"A Modest Proposal\" should be preserved not only for the look into the depravity of that time, but also due to the satirical nature Swift indirectly attacks the government with.\r\n\r\nHe had an interesting outlook on life described as, “He once confided (in a letter to the poet Alexander Pope) that he hated the human race, whose misuse of reason produced, in his view, an irredeemably corrupt society.” (Fierro)  Which is what separates him from other writers of his time. He was satirical in criticizing government using a ridiculous proposal to create an insane situation; however it has been built in order to draw attention to a serious problem. It also helps avoid him addressing the issue blatantly and upfront which assists in avoiding the negative spotlight.  Thus making \"A Modest Proposal\" a completely different type of literary work than what was being commonly seen or used in those days.  Most of the literature produced for the public in that time seemed to go directly to the point instead of grip the attention of the reader to display the main goal.\r\n\r\nAlthough satirical writing had been frowned upon it had recently become very powerful states Fiero, \"now became the favorite weapon of social reformers, who drew attention to the vast contradictions between morals and manners, intentions and actions, and, more generally, between Enlightenment aspirations and contemporary degradation.\" Swift\'s work was definitely innovative and unusual for its time though.  He did not speak directly, and hit on subjects while beating around the bush.  One critic describes his work saying, \"They proceed through deep historical contextualization, and many of them demand a degree of knowledge about Swift and his world that beginners are unlikely to have. All the essays are clear and readable, though, and specialists will be grateful for the sustained attention to Swift\'s less familiar works.\" (Lynch)  Stating even now that his works are very intricate and one must be able to look deeper into the picture than what Swift presents on the surface.  This is typical just to his writing style separating him from other writers of the time.  Although it was said that a bit down the line it was seen some eastern writers wrote in a satirical manner, “The European masters of satire found their East Asian counterpart in Li Ruzhen, an outspoken and witty critic of outmoded Chinese traditions.\" (Fierro)\r\n\r\nThe pamphlet was received differently in that time as most of Swifts work was.  The wealthier middle and upper classes were said to not have liked it because they are the ones who had no need for a change in living conditions.  The poor and the people Swift is writing to benefit did like Swift and his writings seeing what his true goal was with them.  \"Swift\'s best-known satire has occasioned delight and dismay, sometimes in the same reader. The early, hostile response was shaped largely by middle-class values of benevolism, refinement, and politeness.\" (Knowles)  Which comes as no surprise knowing how works that tore down the church, government, or the upper class were frowned upon greatly.  They would not want it read strictly for the threat of them losing some of their lavish comforts.\r\n\r\nAs said before Swift\'s work is still definitely difficult to understand unless the reader has a decent understanding of his purpose.  Today people look on the work as a critical piece of literature if understood.  Not only was it a new groundbreaking way to present ones literature, but it also presented a document that showed how truly horrible times were.  It has both literary and historical value, and even though some might not agree with his \"proposal\" (which makes no difference when looking at his goal).  Now a day it is easily seen that this man merely wanted a better life for the commonwealth of his country.  That was the attention getter screaming at the government for its assistance as its grossly overpopulated areas were turning into breeding grounds for crime and disease.\r\n\r\nHonestly I think the work is absolutely great.  He was a man who stood for what he believed in and for his country.  It is as if Swift was so set on bringing a change that he did not care what anyone would think.  Obviously he published this anonymously as he did with some of his other articles, but did not hold back at all expressing his disgust with the way times were.  He made his point heard loud and clear, if one can make it through reading the troubling details of cooking a child, it can be seen that he has only good intentions.  However I do find the severity of his proposal intriguing as it makes the piece that much better.  It is unspeakable but draws the reader in for the entire piece.  This sets the article up so that every reader would go to the end and see what his true purpose in writing the proposal really is.\r\n\r\nAs said in prior paragraphs \"A Modest Proposal\" is unlike any other works during its time.  However I put my foot in my mouth reading over an overview of Swift\'s work.  There is another work of the era that has the same values and structure as this.  The only other like piece of literature one could say is Swifts in \"Gulliver\'s Travels\".  One critic says, \"The character who “writes” the <em>Modest</em><em> Proposal</em> is one, like Gulliver and the hack writer of the <em>Tale</em> volume, that Swift will condemn for moral obtuseness. The “modest” fellow who presents the <em>Proposal</em> invites our confidence (as Gulliver does), by a conversational and polite tone and by an appearance of common sense and objectivity, only to betray it (as does Gulliver also).\" (Hunting)  Which is very true; the works are very similar for obvious reasons, but are both unique from most other politically motivated literature of the time.  As said before many who were writing did not write in such a satirical way except when they discovered some forms in the east.\r\n\r\nAnother piece of work that is similar to this is Upton Sinclair\'s \"The jungle\".  It is another piece of work that is politically driven for change and described as, \"novel about the ravages of the meatpacking industry in Chicago on the lives of nonunionized labor was instrumental in leading to reforms.\" (Albrecht) Not only does he address the issues that surround the labor force of men it also discusses, \"the ubiquitous prevalence of disability among children of the working classes.\" (Albrecht)  The two works could not be more similar.  They are speaking about poor conditions for not only the adult commonwealth, but the unfortunate circumstances that children of that time are going through to survive.\r\n\r\nThe most significant thing that future generations should be aware of is how dark things must have been for someone to even put these words on paper.  Swift was so tired of seeing all the depravity running rampant, woman trading sex for food, and starving children running around stealing for food.  So he wrote this work to criticize the world he was living in.  Proposing that rather than have these children even grow up and experience this life it was better that we eat them.  This is so startling it is not funny.  He was not serious saying he would actually eat children but it would be a better alternative for them to just be eaten.\r\n\r\nSwift’s work is nothing but pure genius.  He uses an out there writing style to criticize his government who is letting his country run itself into the ground.  He spoke out anonymously but the words had meaning without people being able to put a face to the words.  It caught the attention of many with its abrasive plan on how to tackle the wide spread poverty and overpopulation.  It enthralled the reader in unspeakable things only to reveal its true purpose at the end.  “A Modest Proposal” is a great piece of literature that should be preserved due to the stand it makes against a government letting its country waste away.\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\n            Albrecht , Gary L.. \"Upton Sinclair, from The Jungle (1906).\" <em>Encyclopedia of Disability</em>. Ed. Vol. 5. Thousand Oaks, CA: Sage Reference, 2006. 336-338. <em>Gale Virtual Reference Library</em>. Web. 10 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria“The Humanistic Tradition Vol 2” 6<sup>th</sup> edition Page B4.138, 06 October 2011  <a href=\"http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs\">http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs</a>\r\n\r\n&nbsp;\r\n\r\nHunting , Robert. \"Cathedral Dean and Patriot.\" <em>Jonathan Swift, Rev. ed.</em> Boston: Twayne, 1989. 79-93. Twayne\'s English Authors Series 42. <em>Gale Virtual Reference Library</em>. Web. 2 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\n\"Jonathan Swift.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition</em>. Encyclopædia Britannica, 2011. Web. 30 Sep. 2011. &lt;<a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/577008/Jonathan-Swift\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/577008/Jonathan-Swift</a>&gt;.\r\n\r\n&nbsp;\r\n\r\nKnowles, Ronald. <a title=\"Gulliver\'s Travels: The Politics of Satire\" href=\"http://go.galegroup.com/ps/aboutEbook.do?pubDate=119960000&amp;actionString=DO_DISPLAY_ABOUT_PAGE&amp;inPS=true&amp;prodId=GVRL&amp;userGroupName=txshracd2487&amp;searchType=BasicSearchForm&amp;docId=GALE%7C3EYX\">Gulliver\'s Travels: The Politics of Satire</a>. <em>Twayne\'s Masterwork Studies</em> <em>158</em>. New York: Twayne Publishers, 1996. p32-43.Word Count:4023. <em>Gale Virtual Reference Library. </em>Web. 7 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nLynch, J.T. \"Politics and literature in the age of Swift: English and Irish perspectives.\" <em>CHOICE: Current Reviews for Academic Libraries</em> Aug. 2011: 2310. <em>Literature Resource Center</em>. Web. 2 Oct. 2011.  (Quote about swifts literature question 2)\r\n\r\n&nbsp;','Swift\'s \"A Modest Proposal','','inherit','open','open','','1803-revision-3','','','2011-10-10 13:23:48','2011-10-10 19:23:48','',1803,'http://jeanatacc.com/2011/?p=1808',0,'revision','',0),(1809,39,'2011-10-10 13:34:21','2011-10-10 19:34:21','<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/dorc3a9-a-modest-proposal1.jpg\"><img class=\"alignnone size-medium wp-image-1804\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/dorc3a9-a-modest-proposal1-300x231.jpg\" alt=\"\" width=\"300\" height=\"231\" /></a></p>\r\n<p align=\"center\">http://laliteraliteraria.files.wordpress.com/2011/05/dorc3a9-a-modest-proposal.jpg</p>\r\n          \"“A Modest Proposal” is a grimly ironic letter of advice in which a public-spirited citizen suggests that Ireland’s overpopulation and dire economic conditions could be alleviated if the babies of poor Irish parents were sold as edible delicacies to be eaten by the rich.\"<!--more--> (Britannica)  Written by Jonathan Swift and published anonymously in 1729 it was a groundbreaking piece of literature for its time.  It criticized the government for letting its people live in such poor conditions.  \"A Modest Proposal\" should be preserved not only for the look into the depravity of that time, but also due to the satirical nature Swift indirectly attacks the government with.\r\n\r\nHe had an interesting outlook on life described as, “He once confided (in a letter to the poet Alexander Pope) that he hated the human race, whose misuse of reason produced, in his view, an irredeemably corrupt society.” (Fierro)  Which is what separates him from other writers of his time. He was satirical in criticizing government using a ridiculous proposal to create an insane situation; however it has been built in order to draw attention to a serious problem. It also helps avoid him addressing the issue blatantly and upfront which assists in avoiding the negative spotlight.  Thus making \"A Modest Proposal\" a completely different type of literary work than what was being commonly seen or used in those days.  Most of the literature produced for the public in that time seemed to go directly to the point instead of grip the attention of the reader to display the main goal.\r\n\r\nAlthough satirical writing had been frowned upon it had recently become very powerful states Fiero, \"now became the favorite weapon of social reformers, who drew attention to the vast contradictions between morals and manners, intentions and actions, and, more generally, between Enlightenment aspirations and contemporary degradation.\" Swift\'s work was definitely innovative and unusual for its time though.  He did not speak directly, and hit on subjects while beating around the bush.  One critic describes his work saying, \"They proceed through deep historical contextualization, and many of them demand a degree of knowledge about Swift and his world that beginners are unlikely to have. All the essays are clear and readable, though, and specialists will be grateful for the sustained attention to Swift\'s less familiar works.\" (Lynch)  Stating even now that his works are very intricate and one must be able to look deeper into the picture than what Swift presents on the surface.  This is typical just to his writing style separating him from other writers of the time.  Although it was said that a bit down the line it was seen some eastern writers wrote in a satirical manner, “The European masters of satire found their East Asian counterpart in Li Ruzhen, an outspoken and witty critic of outmoded Chinese traditions.\" (Fierro)\r\n\r\nThe pamphlet was received differently in that time as most of Swifts work was.  The wealthier middle and upper classes were said to not have liked it because they are the ones who had no need for a change in living conditions.  The poor and the people Swift is writing to benefit did like Swift and his writings seeing what his true goal was with them.  \"Swift\'s best-known satire has occasioned delight and dismay, sometimes in the same reader. The early, hostile response was shaped largely by middle-class values of benevolism, refinement, and politeness.\" (Knowles)  Which comes as no surprise knowing how works that tore down the church, government, or the upper class were frowned upon greatly.  They would not want it read strictly for the threat of them losing some of their lavish comforts.\r\n\r\nAs said before Swift\'s work is still definitely difficult to understand unless the reader has a decent understanding of his purpose.  Today people look on the work as a critical piece of literature if understood.  Not only was it a new groundbreaking way to present ones literature, but it also presented a document that showed how truly horrible times were.  It has both literary and historical value, and even though some might not agree with his \"proposal\" (which makes no difference when looking at his goal).  Now a day it is easily seen that this man merely wanted a better life for the commonwealth of his country.  That was the attention getter screaming at the government for its assistance as its grossly overpopulated areas were turning into breeding grounds for crime and disease.\r\n\r\nHonestly I think the work is absolutely great.  He was a man who stood for what he believed in and for his country.  It is as if Swift was so set on bringing a change that he did not care what anyone would think.  Obviously he published this anonymously as he did with some of his other articles, but did not hold back at all expressing his disgust with the way times were.  He made his point heard loud and clear, if one can make it through reading the troubling details of cooking a child, it can be seen that he has only good intentions.  However I do find the severity of his proposal intriguing as it makes the piece that much better.  It is unspeakable but draws the reader in for the entire piece.  This sets the article up so that every reader would go to the end and see what his true purpose in writing the proposal really is.\r\n\r\nAs said in prior paragraphs \"A Modest Proposal\" is unlike any other works during its time.  However I put my foot in my mouth reading over an overview of Swift\'s work.  There is another work of the era that has the same values and structure as this.  The only other like piece of literature one could say is Swifts in \"Gulliver\'s Travels\".  One critic says, \"The character who “writes” the <em>Modest</em><em> Proposal</em> is one, like Gulliver and the hack writer of the <em>Tale</em> volume, that Swift will condemn for moral obtuseness. The “modest” fellow who presents the <em>Proposal</em> invites our confidence (as Gulliver does), by a conversational and polite tone and by an appearance of common sense and objectivity, only to betray it (as does Gulliver also).\" (Hunting)  Which is very true; the works are very similar for obvious reasons, but are both unique from most other politically motivated literature of the time.  As said before many who were writing did not write in such a satirical way except when they discovered some forms in the east.\r\n\r\nAnother piece of work that is similar to this is Upton Sinclair\'s \"The jungle\".  It is another piece of work that is politically driven for change and described as, \"novel about the ravages of the meatpacking industry in Chicago on the lives of nonunionized labor was instrumental in leading to reforms.\" (Albrecht) Not only does he address the issues that surround the labor force of men it also discusses, \"the ubiquitous prevalence of disability among children of the working classes.\" (Albrecht)  The two works could not be more similar.  They are speaking about poor conditions for not only the adult commonwealth, but the unfortunate circumstances that children of that time are going through to survive.\r\n\r\nThe most significant thing that future generations should be aware of is how dark things must have been for someone to even put these words on paper.  Swift was so tired of seeing all the depravity running rampant, woman trading sex for food, and starving children running around stealing for food.  So he wrote this work to criticize the world he was living in.  Proposing that rather than have these children even grow up and experience this life it was better that we eat them.  This is so startling it is not funny.  He was not serious saying he would actually eat children but it would be a better alternative for them to just be eaten.\r\n\r\nSwift’s work is nothing but pure genius.  He uses an out there writing style to criticize his government who is letting his country run itself into the ground.  He spoke out anonymously but the words had meaning without people being able to put a face to the words.  It caught the attention of many with its abrasive plan on how to tackle the wide spread poverty and overpopulation.  It enthralled the reader in unspeakable things only to reveal its true purpose at the end.  “A Modest Proposal” is a great piece of literature that should be preserved due to the stand it makes against a government letting its country waste away.\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\n            Albrecht , Gary L.. \"Upton Sinclair, from The Jungle (1906).\" <em>Encyclopedia of Disability</em>. Ed. Vol. 5. Thousand Oaks, CA: Sage Reference, 2006. 336-338. <em>Gale Virtual Reference Library</em>. Web. 10 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria“The Humanistic Tradition Vol 2” 6<sup>th</sup> edition Page B4.138, 06 October 2011  <a href=\"http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs\">http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs</a>\r\n\r\n&nbsp;\r\n\r\nHunting , Robert. \"Cathedral Dean and Patriot.\" <em>Jonathan Swift, Rev. ed.</em> Boston: Twayne, 1989. 79-93. Twayne\'s English Authors Series 42. <em>Gale Virtual Reference Library</em>. Web. 2 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\n\"Jonathan Swift.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition</em>. Encyclopædia Britannica, 2011. Web. 30 Sep. 2011. &lt;<a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/577008/Jonathan-Swift\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/577008/Jonathan-Swift</a>&gt;.\r\n\r\n&nbsp;\r\n\r\nKnowles, Ronald. <a title=\"Gulliver\'s Travels: The Politics of Satire\" href=\"http://go.galegroup.com/ps/aboutEbook.do?pubDate=119960000&amp;actionString=DO_DISPLAY_ABOUT_PAGE&amp;inPS=true&amp;prodId=GVRL&amp;userGroupName=txshracd2487&amp;searchType=BasicSearchForm&amp;docId=GALE%7C3EYX\">Gulliver\'s Travels: The Politics of Satire</a>. <em>Twayne\'s Masterwork Studies</em> <em>158</em>. New York: Twayne Publishers, 1996. p32-43.Word Count:4023. <em>Gale Virtual Reference Library. </em>Web. 7 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nLynch, J.T. \"Politics and literature in the age of Swift: English and Irish perspectives.\" <em>CHOICE: Current Reviews for Academic Libraries</em> Aug. 2011: 2310. <em>Literature Resource Center</em>. Web. 2 Oct. 2011.  (Quote about swifts literature question 2)\r\n\r\n&nbsp;','Swift\'s \"A Modest Proposal','','inherit','open','open','','1803-revision-4','','','2011-10-10 13:34:21','2011-10-10 19:34:21','',1803,'http://jeanatacc.com/2011/?p=1809',0,'revision','',0),(1810,46,'2011-10-10 16:11:59','2011-10-10 22:11:59','&nbsp;\r\n\r\n[gallery]\r\n<p align=\"CENTER\"></p>\r\n<p align=\"CENTER\"></p>\r\n<p align=\"CENTER\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">Zijin Cheng - A Terrestrial Connection to Something More</span></span></p>\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> The many dynasties and cultures of China have provided the world with countless artifacts and works of art that deserve our admiration and respect. Among these, however, one stands tallest, not just in height, but as a representation of Chinese history and culture. Constructed between 1406 and 1420, The Imperial Palace of the Ming and Qing dynasties, located in the Forbidden City is a massive endeavor that in many ways shaped the way we view those cultures and histories now. This palace is a feat of architecture that needs to be preserved for future generations to appreciate, as it is one of the best insights into Chinese art, life, culture and history that has ever been produced.<!--more--></span></span>\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">Literally translated as “Purple Forbidden City” from the Chinese Zijin Cheng, the walled off area served as the terrestrial home of the Emperor, who was believed to be of Celestial origin (Beijing Attractions). In this city was the specific palace where the Emperor resided. It is interesting to note that the idea of the city being forbidden was relating to the concept that no one could enter or leave the city without the Emperor\'s express permission. </span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> Upon its initial establishment, under the reign of Zhu Di, The Forbidden City relocated the capital of the empire back to Beijing. The construction was a massive endeavor requiring over a million works of all types and lasted just over 15 years. From this point, it served at the political capital for those in charge of the country until 1912, when the last Emperor of China was abdicated. Over the next 13 years, Puyi, the abdicated Emperor, remained in the inner city, and the outer court was given to the public. In 1925, after a coup, the Palace Museum was created of the Forbidden City (UNESCO). Countless works of art and history had been preserved in the city for ages, and would continue to be stored and protected there, even through various occupations and damages to the city itself. One of the best facts I was able to grab that just gave the scope of the lasting power of the palace was that “</span></span><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">the Forbidden City was the imperial home of 24 emperors of the Ming (1368-1644) and Qing (1644-1911) dynasties” (Architecture) .</span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> One of they key elements to the city being preserved for so long was it\'s initial construction. The walls reach nearly 10 meters high, spanning a circumference 3,430 meters(Architecture) . Each corner plays host to a magnificent watchtower. Each wall was crafted with a technique of “rammed earth” core. This was essentially a triple layered wall with custom bricks on both sides filled with mortar. The towers, two in the outer court and two in the inner were representations of ancient lore and recreations of older pavilions. The remaining inner area then played host to “90 palaces and courtyards, 980 buildings and 8704 rooms” (Beijing Attractions). All of this was also done in such a way that it would be aligned with a central axis of Beijing, tying it indefinitely to the world and the terrestrial realm. </span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> Initially when looking at the palace, aside from it\'s awe-inspiring span, it feels very representative of the time and culture. Like the palaces of dynasties past, it maintains the inner and outer court format. As stated previously, some aspects of the construction even drew upon the older palaces and pavilions, such as the Yellow Crane Pavilion. It held true to many of the construction standards, with symbolism specifically. Many yellow tones were used, to show the significance of the Emperor and his divine origins. Each hall is arranged in groups of three, a triagram depicting Heaven (Architecture). We also see many of the decorations adhering to a similar standard, with imagery such as dragons and phoenixes and maintaining specific numbering patterns important to the religious beliefs of the time (UNESCO). If we look at the Ming Dynasty Tombs, we can see much of the same imagery and deification of specific numbering patterns as well.</span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> Where we begin to see a divergence from the norm is actually in how much of the workforce\'s culture made it into the Forbidden City. While most jobs of this nature, including this one to an extent, were fueled by slave labor, the construction of Zijin Cheng was primarily utilizing the local citizens of Beijing. Between being directly focused on improving their own presence in the city, many of these citizens were also able to create thriving livelihoods because of the new capital area. This shift in labor forces led the construction to take on new elements. Instead of containing exclusively religious iconography from a central belief system, multiple religions were represented in the décor and art. Eventually, in 1644, shamanism actually gained a much larger representation in the palace, though elements of it had been present from its origins (Imperial Palaces). That stands in direct opposition to other construction projects of the era, even within the Ming and Qing dynasties. Take for instance the previous capital of Nanjing. Many of the buildings are basic stone, lacking large amounts of detail or iconography past the basics. </span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> The people of China, and Beijing in particular almost immediately accepted the relocation of the capital. Between the refocus of political power and the beauty of Zijin Cheng, it was an immediate success. It became a center for politics, learning and art. Even though it was not a museum, tons of art was stored there and the people understood that it was for the protection and preservation. Also by choosing to align the palace with the central axis of Beijing, it was tied to the city and the population of Beijing saw that to tie it to them directly as well.</span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> We see much of that same reaction in this day and age. Though with the scope of all history to judge, we can also see more. We can see The Forbidden City as much more than just a palace and home of the divine. We can see it as the culmination of thousands of years of culture, religion, technology and advancement of Chinese culture. </span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">Zijin Cheng also acts as a tourist hub for northern China. To this day, people flock from across the world to experience the inspiring nature of the palace. It could definitely be assumed that the establishment of the museum is representative of today\'s view of the city. Still today we can appreciate the massive endeavor that was the construction. A 15 year time frame, in the 1400 is an amazing feat, especially considering that the structure is still standing. </span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">For cultural hubs and bastions of culture and information about a people, it is hard to find an equal of the Forbidden City. We actually have one readily accessible to us however, though its construction came long after the fact. Built between 1847 to 1855, in Washington D.C. the Smithsonian\'s central building, also known as \"The Castle\" stands today as a symbol of American innovation, ingenuity and culture. While this was a much smaller scale project that Zijing Cheng, it represents many of the same goals. Zijin Cheng was a house for an emperor, and designed drawing from the past of their own culture. The Smithsonian Castle was designed drawing from other cultures, in a more Gothic style (GoSmithsonian). Instead of having a central and ancient culture to draw from, the architects had to look to other cultures. </span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">Construction wise, we see the division between how these two projects unified a culture. Zijin Cheng was glorious in the way that it called upon the locale to help build and lend its voice. The Smithsonian Castle, while representing a culture, used an incredibly small representation of that culture to construct it. This says more about the societies and times these were constructed in than anything else, but it is definitely worth a consideration. The Forbidden City also has infinitely more symbolism and religious representation in the actual buildings and construction. By containing the symbols and construction techniques dictated by a faith and commitment to a world beyond, there is an added beauty, though it was not an intent. The Castle on the other side of the same coin, was intentionally devoid of symbols and iconography. It was instead carefully selected what bricks would be used for aesthetic purposes. Much of this also lies in necessity and how that was determined and valued by the cultures at the time. The Chinese Dynasties sought more importance out of the Celestial realm and its representation, where as the Americans had more value in the importance of ease and innovation.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">Now, this may seem like these two projects have more differences that similarities at this point, but the similarities they have hold a great deal of significance. These similarities are representative of a deep level of humanity I feel. Both the Forbidden City and the Smithsonian Castle hold a great degree of significance in numbers. Where we see threes and fives traditional to Chinese religion, The Castle holds fours and twos, which are numbers central to Christianity and those traditions. Now it may not have been the intent to include those numbers religiously, but they were deeply embedded into the culture. The two are also aligned in what initially appears as a random way, but upon further investigation, we can see their true axis. The Castle was centered so it could act as a focal point, which was also the idea behind constructing something so large and important as Zijin Cheng. The Forbidden City was set up strangely on its axis with Beijing, but that served to make it a perfect capital and point of pride for the city. Both structures also hold a great degree of importance in towers. Towers are man\'s way of being able to watch over their kingdom and protect what has been created. And of course, the two also have housed important and great art since their completion and now both function as museums.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> Researching Zijin Cheng and learning about everything it holds actually felt rather overwhelming at times. I can only hope that mirrored even a slight bit what someone must feel when standing in the courtyards and gazing upon the palace and buildings. This entire Forbidden City is one of the largest and most important symbols of Chinese culture and the vast history that made up centuries. The entire time writing this proposal, I was astounded that this massive enterprise was complete and functioning before the Americas had even been discovered by the rest of the world, it was rather humbling. I truly hope that this Palace can be preserved for future generations to experience the history it holds.</span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\">The Forbidden City holds some of the greatest treasures of Chinese art and culture that the world will ever have. It is one of the most important museums that has ever been established, and to this day they continue to locate and uncover new pieces that were not previously catalogged. As a bastion for Chinese representation of culture and history this place must be preserved, but it steps even further than that. Zijin Cheng is a massive endeavor representative of the power, timelessness and unflinching nature of those who built it, occupied it and revere it. The innovations in architecture an d shift towards a structure for the people by the people are one of the best examples of society progressing and creating something that can last for hundreds of years on its own strength.</span></span>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"CENTER\"><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\">Works Cited</span></span></p>\r\n&nbsp;\r\n<p align=\"LEFT\"><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">Elliott, Jeannette Shambaugh, and David L. Shambaugh. </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>The Odyssey of China\'s Imperial Art Treasures</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">. Seattle: University of Washington, 2005. Print.</span></span></span></p>\r\n&nbsp;\r\n<p align=\"LEFT\"><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">A good base to get a pretty broad picture of Chinese Art and Architecture. I used it to get a feel for what was natural and common to the era.</span></span></span></p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"LEFT\"><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">\"The Forbidden City.\" </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>Chinese Culture</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">. Web. 10 Oct. 2011. &lt;</span></span></span><span style=\"color: #000080\"><span style=\"text-decoration: underline\"><a href=\"http://chineseculture.about.com/library/weekly/aa121297.htm\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">http://chineseculture.about.com/library/weekly/aa121297.htm</span></span></a></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">&gt;.</span></span></span></p>\r\n&nbsp;\r\n<p align=\"LEFT\"><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">A brief history of the city along with some more detailed descriptions of specific structures. I was able to take some of this info to look into other structures for comparison.</span></span></span></p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">\"Forbidden City in Beijing China - Architecture in the Forbidden City in Beijing.\" </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>Architecture and House Styles and Building Design</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">. Web. 05 Oct. 2011. &lt;</span></span></span><span style=\"color: #000080\"><span style=\"text-decoration: underline\"><a href=\"http://architecture.about.com/od/asiasouthasia/ig/Ancient-Beijing/Forbidden-City.htm\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">http://architecture.about.com/od/asiasouthasia/ig/Ancient-Beijing/Forbidden-City.htm</span></span></a></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">&gt;.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">Some quick and easy facts, mainly used to catalog the varying structures. Very useful as a tool for comparison.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">\"Forbidden City, The Forbidden City in Beijing, The Forbidden City in China</span></span></span><span style=\"font-family: \'Arial Unicode MS\'\"><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">， </span></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">Beijing Attractions.\" </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>China Travel, China Travel Agency, China Tours, Yangtze River Cruise</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">. Web. 05 Oct. 2011. &lt;</span></span></span><span style=\"color: #000080\"><span style=\"text-decoration: underline\"><a href=\"http://www.chinahighlights.com/beijing/forbidden-city/\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">http://www.chinahighlights.com/beijing/forbidden-city/</span></span></a></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">&gt;.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">A travel guide ranking spots in China. Incredibly useful for historical information. I got much of history and background from this site, as well as a lot of the religious info.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">\"Imperial China: The Art of the Horse.\" </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>Kentucky Educational Television: Explore Kentucky. Explore the World.</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> Web. 07 Oct. 2011. &lt;</span></span></span><span style=\"color: #000080\"><span style=\"text-decoration: underline\"><a href=\"http://www.ket.org/artofthehorse/\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">http://www.ket.org/artofthehorse/</span></span></a></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">&gt;.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">Another great catalog of art of China. Gave me a great perspective of how important symbolism was and how rooted it was in culture.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">\"Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang.\" </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>China.org.cn - China News, Weather, Business, Travel &amp; Language Courses</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">. Shenyang Imperial Palace Management Office. Web. 06 Oct. 2011. &lt;</span></span></span><span style=\"color: #000080\"><span style=\"text-decoration: underline\"><a href=\"http://www.china.org.cn/english/kuaixun/74855.htm\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">http://www.china.org.cn/english/kuaixun/74855.htm</span></span></a></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">&gt;.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">Great site with lots of straight factual information. I used this is get a lot of the info about the decorations and iconography and the measurements.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">\"Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang.\" </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>UNESCO World Heritage Centre</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">. UNESCO. Web. 05 Oct. 2011. &lt;</span></span></span><span style=\"color: #000080\"><span style=\"text-decoration: underline\"><a href=\"http://whc.unesco.org/en/list/439\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">http://whc.unesco.org/en/list/439</span></span></a></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">&gt;.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">The UNESCO website, the people who established the Museum. Fantastic historical resource. I used this to get the info about construction and the population.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">\"Smithsonian Institution Building The Castle, Washington DC Museums | GoSmithsonian.\" </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>Smithsonian Museums, Exhibits, Washington DC Travel, Dining, Lodging | GoSmithsonian</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">. Web. 10 Oct. 2011. &lt;</span></span></span><span style=\"color: #000080\"><span style=\"text-decoration: underline\"><a href=\"http://www.gosmithsonian.com/museums/smithsonian-\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">http://www.gosmithsonian.com/museums/smithsonian-</span></span></a></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> institution-building-the-castle/&gt;. </span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\">The Smithsonian website, contains information about the institution and its history. This is where I grabbed my info for the Smithsonian specific comparison.</span></span>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nImage links in order:\r\n\r\nhttp://www.china.org.cn/images/49111.jpg\r\n\r\n&nbsp;\r\n\r\nhttp://whc.unesco.org/uploads/thumbs/site_0439_0001-469-0-20110920200856.JPG\r\n\r\n&nbsp;\r\n\r\nhttp://www.paulnoll.com/China/Excursions/Beijing-ex-Forbidden-City-map.jpg','Zijin Cheng -  A Terrestrial Connection to Something More','','publish','open','open','','zijin-cheng-a-terrestrial-connection-to-something-more','','','2011-10-16 14:27:43','2011-10-16 20:27:43','',0,'http://jeanatacc.com/2011/?p=1810',0,'post','',9),(1811,46,'2011-10-10 16:09:42','2011-10-10 22:09:42','','forbidden','','inherit','open','open','','forbidden','','','2011-10-10 16:09:42','2011-10-10 22:09:42','',1810,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/forbidden.jpg',0,'attachment','image/jpeg',0),(1812,46,'2011-10-10 16:09:54','2011-10-10 22:09:54','','Dragon','','inherit','open','open','','forbidden2','','','2011-10-10 16:09:54','2011-10-10 22:09:54','',1810,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/forbidden2.jpg',0,'attachment','image/jpeg',0),(1813,46,'2011-10-10 16:10:40','2011-10-10 22:10:40','','Forbidden3','','inherit','open','open','','forbidden3','','','2011-10-10 16:10:40','2011-10-10 22:10:40','',1810,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/Forbidden3.jpg',0,'attachment','image/jpeg',0),(1814,46,'2011-10-10 16:11:06','2011-10-10 22:11:06','&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n[gallery]\n\n&nbsp;\n\n&nbsp;','Zijin Cheng -  A Terrestrial Connection to Something More','','inherit','open','open','','1810-revision','','','2011-10-10 16:11:06','2011-10-10 22:11:06','',1810,'http://jeanatacc.com/2011/?p=1814',0,'revision','',0),(1815,46,'2011-10-10 16:11:43','2011-10-10 22:11:43','&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n[gallery]\r\n<p align=\"CENTER\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">Zijin Cheng - A Terrestrial Connection to Something More</span></span></p>\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> The many dynasties and cultures of China have provided the world with countless artifacts and works of art that deserve our admiration and respect. Among these, however, one stands tallest, not just in height, but as a representation of Chinese history and culture. Constructed between 1406 and 1420, The Imperial Palace of the Ming and Qing dynasties, located in the Forbidden City is a massive endeavor that in many ways shaped the way we view those cultures and histories now. This palace is a feat of architecture that needs to be preserved for future generations to appreciate, as it is one of the best insights into Chinese art, life, culture and history that has ever been produced.<!--more--></span></span>\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">Literally translated as “Purple Forbidden City” from the Chinese Zijin Cheng, the walled off area served as the terrestrial home of the Emperor, who was believed to be of Celestial origin (Beijing Attractions). In this city was the specific palace where the Emperor resided. It is interesting to note that the idea of the city being forbidden was relating to the concept that no one could enter or leave the city without the Emperor\'s express permission. </span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> Upon its initial establishment, under the reign of Zhu Di, The Forbidden City relocated the capital of the empire back to Beijing. The construction was a massive endeavor requiring over a million works of all types and lasted just over 15 years. From this point, it served at the political capital for those in charge of the country until 1912, when the last Emperor of China was abdicated. Over the next 13 years, Puyi, the abdicated Emperor, remained in the inner city, and the outer court was given to the public. In 1925, after a coup, the Palace Museum was created of the Forbidden City (UNESCO). Countless works of art and history had been preserved in the city for ages, and would continue to be stored and protected there, even through various occupations and damages to the city itself. One of the best facts I was able to grab that just gave the scope of the lasting power of the palace was that “</span></span><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">the Forbidden City was the imperial home of 24 emperors of the Ming (1368-1644) and Qing (1644-1911) dynasties” (Architecture) .</span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> One of they key elements to the city being preserved for so long was it\'s initial construction. The walls reach nearly 10 meters high, spanning a circumference 3,430 meters(Architecture) . Each corner plays host to a magnificent watchtower. Each wall was crafted with a technique of “rammed earth” core. This was essentially a triple layered wall with custom bricks on both sides filled with mortar. The towers, two in the outer court and two in the inner were representations of ancient lore and recreations of older pavilions. The remaining inner area then played host to “90 palaces and courtyards, 980 buildings and 8704 rooms” (Beijing Attractions). All of this was also done in such a way that it would be aligned with a central axis of Beijing, tying it indefinitely to the world and the terrestrial realm. </span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> Initially when looking at the palace, aside from it\'s awe-inspiring span, it feels very representative of the time and culture. Like the palaces of dynasties past, it maintains the inner and outer court format. As stated previously, some aspects of the construction even drew upon the older palaces and pavilions, such as the Yellow Crane Pavilion. It held true to many of the construction standards, with symbolism specifically. Many yellow tones were used, to show the significance of the Emperor and his divine origins. Each hall is arranged in groups of three, a triagram depicting Heaven (Architecture). We also see many of the decorations adhering to a similar standard, with imagery such as dragons and phoenixes and maintaining specific numbering patterns important to the religious beliefs of the time (UNESCO). If we look at the Ming Dynasty Tombs, we can see much of the same imagery and deification of specific numbering patterns as well.</span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> Where we begin to see a divergence from the norm is actually in how much of the workforce\'s culture made it into the Forbidden City. While most jobs of this nature, including this one to an extent, were fueled by slave labor, the construction of Zijin Cheng was primarily utilizing the local citizens of Beijing. Between being directly focused on improving their own presence in the city, many of these citizens were also able to create thriving livelihoods because of the new capital area. This shift in labor forces led the construction to take on new elements. Instead of containing exclusively religious iconography from a central belief system, multiple religions were represented in the décor and art. Eventually, in 1644, shamanism actually gained a much larger representation in the palace, though elements of it had been present from its origins (Imperial Palaces). That stands in direct opposition to other construction projects of the era, even within the Ming and Qing dynasties. Take for instance the previous capital of Nanjing. Many of the buildings are basic stone, lacking large amounts of detail or iconography past the basics. </span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> The people of China, and Beijing in particular almost immediately accepted the relocation of the capital. Between the refocus of political power and the beauty of Zijin Cheng, it was an immediate success. It became a center for politics, learning and art. Even though it was not a museum, tons of art was stored there and the people understood that it was for the protection and preservation. Also by choosing to align the palace with the central axis of Beijing, it was tied to the city and the population of Beijing saw that to tie it to them directly as well.</span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> We see much of that same reaction in this day and age. Though with the scope of all history to judge, we can also see more. We can see The Forbidden City as much more than just a palace and home of the divine. We can see it as the culmination of thousands of years of culture, religion, technology and advancement of Chinese culture. </span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">Zijin Cheng also acts as a tourist hub for northern China. To this day, people flock from across the world to experience the inspiring nature of the palace. It could definitely be assumed that the establishment of the museum is representative of today\'s view of the city. Still today we can appreciate the massive endeavor that was the construction. A 15 year time frame, in the 1400 is an amazing feat, especially considering that the structure is still standing. </span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">For cultural hubs and bastions of culture and information about a people, it is hard to find an equal of the Forbidden City. We actually have one readily accessible to us however, though its construction came long after the fact. Built between 1847 to 1855, in Washington D.C. the Smithsonian\'s central building, also known as \"The Castle\" stands today as a symbol of American innovation, ingenuity and culture. While this was a much smaller scale project that Zijing Cheng, it represents many of the same goals. Zijin Cheng was a house for an emperor, and designed drawing from the past of their own culture. The Smithsonian Castle was designed drawing from other cultures, in a more Gothic style (GoSmithsonian). Instead of having a central and ancient culture to draw from, the architects had to look to other cultures. </span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">Construction wise, we see the division between how these two projects unified a culture. Zijin Cheng was glorious in the way that it called upon the locale to help build and lend its voice. The Smithsonian Castle, while representing a culture, used an incredibly small representation of that culture to construct it. This says more about the societies and times these were constructed in than anything else, but it is definitely worth a consideration. The Forbidden City also has infinitely more symbolism and religious representation in the actual buildings and construction. By containing the symbols and construction techniques dictated by a faith and commitment to a world beyond, there is an added beauty, though it was not an intent. The Castle on the other side of the same coin, was intentionally devoid of symbols and iconography. It was instead carefully selected what bricks would be used for aesthetic purposes. Much of this also lies in necessity and how that was determined and valued by the cultures at the time. The Chinese Dynasties sought more importance out of the Celestial realm and its representation, where as the Americans had more value in the importance of ease and innovation.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">Now, this may seem like these two projects have more differences that similarities at this point, but the similarities they have hold a great deal of significance. These similarities are representative of a deep level of humanity I feel. Both the Forbidden City and the Smithsonian Castle hold a great degree of significance in numbers. Where we see threes and fives traditional to Chinese religion, The Castle holds fours and twos, which are numbers central to Christianity and those traditions. Now it may not have been the intent to include those numbers religiously, but they were deeply embedded into the culture. The two are also aligned in what initially appears as a random way, but upon further investigation, we can see their true axis. The Castle was centered so it could act as a focal point, which was also the idea behind constructing something so large and important as Zijin Cheng. The Forbidden City was set up strangely on its axis with Beijing, but that served to make it a perfect capital and point of pride for the city. Both structures also hold a great degree of importance in towers. Towers are man\'s way of being able to watch over their kingdom and protect what has been created. And of course, the two also have housed important and great art since their completion and now both function as museums.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> Researching Zijin Cheng and learning about everything it holds actually felt rather overwhelming at times. I can only hope that mirrored even a slight bit what someone must feel when standing in the courtyards and gazing upon the palace and buildings. This entire Forbidden City is one of the largest and most important symbols of Chinese culture and the vast history that made up centuries. The entire time writing this proposal, I was astounded that this massive enterprise was complete and functioning before the Americas had even been discovered by the rest of the world, it was rather humbling. I truly hope that this Palace can be preserved for future generations to experience the history it holds.</span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\">The Forbidden City holds some of the greatest treasures of Chinese art and culture that the world will ever have. It is one of the most important museums that has ever been established, and to this day they continue to locate and uncover new pieces that were not previously catalogged. As a bastion for Chinese representation of culture and history this place must be preserved, but it steps even further than that. Zijin Cheng is a massive endeavor representative of the power, timelessness and unflinching nature of those who built it, occupied it and revere it. The innovations in architecture an d shift towards a structure for the people by the people are one of the best examples of society progressing and creating something that can last for hundreds of years on its own strength.</span></span>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"CENTER\"><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\">Works Cited</span></span></p>\r\n&nbsp;\r\n<p align=\"LEFT\"><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">Elliott, Jeannette Shambaugh, and David L. Shambaugh. </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>The Odyssey of China\'s Imperial Art Treasures</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">. Seattle: University of Washington, 2005. Print.</span></span></span></p>\r\n&nbsp;\r\n<p align=\"LEFT\"><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">A good base to get a pretty broad picture of Chinese Art and Architecture. I used it to get a feel for what was natural and common to the era.</span></span></span></p>\r\n&nbsp;\r\n<p align=\"LEFT\"></p>\r\n&nbsp;\r\n<p align=\"LEFT\"><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">\"The Forbidden City.\" </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>Chinese Culture</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">. Web. 10 Oct. 2011. &lt;</span></span></span><span style=\"color: #000080\"><span style=\"text-decoration: underline\"><a href=\"http://chineseculture.about.com/library/weekly/aa121297.htm\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">http://chineseculture.about.com/library/weekly/aa121297.htm</span></span></a></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">&gt;.</span></span></span></p>\r\n&nbsp;\r\n<p align=\"LEFT\"><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">A brief history of the city along with some more detailed descriptions of specific structures. I was able to take some of this info to look into other structures for comparison.</span></span></span></p>\r\n&nbsp;\r\n<p align=\"LEFT\"></p>\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">\"Forbidden City in Beijing China - Architecture in the Forbidden City in Beijing.\" </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>Architecture and House Styles and Building Design</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">. Web. 05 Oct. 2011. &lt;</span></span></span><span style=\"color: #000080\"><span style=\"text-decoration: underline\"><a href=\"http://architecture.about.com/od/asiasouthasia/ig/Ancient-Beijing/Forbidden-City.htm\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">http://architecture.about.com/od/asiasouthasia/ig/Ancient-Beijing/Forbidden-City.htm</span></span></a></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">&gt;.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">Some quick and easy facts, mainly used to catalog the varying structures. Very useful as a tool for comparison.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">\"Forbidden City, The Forbidden City in Beijing, The Forbidden City in China</span></span></span><span style=\"font-family: \'Arial Unicode MS\'\"><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">， </span></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">Beijing Attractions.\" </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>China Travel, China Travel Agency, China Tours, Yangtze River Cruise</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">. Web. 05 Oct. 2011. &lt;</span></span></span><span style=\"color: #000080\"><span style=\"text-decoration: underline\"><a href=\"http://www.chinahighlights.com/beijing/forbidden-city/\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">http://www.chinahighlights.com/beijing/forbidden-city/</span></span></a></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">&gt;.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">A travel guide ranking spots in China. Incredibly useful for historical information. I got much of history and background from this site, as well as a lot of the religious info.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">\"Imperial China: The Art of the Horse.\" </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>Kentucky Educational Television: Explore Kentucky. Explore the World.</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> Web. 07 Oct. 2011. &lt;</span></span></span><span style=\"color: #000080\"><span style=\"text-decoration: underline\"><a href=\"http://www.ket.org/artofthehorse/\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">http://www.ket.org/artofthehorse/</span></span></a></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">&gt;.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">Another great catalog of art of China. Gave me a great perspective of how important symbolism was and how rooted it was in culture.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">\"Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang.\" </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>China.org.cn - China News, Weather, Business, Travel &amp; Language Courses</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">. Shenyang Imperial Palace Management Office. Web. 06 Oct. 2011. &lt;</span></span></span><span style=\"color: #000080\"><span style=\"text-decoration: underline\"><a href=\"http://www.china.org.cn/english/kuaixun/74855.htm\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">http://www.china.org.cn/english/kuaixun/74855.htm</span></span></a></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">&gt;.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">Great site with lots of straight factual information. I used this is get a lot of the info about the decorations and iconography and the measurements.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">\"Imperial Palaces of the Ming and Qing Dynasties in Beijing and Shenyang.\" </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>UNESCO World Heritage Centre</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">. UNESCO. Web. 05 Oct. 2011. &lt;</span></span></span><span style=\"color: #000080\"><span style=\"text-decoration: underline\"><a href=\"http://whc.unesco.org/en/list/439\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">http://whc.unesco.org/en/list/439</span></span></a></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">&gt;.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">The UNESCO website, the people who established the Museum. Fantastic historical resource. I used this to get the info about construction and the population.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">\"Smithsonian Institution Building The Castle, Washington DC Museums | GoSmithsonian.\" </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>Smithsonian Museums, Exhibits, Washington DC Travel, Dining, Lodging | GoSmithsonian</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">. Web. 10 Oct. 2011. &lt;</span></span></span><span style=\"color: #000080\"><span style=\"text-decoration: underline\"><a href=\"http://www.gosmithsonian.com/museums/smithsonian-\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">http://www.gosmithsonian.com/museums/smithsonian-</span></span></a></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> institution-building-the-castle/&gt;. </span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\">The Smithsonian website, contains information about the institution and its history. This is where I grabbed my info for the Smithsonian specific comparison.</span></span>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;','Zijin Cheng -  A Terrestrial Connection to Something More','','inherit','open','open','','1810-revision-2','','','2011-10-10 16:11:43','2011-10-10 22:11:43','',1810,'http://jeanatacc.com/2011/?p=1815',0,'revision','',0),(1816,1,'2011-10-10 13:34:26','2011-10-10 19:34:26','<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/dorc3a9-a-modest-proposal1.jpg\"><img class=\"alignnone size-medium wp-image-1804\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/dorc3a9-a-modest-proposal1-300x231.jpg\" alt=\"\" width=\"300\" height=\"231\" /></a></p>\r\n<p align=\"center\">http://laliteraliteraria.files.wordpress.com/2011/05/dorc3a9-a-modest-proposal.jpg</p>\r\n          \"“A Modest Proposal” is a grimly ironic letter of advice in which a public-spirited citizen suggests that Ireland’s overpopulation and dire economic conditions could be alleviated if the babies of poor Irish parents were sold as edible delicacies to be eaten by the rich.\"<!--more--> (Britannica)  Written by Jonathan Swift and published anonymously in 1729 it was a groundbreaking piece of literature for its time.  It criticized the government for letting its people live in such poor conditions.  \"A Modest Proposal\" should be preserved not only for the look into the depravity of that time, but also due to the satirical nature Swift indirectly attacks the government with.\r\n\r\nHe had an interesting outlook on life described as, “He once confided (in a letter to the poet Alexander Pope) that he hated the human race, whose misuse of reason produced, in his view, an irredeemably corrupt society.” (Fierro)  Which is what separates him from other writers of his time. He was satirical in criticizing government using a ridiculous proposal to create an insane situation; however it has been built in order to draw attention to a serious problem. It also helps avoid him addressing the issue blatantly and upfront which assists in avoiding the negative spotlight.  Thus making \"A Modest Proposal\" a completely different type of literary work than what was being commonly seen or used in those days.  Most of the literature produced for the public in that time seemed to go directly to the point instead of grip the attention of the reader to display the main goal.\r\n\r\nAlthough satirical writing had been frowned upon it had recently become very powerful states Fiero, \"now became the favorite weapon of social reformers, who drew attention to the vast contradictions between morals and manners, intentions and actions, and, more generally, between Enlightenment aspirations and contemporary degradation.\" Swift\'s work was definitely innovative and unusual for its time though.  He did not speak directly, and hit on subjects while beating around the bush.  One critic describes his work saying, \"They proceed through deep historical contextualization, and many of them demand a degree of knowledge about Swift and his world that beginners are unlikely to have. All the essays are clear and readable, though, and specialists will be grateful for the sustained attention to Swift\'s less familiar works.\" (Lynch)  Stating even now that his works are very intricate and one must be able to look deeper into the picture than what Swift presents on the surface.  This is typical just to his writing style separating him from other writers of the time.  Although it was said that a bit down the line it was seen some eastern writers wrote in a satirical manner, “The European masters of satire found their East Asian counterpart in Li Ruzhen, an outspoken and witty critic of outmoded Chinese traditions.\" (Fierro)\r\n\r\nThe pamphlet was received differently in that time as most of Swifts work was.  The wealthier middle and upper classes were said to not have liked it because they are the ones who had no need for a change in living conditions.  The poor and the people Swift is writing to benefit did like Swift and his writings seeing what his true goal was with them.  \"Swift\'s best-known satire has occasioned delight and dismay, sometimes in the same reader. The early, hostile response was shaped largely by middle-class values of benevolism, refinement, and politeness.\" (Knowles)  Which comes as no surprise knowing how works that tore down the church, government, or the upper class were frowned upon greatly.  They would not want it read strictly for the threat of them losing some of their lavish comforts.\r\n\r\nAs said before Swift\'s work is still definitely difficult to understand unless the reader has a decent understanding of his purpose.  Today people look on the work as a critical piece of literature if understood.  Not only was it a new groundbreaking way to present ones literature, but it also presented a document that showed how truly horrible times were.  It has both literary and historical value, and even though some might not agree with his \"proposal\" (which makes no difference when looking at his goal).  Now a day it is easily seen that this man merely wanted a better life for the commonwealth of his country.  That was the attention getter screaming at the government for its assistance as its grossly overpopulated areas were turning into breeding grounds for crime and disease.\r\n\r\nHonestly I think the work is absolutely great.  He was a man who stood for what he believed in and for his country.  It is as if Swift was so set on bringing a change that he did not care what anyone would think.  Obviously he published this anonymously as he did with some of his other articles, but did not hold back at all expressing his disgust with the way times were.  He made his point heard loud and clear, if one can make it through reading the troubling details of cooking a child, it can be seen that he has only good intentions.  However I do find the severity of his proposal intriguing as it makes the piece that much better.  It is unspeakable but draws the reader in for the entire piece.  This sets the article up so that every reader would go to the end and see what his true purpose in writing the proposal really is.\r\n\r\nAs said in prior paragraphs \"A Modest Proposal\" is unlike any other works during its time.  However I put my foot in my mouth reading over an overview of Swift\'s work.  There is another work of the era that has the same values and structure as this.  The only other like piece of literature one could say is Swifts in \"Gulliver\'s Travels\".  One critic says, \"The character who “writes” the <em>Modest</em><em> Proposal</em> is one, like Gulliver and the hack writer of the <em>Tale</em> volume, that Swift will condemn for moral obtuseness. The “modest” fellow who presents the <em>Proposal</em> invites our confidence (as Gulliver does), by a conversational and polite tone and by an appearance of common sense and objectivity, only to betray it (as does Gulliver also).\" (Hunting)  Which is very true; the works are very similar for obvious reasons, but are both unique from most other politically motivated literature of the time.  As said before many who were writing did not write in such a satirical way except when they discovered some forms in the east.\r\n\r\nAnother piece of work that is similar to this is Upton Sinclair\'s \"The jungle\".  It is another piece of work that is politically driven for change and described as, \"novel about the ravages of the meatpacking industry in Chicago on the lives of nonunionized labor was instrumental in leading to reforms.\" (Albrecht) Not only does he address the issues that surround the labor force of men it also discusses, \"the ubiquitous prevalence of disability among children of the working classes.\" (Albrecht)  The two works could not be more similar.  They are speaking about poor conditions for not only the adult commonwealth, but the unfortunate circumstances that children of that time are going through to survive.\r\n\r\nThe most significant thing that future generations should be aware of is how dark things must have been for someone to even put these words on paper.  Swift was so tired of seeing all the depravity running rampant, woman trading sex for food, and starving children running around stealing for food.  So he wrote this work to criticize the world he was living in.  Proposing that rather than have these children even grow up and experience this life it was better that we eat them.  This is so startling it is not funny.  He was not serious saying he would actually eat children but it would be a better alternative for them to just be eaten.\r\n\r\nSwift’s work is nothing but pure genius.  He uses an out there writing style to criticize his government who is letting his country run itself into the ground.  He spoke out anonymously but the words had meaning without people being able to put a face to the words.  It caught the attention of many with its abrasive plan on how to tackle the wide spread poverty and overpopulation.  It enthralled the reader in unspeakable things only to reveal its true purpose at the end.  “A Modest Proposal” is a great piece of literature that should be preserved due to the stand it makes against a government letting its country waste away.\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\n            Albrecht , Gary L.. \"Upton Sinclair, from The Jungle (1906).\" <em>Encyclopedia of Disability</em>. Ed. Vol. 5. Thousand Oaks, CA: Sage Reference, 2006. 336-338. <em>Gale Virtual Reference Library</em>. Web. 10 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria“The Humanistic Tradition Vol 2” 6<sup>th</sup> edition Page B4.138, 06 October 2011  <a href=\"http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs\">http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs</a>\r\n\r\n&nbsp;\r\n\r\nHunting , Robert. \"Cathedral Dean and Patriot.\" <em>Jonathan Swift, Rev. ed.</em> Boston: Twayne, 1989. 79-93. Twayne\'s English Authors Series 42. <em>Gale Virtual Reference Library</em>. Web. 2 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\n\"Jonathan Swift.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition</em>. Encyclopædia Britannica, 2011. Web. 30 Sep. 2011. &lt;<a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/577008/Jonathan-Swift\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/577008/Jonathan-Swift</a>&gt;.\r\n\r\n&nbsp;\r\n\r\nKnowles, Ronald. <a title=\"Gulliver\'s Travels: The Politics of Satire\" href=\"http://go.galegroup.com/ps/aboutEbook.do?pubDate=119960000&amp;actionString=DO_DISPLAY_ABOUT_PAGE&amp;inPS=true&amp;prodId=GVRL&amp;userGroupName=txshracd2487&amp;searchType=BasicSearchForm&amp;docId=GALE%7C3EYX\">Gulliver\'s Travels: The Politics of Satire</a>. <em>Twayne\'s Masterwork Studies</em> <em>158</em>. New York: Twayne Publishers, 1996. p32-43.Word Count:4023. <em>Gale Virtual Reference Library. </em>Web. 7 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nLynch, J.T. \"Politics and literature in the age of Swift: English and Irish perspectives.\" <em>CHOICE: Current Reviews for Academic Libraries</em> Aug. 2011: 2310. <em>Literature Resource Center</em>. Web. 2 Oct. 2011.  (Quote about swifts literature question 2)\r\n\r\n&nbsp;','Swift\'s \"A Modest Proposal','','inherit','open','open','','1803-revision-5','','','2011-10-10 13:34:26','2011-10-10 19:34:26','',1803,'http://jeanatacc.com/2011/?p=1816',0,'revision','',0),(1817,1,'2011-10-10 16:37:12','2011-10-10 22:37:12','<p align=\"center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/dorc3a9-a-modest-proposal1.jpg\"><img class=\"alignnone size-medium wp-image-1804\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/dorc3a9-a-modest-proposal1-300x231.jpg\" alt=\"\" width=\"300\" height=\"231\" /></a></p>\r\n<p align=\"center\">http://laliteraliteraria.files.wordpress.com/2011/05/dorc3a9-a-modest-proposal.jpg</p>\r\n          \"“A Modest Proposal” is a grimly ironic letter of advice in which a public-spirited citizen suggests that Ireland’s overpopulation and dire economic conditions could be alleviated if the babies of poor Irish parents were sold as edible delicacies to be eaten by the rich.\"<!--more--> (Britannica)  Written by Jonathan Swift and published anonymously in 1729 it was a groundbreaking piece of literature for its time.  It criticized the government for letting its people live in such poor conditions.  \"A Modest Proposal\" should be preserved not only for the look into the depravity of that time, but also due to the satirical nature Swift indirectly attacks the government with.\r\n\r\nHe had an interesting outlook on life described as, “He once confided (in a letter to the poet Alexander Pope) that he hated the human race, whose misuse of reason produced, in his view, an irredeemably corrupt society.” (Fierro)  Which is what separates him from other writers of his time. He was satirical in criticizing government using a ridiculous proposal to create an insane situation; however it has been built in order to draw attention to a serious problem. It also helps avoid him addressing the issue blatantly and upfront which assists in avoiding the negative spotlight.  Thus making \"A Modest Proposal\" a completely different type of literary work than what was being commonly seen or used in those days.  Most of the literature produced for the public in that time seemed to go directly to the point instead of grip the attention of the reader to display the main goal.\r\n\r\nAlthough satirical writing had been frowned upon it had recently become very powerful states Fiero, \"now became the favorite weapon of social reformers, who drew attention to the vast contradictions between morals and manners, intentions and actions, and, more generally, between Enlightenment aspirations and contemporary degradation.\" Swift\'s work was definitely innovative and unusual for its time though.  He did not speak directly, and hit on subjects while beating around the bush.  One critic describes his work saying, \"They proceed through deep historical contextualization, and many of them demand a degree of knowledge about Swift and his world that beginners are unlikely to have. All the essays are clear and readable, though, and specialists will be grateful for the sustained attention to Swift\'s less familiar works.\" (Lynch)  Stating even now that his works are very intricate and one must be able to look deeper into the picture than what Swift presents on the surface.  This is typical just to his writing style separating him from other writers of the time.  Although it was said that a bit down the line it was seen some eastern writers wrote in a satirical manner, “The European masters of satire found their East Asian counterpart in Li Ruzhen, an outspoken and witty critic of outmoded Chinese traditions.\" (Fierro)\r\n\r\nThe pamphlet was received differently in that time as most of Swifts work was.  The wealthier middle and upper classes were said to not have liked it because they are the ones who had no need for a change in living conditions.  The poor and the people Swift is writing to benefit did like Swift and his writings seeing what his true goal was with them.  \"Swift\'s best-known satire has occasioned delight and dismay, sometimes in the same reader. The early, hostile response was shaped largely by middle-class values of benevolism, refinement, and politeness.\" (Knowles)  Which comes as no surprise knowing how works that tore down the church, government, or the upper class were frowned upon greatly.  They would not want it read strictly for the threat of them losing some of their lavish comforts.\r\n\r\nAs said before Swift\'s work is still definitely difficult to understand unless the reader has a decent understanding of his purpose.  Today people look on the work as a critical piece of literature if understood.  Not only was it a new groundbreaking way to present ones literature, but it also presented a document that showed how truly horrible times were.  It has both literary and historical value, and even though some might not agree with his \"proposal\" (which makes no difference when looking at his goal).  Now a day it is easily seen that this man merely wanted a better life for the commonwealth of his country.  That was the attention getter screaming at the government for its assistance as its grossly overpopulated areas were turning into breeding grounds for crime and disease.\r\n\r\nHonestly I think the work is absolutely great.  He was a man who stood for what he believed in and for his country.  It is as if Swift was so set on bringing a change that he did not care what anyone would think.  Obviously he published this anonymously as he did with some of his other articles, but did not hold back at all expressing his disgust with the way times were.  He made his point heard loud and clear, if one can make it through reading the troubling details of cooking a child, it can be seen that he has only good intentions.  However I do find the severity of his proposal intriguing as it makes the piece that much better.  It is unspeakable but draws the reader in for the entire piece.  This sets the article up so that every reader would go to the end and see what his true purpose in writing the proposal really is.\r\n\r\nAs said in prior paragraphs \"A Modest Proposal\" is unlike any other works during its time.  However I put my foot in my mouth reading over an overview of Swift\'s work.  There is another work of the era that has the same values and structure as this.  The only other like piece of literature one could say is Swifts in \"Gulliver\'s Travels\".  One critic says, \"The character who “writes” the <em>Modest</em><em> Proposal</em> is one, like Gulliver and the hack writer of the <em>Tale</em> volume, that Swift will condemn for moral obtuseness. The “modest” fellow who presents the <em>Proposal</em> invites our confidence (as Gulliver does), by a conversational and polite tone and by an appearance of common sense and objectivity, only to betray it (as does Gulliver also).\" (Hunting)  Which is very true; the works are very similar for obvious reasons, but are both unique from most other politically motivated literature of the time.  As said before many who were writing did not write in such a satirical way except when they discovered some forms in the east.\r\n\r\nAnother piece of work that is similar to this is Upton Sinclair\'s \"The jungle\".  It is another piece of work that is politically driven for change and described as, \"novel about the ravages of the meatpacking industry in Chicago on the lives of nonunionized labor was instrumental in leading to reforms.\" (Albrecht) Not only does he address the issues that surround the labor force of men it also discusses, \"the ubiquitous prevalence of disability among children of the working classes.\" (Albrecht)  The two works could not be more similar.  They are speaking about poor conditions for not only the adult commonwealth, but the unfortunate circumstances that children of that time are going through to survive.\r\n\r\nThe most significant thing that future generations should be aware of is how dark things must have been for someone to even put these words on paper.  Swift was so tired of seeing all the depravity running rampant, woman trading sex for food, and starving children running around stealing for food.  So he wrote this work to criticize the world he was living in.  Proposing that rather than have these children even grow up and experience this life it was better that we eat them.  This is so startling it is not funny.  He was not serious saying he would actually eat children but it would be a better alternative for them to just be eaten.\r\n\r\nSwift’s work is nothing but pure genius.  He uses an out there writing style to criticize his government who is letting his country run itself into the ground.  He spoke out anonymously but the words had meaning without people being able to put a face to the words.  It caught the attention of many with its abrasive plan on how to tackle the wide spread poverty and overpopulation.  It enthralled the reader in unspeakable things only to reveal its true purpose at the end.  “A Modest Proposal” is a great piece of literature that should be preserved due to the stand it makes against a government letting its country waste away.\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\n            Albrecht , Gary L.. \"Upton Sinclair, from The Jungle (1906).\" <em>Encyclopedia of Disability</em>. Ed. Vol. 5. Thousand Oaks, CA: Sage Reference, 2006. 336-338. <em>Gale Virtual Reference Library</em>. Web. 10 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria“The Humanistic Tradition Vol 2” 6<sup>th</sup> edition Page B4.138, 06 October 2011  <a href=\"http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs\">http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs</a>\r\n\r\n&nbsp;\r\n\r\nHunting , Robert. \"Cathedral Dean and Patriot.\" <em>Jonathan Swift, Rev. ed.</em> Boston: Twayne, 1989. 79-93. Twayne\'s English Authors Series 42. <em>Gale Virtual Reference Library</em>. Web. 2 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\n\"Jonathan Swift.\" <em>Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition</em>. Encyclopædia Britannica, 2011. Web. 30 Sep. 2011. &lt;<a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/577008/Jonathan-Swift\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/577008/Jonathan-Swift</a>&gt;.\r\n\r\n&nbsp;\r\n\r\nKnowles, Ronald. <a title=\"Gulliver\'s Travels: The Politics of Satire\" href=\"http://go.galegroup.com/ps/aboutEbook.do?pubDate=119960000&amp;actionString=DO_DISPLAY_ABOUT_PAGE&amp;inPS=true&amp;prodId=GVRL&amp;userGroupName=txshracd2487&amp;searchType=BasicSearchForm&amp;docId=GALE%7C3EYX\">Gulliver\'s Travels: The Politics of Satire</a>. <em>Twayne\'s Masterwork Studies</em> <em>158</em>. New York: Twayne Publishers, 1996. p32-43.Word Count:4023. <em>Gale Virtual Reference Library. </em>Web. 7 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nLynch, J.T. \"Politics and literature in the age of Swift: English and Irish perspectives.\" <em>CHOICE: Current Reviews for Academic Libraries</em> Aug. 2011: 2310. <em>Literature Resource Center</em>. Web. 2 Oct. 2011.  (Quote about swifts literature question 2)\r\n\r\n&nbsp;','Swift\'s \"A Modest Proposal','','inherit','open','open','','1803-revision-6','','','2011-10-10 16:37:12','2011-10-10 22:37:12','',1803,'http://jeanatacc.com/2011/?p=1817',0,'revision','',0),(1818,41,'2011-10-10 16:52:41','2011-10-10 22:52:41','','Romananza','','inherit','open','open','','romananza','','','2011-10-10 16:52:41','2011-10-10 22:52:41','',1749,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza.png',0,'attachment','image/png',0),(1819,41,'2011-10-10 16:52:50','2011-10-10 22:52:50','','Eine Kleine Nachtmusik - Romananza','Eine Kleine Nachtmusik - Romananza http://tinyurl.com/3sevo8b','inherit','open','open','','romananza-2','','','2011-10-10 16:52:50','2011-10-10 22:52:50','',1749,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza1.png',0,'attachment','image/png',0),(1820,41,'2011-10-10 17:00:33','2011-10-10 23:00:33','','Romananza','Mozart\'s Eine Kleine Nachtmusik - 4th Movement - http://tinyurl.com/3sevo8b','inherit','open','open','','romananza-3','','','2011-10-10 17:00:33','2011-10-10 23:00:33','',1749,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza2.png',0,'attachment','image/png',0),(1822,41,'2011-10-10 17:16:08','2011-10-10 23:16:08','','Surprise','','inherit','open','open','','surprise','','','2011-10-10 17:16:08','2011-10-10 23:16:08','',1749,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/Surprise.png',0,'attachment','image/png',0),(1821,41,'2011-10-10 17:04:41','2011-10-10 23:04:41','','Romananza','Mozart\'s Eine Kleine Nachtmusik - 4th Movement - http://tinyurl.com/3sevo8b','inherit','open','open','','romananza-4','','','2011-10-10 17:04:41','2011-10-10 23:04:41','',1749,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png',0,'attachment','image/png',0),(1823,41,'2011-10-10 17:17:18','2011-10-10 23:17:18','','Surprise','Sample CD Cover Haydn\'s \"Surprise\" http://tinyurl.com/3nzbs5v','inherit','open','open','','surprise-2','','','2011-10-10 17:17:18','2011-10-10 23:17:18','',1749,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/Surprise1.png',0,'attachment','image/png',0),(1826,41,'2011-10-10 17:53:36','2011-10-10 23:53:36','[caption id=\"attachment_1774\" align=\"alignleft\" width=\"157\" caption=\"Wolfgang Amadeus Mozart (1756-1791) http://www.biographyonline.net/music/mozart.html\"]<a href=\"http://www.biographyonline.net/music/mozart.html\"><img class=\"size-full wp-image-1774  \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Mozart1.jpg\" alt=\"\" width=\"157\" height=\"205\" /></a>[/caption]\n\nIf Ludwig van Beethoven were alive today he would be mounting a formidable effort to request a prestigious spot in the Classical Music Hall of Fame at the Royal College of Music, for Wolfgang Amadeus Mozart (1756-1791). Many details about the genesis of <em>Eine Kleine Nachtmusik</em> are still a mystery but the fact remains that this piece is the most well-known of Mozart\'s 640+ works. Mozart\'s acclaimed composition created the foundation of classical music in Vienna and is the fundamental reason why Mozart deserves a coveted place in the Classical Music Hall of Fame [Einstein].<!--more-->\nIn 1787, when <em>Eine Kleine Nachtmusik\'s</em> (German translation, \"a little night music\" or \"a little serenade\") was composed, the world was experiencing growing pains due to international commerce, a rising middle class, political upheaval, changes in the Church, and civil unrest. These difficulties washed over Europe and the Americas. The Spanish and Austrian Succession, Seven Years War, American and French Revolutions created a groundswell of democracy and the emergence of an increasingly independent and powerful middle class. This fact, when coupled with the Industrial Revolution, brought about a style of music that abandoned the grandiosity and ornamentation of the Baroque family of styles and, instead, focused on simplistic harmonies and subtle textures. This new style was a direct representation of the ascent of the middle class and the crumbling of the aristocracy [Siepmann].\n\n<em>Eine Kleine Nachtmusik</em> encapsulates the Classical-style because it is a sonata and contains a clearer and more symmetrical expression of emotions. When listening to this music, it feels effortless as if you are drifting or dreaming. When I listened to the piece for the first time I felt at peace. One does not feel as if one needs to<em> do</em> <em>anything</em> except enjoy the flow of the symphony. The economical use of four or five chords and two or three short themes evokes a distinctive departure from previous pretentious styles, like Baroque, and most musical historians believe that this element has roots in the affluent middle-class that was beginning to commission such works for special occasions [Siepmann].\n\n[caption id=\"attachment_1792\" align=\"alignright\" width=\"192\" caption=\"Statue of Boccherini in Pisa, Italy http://tinyurl.com/3kd6r2g\"]<a href=\"http://tinyurl.com/3kd6r2g\"><img class=\"size-full wp-image-1792\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Boccherini.bmp\" alt=\"\" width=\"192\" height=\"173\" /></a>[/caption]\n\nFor example, Luigi Boccherini\'s <em>Minuetto</em> is a perfect example of Baroque-style that the aristocracy adored. It is opulent, ornate and pompous. It was created to impress aristocratic listeners. It is almost impossible to listen to Boccherini\'s piece without tapping your foot or being overwhelmed by the urge to dance or skip around. I am not really sure if this is what Boccerini had in mind but that is my impression. At the time it must have been heart-pounding and impressive.\n\nClick on the following link to listen to Boccherini\'s <em>Minuetto</em>:\n<a href=\"http://www.youtube.com/watch?v=kSE15tLBdso\">Luigi Boccherini\\\'s Minuetto </a>\n\nMozart created <em>Eine Kleine Nachtmusik</em> to cater to the newly affluent middle-class in a way that was elegant, respectful, and tasteful, but definitely not pompous and ornate. His composition was straightforward and melodic. It soothed the audience. It seems worlds apart when compared to Boccherini\'s Baroque-style compositions of just a couple of years prior. According to Stanley Sadie, Mozart\'s string chamber music is more concerned with sensuous beauty of harmony or texture. The new possibilities of symmetry clearly attracted him. Mozart\'s longest four-movement chamber work is generously proportioned in every particular, with spacious, harmonically slow-moving themes and broad structural spans.\"\n\n[caption id=\"attachment_1821\" align=\"alignleft\" width=\"211\" caption=\"Mozart&#039;s Eine Kleine Nachtmusik - 4th Movement - http://tinyurl.com/3sevo8b\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png\"><img class=\"size-full wp-image-1821 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png\" alt=\"\" width=\"211\" height=\"212\" /></a>[/caption]\n\n&nbsp;\n\nClick on the following link to listen to Mozart\'s <em>Eine Kleine Nachtmusik, Romananza</em>, fourth movement:\n<a href=\"http://www.youtube.com/watch?v=2Okl6WSDfLE\">Mozart\'s Eine Kleine Nachtmusik - Romananza</a>\n\nThe structure of <em>Eine Kleine Nachtmusik\'s</em> four movements was innovative and original because, according to Siepmann, \"It is overwhelmingly these [four movements] that have ensured Mozart\'s immortality as a symphonist. In their perfection of form, variety of character, individuality of tone and emotional and spiritual reach, they are like nothing written before them, not even by Haydn.\" He goes on to say that, for the first time in musical history, Mozart \"liberated the wind instruments.\"\n\nWhen this composition was written Mozart was 31 years old, but it was first published posthumously in 1827. Although it is not known who commissioned the piece, it is thought to have originally contained five movements, one of which has been lost forever. Whether the fifth movement was stolen by a music rival or simply destroyed by Mozart will never be known [Einstein].\n\nWhen compared to Haydn\'s <em>Surprise II</em>, Symphony No. 94 in G Major, published in 1791, Mozart\'s compositions show quite a bit more restraint and less aggressive transitions. Although the melodic elements are very similar, Haydn seems to focus on startling (or \"surprising\") his audience, as evidenced by the fortissimo chord at the end of the lovely, and almost mesmerizing, opening theme of the second movement.\n\n[caption id=\"attachment_1823\" align=\"alignright\" width=\"270\" caption=\"Sample CD Cover Haydn&#039;s &quot;Surprise&quot; http://tinyurl.com/3nzbs5v\"]<img class=\"size-full wp-image-1823 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Surprise1.png\" alt=\"\" width=\"270\" height=\"280\" />[/caption]\n\nClick on the following link to listen (be prepared for the \"surprise\" chord) to Haydn\'s Surprise II, Symphony No. 94 in G Major:\n<a href=\"http://www.youtube.com/watch?v=lLjwkamp3lI\">Haydn\\\'s Surprise II, Symphony No. 94 in G Major</a>\n\nWhen <em>Eine Kleine Nachtmusik</em> was composed Mozart was surrounded by deep emotional turmoil. The changing relationship between the Church and the aristocracy was directly affecting him especially since Emperor Joseph II had banned \"loud\" church music (Mozart\'s bread and butter)[Keefe]. He lost two children that year and had met a new student that showed great promise, the sixteen-year-old Ludwig van Beethoven. Mozart was appointed to the Kammer Musik as its sole composer and this left only two composers at Court, Mozart and Antonio Salieri[Keefe]. Mozart had been living beyond his means and therefore, suffering from great financial losses for years. He viewed his appointment as a new start professionally. Salieri and Mozart quickly became musical rivals and stories have long been told about the circumstances of Mozart\'s death which occurred just four years after his appointment to the Kammer Musik. If the stories are true, and Salieri did poison Mozart, then Salieri did not get the result he desired. After Mozart\'s death his music soared in popularity [Sadie].\n\nEven though Mozart was appointed a rather prestigious post in the Italian Court, his pay was minimal, and his ability to sway the fickle public ran hot and cold. He was commissioned to write pieces for wealthy middle-class families and his work was generally well-liked at the time; however, he was seen as just another composer among many. Most of his professional success was never realized until after his death, in 1791, at the young age of thirty-five. Since it is not known who commissioned this piece and because it was not published until 36 years after his death, it is believed that very few people had knowledge of or ever heard the composition performed live by Mozart [Sadie].\n\nToday, when conducting an Internet search of Mozart\'s <em>Eine Kleine Nachtmusik</em>, I found 1.8 million sites related to this one specific work. It has been played by well-known symphony orchestras throughout the world and it is chosen for hundreds of collections of top ten classical compositions. It is amazing to me that Mozart\'s \"throw away\" symphony may have been lost forever and never played or published. Mozart did not seem to value this piece since he did not ever perform it publicly and never delivered it to whomever commissioned the work. It was found amongst a pile of unpublished works that his wife eventually sold after his death. Fiero states, \"Mozart achieved a balance between lyrical invention and formal clarity that brought the classical style to its peak.\" I completely agree with Fiero and feel that although this composer made little money during his lifetime and never received accolades befitting his talent while he was alive, he would certainly deserve a spot in the Classical Music Hall of Fame. Future generations could benefit from his example of spending your life doing what you love even if you don\'t make much money. He was a prodigy (first public performance at Salzburg University in 1761 at age of five. [Sadie]) and grew in to an astounding musical talent that many say was never fully realized. Mozart kept striving for more and succumned to the pressures of trying to fit in and \"keep up with the Jonses\" so he did not leave much for his family upon his unexpected  death. If nothing else, this is an example that we should all do what we love when we chose a career and enjoy every minute of the life we have.\n\nWORKS CITED\nEINSTEIN, Alfred., Mozart: His Character, His Work. Oxford University Press, New York, 1945, p144; p157-159; This is a Biography by a famed scholar of Mozart and I used it to research the simplistic composition of <em>Eine Kleine Nachtmusik</em> and the limited number of keys Mozart selected.\n\nSIEPMANN, Jeremy., Mozart: His Life &amp; Music, Sourcebooks Media Fusion, Naperville, Illinois, 2006, p163-167; p169-171; This is an audio-Biography that I used to research how this piece was innovative or unusual for its time.\n\nKEEFE, Simon., The Cambridge Companion to Mozart, Cambridge University Press, Cambridge, United Kingdom, 2003, p xii-xvii; This is a textbook from college-level courses on Mozart and I used it to research the chronology of Mozart\'s life and learn about the events occurring in his life at the time he composed <em>Eine Kleine Nachtmusik</em>. I also researched his appointment to the Kammer Musik in this book.\n\nSADIE, Stanley., The New Grove: Mozart, Norton, New York, 1980, p108-115; This is a Dictionary of Music and Musicians that I used to research Mozart\'s life and associations in Vienna during the years of 1785 to 1788.\n\nFIERO, Gloria., The Humanist Tradition, Volume Two, Chapter 26, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed October 2-7, 2011. This is a college-level course textbook that I used to learn about Mozart\'s connection to Haydn and different elements that he brought to Classically-styled music.','Mozart in the Hall of Fame?','','inherit','open','open','','1749-revision-11','','','2011-10-10 17:53:36','2011-10-10 23:53:36','',1749,'http://jeanatacc.com/2011/?p=1826',0,'revision','',0),(1827,41,'2011-10-10 17:53:55','2011-10-10 23:53:55','[caption id=\"attachment_1774\" align=\"alignleft\" width=\"157\" caption=\"Wolfgang Amadeus Mozart (1756-1791) http://www.biographyonline.net/music/mozart.html\"]<a href=\"http://www.biographyonline.net/music/mozart.html\"><img class=\"size-full wp-image-1774  \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Mozart1.jpg\" alt=\"\" width=\"157\" height=\"205\" /></a>[/caption]\r\n\r\nIf Ludwig van Beethoven were alive today he would be mounting a formidable effort to request a prestigious spot in the Classical Music Hall of Fame at the Royal College of Music, for Wolfgang Amadeus Mozart (1756-1791). Many details about the genesis of <em>Eine Kleine Nachtmusik</em> are still a mystery but the fact remains that this piece is the most well-known of Mozart\'s 640+ works. Mozart\'s acclaimed composition created the foundation of classical music in Vienna and is the fundamental reason why Mozart deserves a coveted place in the Classical Music Hall of Fame [Einstein].<!--more-->\r\nIn 1787, when <em>Eine Kleine Nachtmusik\'s</em> (German translation, \"a little night music\" or \"a little serenade\") was composed, the world was experiencing growing pains due to international commerce, a rising middle class, political upheaval, changes in the Church, and civil unrest. These difficulties washed over Europe and the Americas. The Spanish and Austrian Succession, Seven Years War, American and French Revolutions created a groundswell of democracy and the emergence of an increasingly independent and powerful middle class. This fact, when coupled with the Industrial Revolution, brought about a style of music that abandoned the grandiosity and ornamentation of the Baroque family of styles and, instead, focused on simplistic harmonies and subtle textures. This new style was a direct representation of the ascent of the middle class and the crumbling of the aristocracy [Siepmann].\r\n\r\n<em>Eine Kleine Nachtmusik</em> encapsulates the Classical-style because it is a sonata and contains a clearer and more symmetrical expression of emotions. When listening to this music, it feels effortless as if you are drifting or dreaming. When I listened to the piece for the first time I felt at peace. One does not feel as if one needs to<em> do</em> <em>anything</em> except enjoy the flow of the symphony. The economical use of four or five chords and two or three short themes evokes a distinctive departure from previous pretentious styles, like Baroque, and most musical historians believe that this element has roots in the affluent middle-class that was beginning to commission such works for special occasions [Siepmann].\r\n\r\n[caption id=\"attachment_1792\" align=\"alignright\" width=\"192\" caption=\"Statue of Boccherini in Pisa, Italy http://tinyurl.com/3kd6r2g\"]<a href=\"http://tinyurl.com/3kd6r2g\"><img class=\"size-full wp-image-1792\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Boccherini.bmp\" alt=\"\" width=\"192\" height=\"173\" /></a>[/caption]\r\n\r\nFor example, Luigi Boccherini\'s <em>Minuetto</em> is a perfect example of Baroque-style that the aristocracy adored. It is opulent, ornate and pompous. It was created to impress aristocratic listeners. It is almost impossible to listen to Boccherini\'s piece without tapping your foot or being overwhelmed by the urge to dance or skip around. I am not really sure if this is what Boccerini had in mind but that is my impression. At the time it must have been heart-pounding and impressive.\r\n\r\nClick on the following link to listen to Boccherini\'s <em>Minuetto</em>:\r\n<a href=\"http://www.youtube.com/watch?v=kSE15tLBdso\">Luigi Boccherini\\\'s Minuetto </a>\r\n\r\nMozart created <em>Eine Kleine Nachtmusik</em> to cater to the newly affluent middle-class in a way that was elegant, respectful, and tasteful, but definitely not pompous and ornate. His composition was straightforward and melodic. It soothed the audience. It seems worlds apart when compared to Boccherini\'s Baroque-style compositions of just a couple of years prior. According to Stanley Sadie, Mozart\'s string chamber music is more concerned with sensuous beauty of harmony or texture. The new possibilities of symmetry clearly attracted him. Mozart\'s longest four-movement chamber work is generously proportioned in every particular, with spacious, harmonically slow-moving themes and broad structural spans.\"\r\n\r\n[caption id=\"attachment_1821\" align=\"alignleft\" width=\"211\" caption=\"Mozart&#039;s Eine Kleine Nachtmusik - 4th Movement - http://tinyurl.com/3sevo8b\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png\"><img class=\"size-full wp-image-1821 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png\" alt=\"\" width=\"211\" height=\"212\" /></a>[/caption]\r\n\r\n&nbsp;\r\n\r\nClick on the following link to listen to Mozart\'s <em>Eine Kleine Nachtmusik, Romananza</em>, fourth movement:\r\n<a href=\"http://www.youtube.com/watch?v=2Okl6WSDfLE\">Mozart\'s Eine Kleine Nachtmusik - Romananza</a>\r\n\r\nThe structure of <em>Eine Kleine Nachtmusik\'s</em> four movements was innovative and original because, according to Siepmann, \"It is overwhelmingly these [four movements] that have ensured Mozart\'s immortality as a symphonist. In their perfection of form, variety of character, individuality of tone and emotional and spiritual reach, they are like nothing written before them, not even by Haydn.\" He goes on to say that, for the first time in musical history, Mozart \"liberated the wind instruments.\"\r\n\r\nWhen this composition was written Mozart was 31 years old, but it was first published posthumously in 1827. Although it is not known who commissioned the piece, it is thought to have originally contained five movements, one of which has been lost forever. Whether the fifth movement was stolen by a music rival or simply destroyed by Mozart will never be known [Einstein].\r\n\r\nWhen compared to Haydn\'s <em>Surprise II</em>, Symphony No. 94 in G Major, published in 1791, Mozart\'s compositions show quite a bit more restraint and less aggressive transitions. Although the melodic elements are very similar, Haydn seems to focus on startling (or \"surprising\") his audience, as evidenced by the fortissimo chord at the end of the lovely, and almost mesmerizing, opening theme of the second movement.\r\n\r\n[caption id=\"attachment_1823\" align=\"alignright\" width=\"270\" caption=\"Sample CD Cover Haydn&#039;s &quot;Surprise&quot; http://tinyurl.com/3nzbs5v\"]<img class=\"size-full wp-image-1823 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Surprise1.png\" alt=\"\" width=\"270\" height=\"280\" />[/caption]\r\n\r\nClick on the following link to listen (be prepared for the \"surprise\" chord) to Haydn\'s Surprise II, Symphony No. 94 in G Major:\r\n<a href=\"http://www.youtube.com/watch?v=lLjwkamp3lI\">Haydn\\\'s Surprise II, Symphony No. 94 in G Major</a>\r\n\r\nWhen <em>Eine Kleine Nachtmusik</em> was composed Mozart was surrounded by deep emotional turmoil. The changing relationship between the Church and the aristocracy was directly affecting him especially since Emperor Joseph II had banned \"loud\" church music (Mozart\'s bread and butter)[Keefe]. He lost two children that year and had met a new student that showed great promise, the sixteen-year-old Ludwig van Beethoven. Mozart was appointed to the Kammer Musik as its sole composer and this left only two composers at Court, Mozart and Antonio Salieri[Keefe]. Mozart had been living beyond his means and therefore, suffering from great financial losses for years. He viewed his appointment as a new start professionally. Salieri and Mozart quickly became musical rivals and stories have long been told about the circumstances of Mozart\'s death which occurred just four years after his appointment to the Kammer Musik. If the stories are true, and Salieri did poison Mozart, then Salieri did not get the result he desired. After Mozart\'s death his music soared in popularity [Sadie].\r\n\r\nEven though Mozart was appointed a rather prestigious post in the Italian Court, his pay was minimal, and his ability to sway the fickle public ran hot and cold. He was commissioned to write pieces for wealthy middle-class families and his work was generally well-liked at the time; however, he was seen as just another composer among many. Most of his professional success was never realized until after his death, in 1791, at the young age of thirty-five. Since it is not known who commissioned this piece and because it was not published until 36 years after his death, it is believed that very few people had knowledge of or ever heard the composition performed live by Mozart [Sadie].\r\n\r\nToday, when conducting an Internet search of Mozart\'s <em>Eine Kleine Nachtmusik</em>, I found 1.8 million sites related to this one specific work. It has been played by well-known symphony orchestras throughout the world and it is chosen for hundreds of collections of top ten classical compositions. It is amazing to me that Mozart\'s \"throw away\" symphony may have been lost forever and never played or published. Mozart did not seem to value this piece since he did not ever perform it publicly and never delivered it to whomever commissioned the work. It was found amongst a pile of unpublished works that his wife eventually sold after his death. Fiero states, \"Mozart achieved a balance between lyrical invention and formal clarity that brought the classical style to its peak.\" I completely agree with Fiero and feel that although this composer made little money during his lifetime and never received accolades befitting his talent while he was alive, he would certainly deserve a spot in the Classical Music Hall of Fame. Future generations could benefit from his example of spending your life doing what you love even if you don\'t make much money. He was a prodigy (first public performance at Salzburg University in 1761 at age of five. [Sadie]) and grew in to an astounding musical talent that many say was never fully realized. Mozart kept striving for more and succumned to the pressures of trying to fit in and \"keep up with the Jonses\" so he did not leave much for his family upon his unexpected  death. If nothing else, this is an example that we should all do what we love when we chose a career and enjoy every minute of the life we have.\r\n\r\nWORKS CITED\r\nEINSTEIN, Alfred., Mozart: His Character, His Work. Oxford University Press, New York, 1945, p144; p157-159; This is a Biography by a famed scholar of Mozart and I used it to research the simplistic composition of <em>Eine Kleine Nachtmusik</em> and the limited number of keys Mozart selected.\r\n\r\nSIEPMANN, Jeremy., Mozart: His Life &amp; Music, Sourcebooks Media Fusion, Naperville, Illinois, 2006, p163-167; p169-171; This is an audio-Biography that I used to research how this piece was innovative or unusual for its time.\r\n\r\nKEEFE, Simon., The Cambridge Companion to Mozart, Cambridge University Press, Cambridge, United Kingdom, 2003, p xii-xvii; This is a textbook from college-level courses on Mozart and I used it to research the chronology of Mozart\'s life and learn about the events occurring in his life at the time he composed <em>Eine Kleine Nachtmusik</em>. I also researched his appointment to the Kammer Musik in this book.\r\n\r\nSADIE, Stanley., The New Grove: Mozart, Norton, New York, 1980, p108-115; This is a Dictionary of Music and Musicians that I used to research Mozart\'s life and associations in Vienna during the years of 1785 to 1788.\r\n\r\nFIERO, Gloria., The Humanist Tradition, Volume Two, Chapter 26, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed October 2-7, 2011. This is a college-level course textbook that I used to learn about Mozart\'s connection to Haydn and different elements that he brought to Classically-styled music.','Mozart in the Hall of Fame?','','inherit','open','open','','1749-revision-12','','','2011-10-10 17:53:55','2011-10-10 23:53:55','',1749,'http://jeanatacc.com/2011/?p=1827',0,'revision','',0),(1828,41,'2011-10-10 17:54:06','2011-10-10 23:54:06','[caption id=\"attachment_1774\" align=\"alignleft\" width=\"157\" caption=\"Wolfgang Amadeus Mozart (1756-1791) http://www.biographyonline.net/music/mozart.html\"]<a href=\"http://www.biographyonline.net/music/mozart.html\"><img class=\"size-full wp-image-1774  \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Mozart1.jpg\" alt=\"\" width=\"157\" height=\"205\" /></a>[/caption]\r\n\r\nIf Ludwig van Beethoven were alive today he would be mounting a formidable effort to request a prestigious spot in the Classical Music Hall of Fame at the Royal College of Music, for Wolfgang Amadeus Mozart (1756-1791). Many details about the genesis of <em>Eine Kleine Nachtmusik</em> are still a mystery but the fact remains that this piece is the most well-known of Mozart\'s 640+ works. Mozart\'s acclaimed composition created the foundation of classical music in Vienna and is the fundamental reason why Mozart deserves a coveted place in the Classical Music Hall of Fame [Einstein].<!--more-->\r\nIn 1787, when <em>Eine Kleine Nachtmusik\'s</em> (German translation, \"a little night music\" or \"a little serenade\") was composed, the world was experiencing growing pains due to international commerce, a rising middle class, political upheaval, changes in the Church, and civil unrest. These difficulties washed over Europe and the Americas. The Spanish and Austrian Succession, Seven Years War, American and French Revolutions created a groundswell of democracy and the emergence of an increasingly independent and powerful middle class. This fact, when coupled with the Industrial Revolution, brought about a style of music that abandoned the grandiosity and ornamentation of the Baroque family of styles and, instead, focused on simplistic harmonies and subtle textures. This new style was a direct representation of the ascent of the middle class and the crumbling of the aristocracy [Siepmann].\r\n\r\n<em>Eine Kleine Nachtmusik</em> encapsulates the Classical-style because it is a sonata and contains a clearer and more symmetrical expression of emotions. When listening to this music, it feels effortless as if you are drifting or dreaming. When I listened to the piece for the first time I felt at peace. One does not feel as if one needs to<em> do</em> <em>anything</em> except enjoy the flow of the symphony. The economical use of four or five chords and two or three short themes evokes a distinctive departure from previous pretentious styles, like Baroque, and most musical historians believe that this element has roots in the affluent middle-class that was beginning to commission such works for special occasions [Siepmann].\r\n\r\n[caption id=\"attachment_1792\" align=\"alignright\" width=\"192\" caption=\"Statue of Boccherini in Pisa, Italy http://tinyurl.com/3kd6r2g\"]<a href=\"http://tinyurl.com/3kd6r2g\"><img class=\"size-full wp-image-1792\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Boccherini.bmp\" alt=\"\" width=\"192\" height=\"173\" /></a>[/caption]\r\n\r\nFor example, Luigi Boccherini\'s <em>Minuetto</em> is a perfect example of Baroque-style that the aristocracy adored. It is opulent, ornate and pompous. It was created to impress aristocratic listeners. It is almost impossible to listen to Boccherini\'s piece without tapping your foot or being overwhelmed by the urge to dance or skip around. I am not really sure if this is what Boccerini had in mind but that is my impression. At the time it must have been heart-pounding and impressive.\r\n\r\nClick on the following link to listen to Boccherini\'s <em>Minuetto</em>:\r\n<a href=\"http://www.youtube.com/watch?v=kSE15tLBdso\">Luigi Boccherini\\\'s Minuetto </a>\r\n\r\nMozart created <em>Eine Kleine Nachtmusik</em> to cater to the newly affluent middle-class in a way that was elegant, respectful, and tasteful, but definitely not pompous and ornate. His composition was straightforward and melodic. It soothed the audience. It seems worlds apart when compared to Boccherini\'s Baroque-style compositions of just a couple of years prior. According to Stanley Sadie, Mozart\'s string chamber music is more concerned with sensuous beauty of harmony or texture. The new possibilities of symmetry clearly attracted him. Mozart\'s longest four-movement chamber work is generously proportioned in every particular, with spacious, harmonically slow-moving themes and broad structural spans.\"\r\n\r\n[caption id=\"attachment_1821\" align=\"alignleft\" width=\"211\" caption=\"Mozart&#039;s Eine Kleine Nachtmusik - 4th Movement - http://tinyurl.com/3sevo8b\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png\"><img class=\"size-full wp-image-1821 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png\" alt=\"\" width=\"211\" height=\"212\" /></a>[/caption]\r\n\r\n&nbsp;\r\n\r\nClick on the following link to listen to Mozart\'s <em>Eine Kleine Nachtmusik, Romananza</em>, fourth movement:\r\n<a href=\"http://www.youtube.com/watch?v=2Okl6WSDfLE\">Mozart\'s Eine Kleine Nachtmusik - Romananza</a>\r\n\r\nThe structure of <em>Eine Kleine Nachtmusik\'s</em> four movements was innovative and original because, according to Siepmann, \"It is overwhelmingly these [four movements] that have ensured Mozart\'s immortality as a symphonist. In their perfection of form, variety of character, individuality of tone and emotional and spiritual reach, they are like nothing written before them, not even by Haydn.\" He goes on to say that, for the first time in musical history, Mozart \"liberated the wind instruments.\"\r\n\r\nWhen this composition was written Mozart was 31 years old, but it was first published posthumously in 1827. Although it is not known who commissioned the piece, it is thought to have originally contained five movements, one of which has been lost forever. Whether the fifth movement was stolen by a music rival or simply destroyed by Mozart will never be known [Einstein].\r\n\r\nWhen compared to Haydn\'s <em>Surprise II</em>, Symphony No. 94 in G Major, published in 1791, Mozart\'s compositions show quite a bit more restraint and less aggressive transitions. Although the melodic elements are very similar, Haydn seems to focus on startling (or \"surprising\") his audience, as evidenced by the fortissimo chord at the end of the lovely, and almost mesmerizing, opening theme of the second movement.\r\n\r\n[caption id=\"attachment_1823\" align=\"alignright\" width=\"270\" caption=\"Sample CD Cover Haydn&#039;s &quot;Surprise&quot; http://tinyurl.com/3nzbs5v\"]<img class=\"size-full wp-image-1823 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Surprise1.png\" alt=\"\" width=\"270\" height=\"280\" />[/caption]\r\n\r\nClick on the following link to listen (be prepared for the \"surprise\" chord) to Haydn\'s Surprise II, Symphony No. 94 in G Major:\r\n<a href=\"http://www.youtube.com/watch?v=lLjwkamp3lI\">Haydn\\\'s Surprise II, Symphony No. 94 in G Major</a>\r\n\r\nWhen <em>Eine Kleine Nachtmusik</em> was composed Mozart was surrounded by deep emotional turmoil. The changing relationship between the Church and the aristocracy was directly affecting him especially since Emperor Joseph II had banned \"loud\" church music (Mozart\'s bread and butter)[Keefe]. He lost two children that year and had met a new student that showed great promise, the sixteen-year-old Ludwig van Beethoven. Mozart was appointed to the Kammer Musik as its sole composer and this left only two composers at Court, Mozart and Antonio Salieri[Keefe]. Mozart had been living beyond his means and therefore, suffering from great financial losses for years. He viewed his appointment as a new start professionally. Salieri and Mozart quickly became musical rivals and stories have long been told about the circumstances of Mozart\'s death which occurred just four years after his appointment to the Kammer Musik. If the stories are true, and Salieri did poison Mozart, then Salieri did not get the result he desired. After Mozart\'s death his music soared in popularity [Sadie].\r\n\r\nEven though Mozart was appointed a rather prestigious post in the Italian Court, his pay was minimal, and his ability to sway the fickle public ran hot and cold. He was commissioned to write pieces for wealthy middle-class families and his work was generally well-liked at the time; however, he was seen as just another composer among many. Most of his professional success was never realized until after his death, in 1791, at the young age of thirty-five. Since it is not known who commissioned this piece and because it was not published until 36 years after his death, it is believed that very few people had knowledge of or ever heard the composition performed live by Mozart [Sadie].\r\n\r\nToday, when conducting an Internet search of Mozart\'s <em>Eine Kleine Nachtmusik</em>, I found 1.8 million sites related to this one specific work. It has been played by well-known symphony orchestras throughout the world and it is chosen for hundreds of collections of top ten classical compositions. It is amazing to me that Mozart\'s \"throw away\" symphony may have been lost forever and never played or published. Mozart did not seem to value this piece since he did not ever perform it publicly and never delivered it to whomever commissioned the work. It was found amongst a pile of unpublished works that his wife eventually sold after his death. Fiero states, \"Mozart achieved a balance between lyrical invention and formal clarity that brought the classical style to its peak.\" I completely agree with Fiero and feel that although this composer made little money during his lifetime and never received accolades befitting his talent while he was alive, he would certainly deserve a spot in the Classical Music Hall of Fame. Future generations could benefit from his example of spending your life doing what you love even if you don\'t make much money. He was a prodigy (first public performance at Salzburg University in 1761 at age of five. [Sadie]) and grew in to an astounding musical talent that many say was never fully realized. Mozart kept striving for more and succumned to the pressures of trying to fit in and \"keep up with the Jonses\" so he did not leave much for his family upon his unexpected  death. If nothing else, this is an example that we should all do what we love when we chose a career and enjoy every minute of the life we have.\r\n\r\nWORKS CITED\r\nEINSTEIN, Alfred., Mozart: His Character, His Work. Oxford University Press, New York, 1945, p144; p157-159; This is a Biography by a famed scholar of Mozart and I used it to research the simplistic composition of <em>Eine Kleine Nachtmusik</em> and the limited number of keys Mozart selected.\r\n\r\nSIEPMANN, Jeremy., Mozart: His Life &amp; Music, Sourcebooks Media Fusion, Naperville, Illinois, 2006, p163-167; p169-171; This is an audio-Biography that I used to research how this piece was innovative or unusual for its time.\r\n\r\nKEEFE, Simon., The Cambridge Companion to Mozart, Cambridge University Press, Cambridge, United Kingdom, 2003, p xii-xvii; This is a textbook from college-level courses on Mozart and I used it to research the chronology of Mozart\'s life and learn about the events occurring in his life at the time he composed <em>Eine Kleine Nachtmusik</em>. I also researched his appointment to the Kammer Musik in this book.\r\n\r\nSADIE, Stanley., The New Grove: Mozart, Norton, New York, 1980, p108-115; This is a Dictionary of Music and Musicians that I used to research Mozart\'s life and associations in Vienna during the years of 1785 to 1788.\r\n\r\nFIERO, Gloria., The Humanist Tradition, Volume Two, Chapter 26, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed October 2-7, 2011. This is a college-level course textbook that I used to learn about Mozart\'s connection to Haydn and different elements that he brought to Classically-styled music.','Mozart in the Hall of Fame?','','inherit','open','open','','1749-revision-13','','','2011-10-10 17:54:06','2011-10-10 23:54:06','',1749,'http://jeanatacc.com/2011/?p=1828',0,'revision','',0),(1829,41,'2011-10-10 17:55:27','2011-10-10 23:55:27','[caption id=\"attachment_1774\" align=\"alignleft\" width=\"157\" caption=\"Wolfgang Amadeus Mozart (1756-1791) http://www.biographyonline.net/music/mozart.html\"]<a href=\"http://www.biographyonline.net/music/mozart.html\"><img class=\"size-full wp-image-1774  \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Mozart1.jpg\" alt=\"\" width=\"157\" height=\"205\" /></a>[/caption]\r\n\r\nIf Ludwig van Beethoven were alive today he would be mounting a formidable effort to request a prestigious spot in the Classical Music Hall of Fame at the Royal College of Music, for Wolfgang Amadeus Mozart (1756-1791). Many details about the genesis of <em>Eine Kleine Nachtmusik</em> are still a mystery but the fact remains that this piece is the most well-known of Mozart\'s 640+ works. Mozart\'s acclaimed composition created the foundation of classical music in Vienna and is the fundamental reason why Mozart deserves a coveted place in the Classical Music Hall of Fame [Einstein].<!--more-->\r\nIn 1787, when <em>Eine Kleine Nachtmusik\'s</em> (German translation, \"a little night music\" or \"a little serenade\") was composed, the world was experiencing growing pains due to international commerce, a rising middle class, political upheaval, changes in the Church, and civil unrest. These difficulties washed over Europe and the Americas. The Spanish and Austrian Succession, Seven Years War, American and French Revolutions created a groundswell of democracy and the emergence of an increasingly independent and powerful middle class. This fact, when coupled with the Industrial Revolution, brought about a style of music that abandoned the grandiosity and ornamentation of the Baroque family of styles and, instead, focused on simplistic harmonies and subtle textures. This new style was a direct representation of the ascent of the middle class and the crumbling of the aristocracy [Siepmann].\r\n\r\n<em>Eine Kleine Nachtmusik</em> encapsulates the Classical-style because it is a sonata and contains a clearer and more symmetrical expression of emotions. When listening to this music, it feels effortless as if you are drifting or dreaming. When I listened to the piece for the first time I felt at peace. One does not feel as if one needs to<em> do</em> <em>anything</em> except enjoy the flow of the symphony. The economical use of four or five chords and two or three short themes evokes a distinctive departure from previous pretentious styles, like Baroque, and most musical historians believe that this element has roots in the affluent middle-class that was beginning to commission such works for special occasions [Siepmann].\r\n\r\n[caption id=\"attachment_1792\" align=\"alignright\" width=\"192\" caption=\"Statue of Boccherini in Pisa, Italy http://tinyurl.com/3kd6r2g\"]<a href=\"http://tinyurl.com/3kd6r2g\"><img class=\"size-full wp-image-1792\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Boccherini.bmp\" alt=\"\" width=\"192\" height=\"173\" /></a>[/caption]\r\n\r\nFor example, Luigi Boccherini\'s <em>Minuetto</em> is a perfect example of Baroque-style that the aristocracy adored. It is opulent, ornate and pompous. It was created to impress aristocratic listeners. It is almost impossible to listen to Boccherini\'s piece without tapping your foot or being overwhelmed by the urge to dance or skip around. I am not really sure if this is what Boccerini had in mind but that is my impression. At the time it must have been heart-pounding and impressive.\r\n\r\nClick on the following link to listen to Boccherini\'s <em>Minuetto</em>:\r\n<a href=\"http://www.youtube.com/watch?v=kSE15tLBdso\">Luigi Boccherini\\\'s Minuetto </a>\r\n\r\nMozart created <em>Eine Kleine Nachtmusik</em> to cater to the newly affluent middle-class in a way that was elegant, respectful, and tasteful, but definitely not pompous and ornate. His composition was straightforward and melodic. It soothed the audience. It seems worlds apart when compared to Boccherini\'s Baroque-style compositions of just a couple of years prior. According to Stanley Sadie, Mozart\'s string chamber music is more concerned with sensuous beauty of harmony or texture. The new possibilities of symmetry clearly attracted him. Mozart\'s longest four-movement chamber work is generously proportioned in every particular, with spacious, harmonically slow-moving themes and broad structural spans.\"\r\n\r\n[caption id=\"attachment_1821\" align=\"alignleft\" width=\"211\" caption=\"Mozart&#039;s Eine Kleine Nachtmusik - 4th Movement - http://tinyurl.com/3sevo8b\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png\"><img class=\"size-full wp-image-1821 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png\" alt=\"\" width=\"211\" height=\"212\" /></a>[/caption]\r\n\r\n&nbsp;\r\n\r\nClick on the following link to listen to Mozart\'s <em>Eine Kleine Nachtmusik, Romananza</em>, fourth movement:\r\n<a href=\"http://www.youtube.com/watch?v=2Okl6WSDfLE\">Mozart\'s Eine Kleine Nachtmusik - Romananza</a>\r\n\r\nThe structure of <em>Eine Kleine Nachtmusik\'s</em> four movements was innovative and original because, according to Siepmann, \"It is overwhelmingly these [four movements] that have ensured Mozart\'s immortality as a symphonist. In their perfection of form, variety of character, individuality of tone and emotional and spiritual reach, they are like nothing written before them, not even by Haydn.\" He goes on to say that, for the first time in musical history, Mozart \"liberated the wind instruments.\"\r\n\r\nWhen this composition was written Mozart was 31 years old, but it was first published posthumously in 1827. Although it is not known who commissioned the piece, it is thought to have originally contained five movements, one of which has been lost forever. Whether the fifth movement was stolen by a music rival or simply destroyed by Mozart will never be known [Einstein].\r\n\r\nWhen compared to Haydn\'s <em>Surprise II</em>, Symphony No. 94 in G Major, published in 1791, Mozart\'s compositions show quite a bit more restraint and less aggressive transitions. Although the melodic elements are very similar, Haydn seems to focus on startling (or \"surprising\") his audience, as evidenced by the fortissimo chord at the end of the lovely, and almost mesmerizing, opening theme of the second movement.\r\n\r\n[caption id=\"attachment_1823\" align=\"alignright\" width=\"270\" caption=\"Sample CD Cover Haydn&#039;s &quot;Surprise&quot; http://tinyurl.com/3nzbs5v\"]<img class=\"size-full wp-image-1823 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Surprise1.png\" alt=\"\" width=\"270\" height=\"280\" />[/caption]\r\n\r\nClick on the following link to listen (be prepared for the \"surprise\" chord) to Haydn\'s Surprise II, Symphony No. 94 in G Major:\r\n<a href=\"http://www.youtube.com/watch?v=lLjwkamp3lI\">Haydn\\\'s Surprise II, Symphony No. 94 in G Major</a>\r\n\r\nWhen <em>Eine Kleine Nachtmusik</em> was composed Mozart was surrounded by deep emotional turmoil. The changing relationship between the Church and the aristocracy was directly affecting him especially since Emperor Joseph II had banned \"loud\" church music (Mozart\'s bread and butter)[Keefe]. He lost two children that year and had met a new student that showed great promise, the sixteen-year-old Ludwig van Beethoven. Mozart was appointed to the Kammer Musik as its sole composer and this left only two composers at Court, Mozart and Antonio Salieri[Keefe]. Mozart had been living beyond his means and therefore, suffering from great financial losses for years. He viewed his appointment as a new start professionally. Salieri and Mozart quickly became musical rivals and stories have long been told about the circumstances of Mozart\'s death which occurred just four years after his appointment to the Kammer Musik. If the stories are true, and Salieri did poison Mozart, then Salieri did not get the result he desired. After Mozart\'s death his music soared in popularity [Sadie].\r\n\r\nEven though Mozart was appointed a rather prestigious post in the Italian Court, his pay was minimal, and his ability to sway the fickle public ran hot and cold. He was commissioned to write pieces for wealthy middle-class families and his work was generally well-liked at the time; however, he was seen as just another composer among many. Most of his professional success was never realized until after his death, in 1791, at the young age of thirty-five. Since it is not known who commissioned this piece and because it was not published until 36 years after his death, it is believed that very few people had knowledge of or ever heard the composition performed live by Mozart [Sadie].\r\n\r\nToday, when conducting an Internet search of Mozart\'s <em>Eine Kleine Nachtmusik</em>, I found 1.8 million sites related to this one specific work. It has been played by well-known symphony orchestras throughout the world and it is chosen for hundreds of collections of top ten classical compositions. It is amazing to me that Mozart\'s \"throw away\" symphony may have been lost forever and never played or published. Mozart did not seem to value this piece since he did not ever perform it publicly and never delivered it to whomever commissioned the work. It was found amongst a pile of unpublished works that his wife eventually sold after his death. Fiero states, \"Mozart achieved a balance between lyrical invention and formal clarity that brought the classical style to its peak.\" I completely agree with Fiero and feel that although this composer made little money during his lifetime and never received accolades befitting his talent while he was alive, he would certainly deserve a spot in the Classical Music Hall of Fame. Future generations could benefit from his example of spending your life doing what you love even if you don\'t make much money. He was a prodigy (first public performance at Salzburg University in 1761 at age of five. [Sadie]) and grew in to an astounding musical talent that many say was never fully realized. Mozart kept striving for more and succumbed to the pressures of trying to fit in and \"keep up with the Jonses\" so he did not leave much for his family upon his unexpected  death. If nothing else, this is an example that we should all do what we love when we chose a career and enjoy every minute of the life we have.\r\n\r\nWORKS CITED\r\nEINSTEIN, Alfred., Mozart: His Character, His Work. Oxford University Press, New York, 1945, p144; p157-159; This is a Biography by a famed scholar of Mozart and I used it to research the simplistic composition of <em>Eine Kleine Nachtmusik</em> and the limited number of keys Mozart selected.\r\n\r\nSIEPMANN, Jeremy., Mozart: His Life &amp; Music, Sourcebooks Media Fusion, Naperville, Illinois, 2006, p163-167; p169-171; This is an audio-Biography that I used to research how this piece was innovative or unusual for its time.\r\n\r\nKEEFE, Simon., The Cambridge Companion to Mozart, Cambridge University Press, Cambridge, United Kingdom, 2003, p xii-xvii; This is a textbook from college-level courses on Mozart and I used it to research the chronology of Mozart\'s life and learn about the events occurring in his life at the time he composed <em>Eine Kleine Nachtmusik</em>. I also researched his appointment to the Kammer Musik in this book.\r\n\r\nSADIE, Stanley., The New Grove: Mozart, Norton, New York, 1980, p108-115; This is a Dictionary of Music and Musicians that I used to research Mozart\'s life and associations in Vienna during the years of 1785 to 1788.\r\n\r\nFIERO, Gloria., The Humanist Tradition, Volume Two, Chapter 26, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed October 2-7, 2011. This is a college-level course textbook that I used to learn about Mozart\'s connection to Haydn and different elements that he brought to Classically-styled music.','Mozart in the Hall of Fame?','','inherit','open','open','','1749-revision-14','','','2011-10-10 17:55:27','2011-10-10 23:55:27','',1749,'http://jeanatacc.com/2011/?p=1829',0,'revision','',0),(1830,41,'2011-10-10 17:57:25','2011-10-10 23:57:25','[caption id=\"attachment_1774\" align=\"alignleft\" width=\"157\" caption=\"Wolfgang Amadeus Mozart (1756-1791) http://www.biographyonline.net/music/mozart.html\"]<a href=\"http://www.biographyonline.net/music/mozart.html\"><img class=\"size-full wp-image-1774  \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Mozart1.jpg\" alt=\"\" width=\"157\" height=\"205\" /></a>[/caption]\r\n\r\nIf Ludwig van Beethoven were alive today he would be mounting a formidable effort to request a prestigious spot in the Classical Music Hall of Fame at the Royal College of Music, for Wolfgang Amadeus Mozart (1756-1791). Many details about the genesis of <em>Eine Kleine Nachtmusik</em> are still a mystery but the fact remains that this piece is the most well-known of Mozart\'s 640+ works. Mozart\'s acclaimed composition created the foundation of classical music in Vienna and is the fundamental reason why Mozart deserves a coveted place in the Classical Music Hall of Fame [Einstein].<!--more-->\r\n\r\nIn 1787, when <em>Eine Kleine Nachtmusik\'s</em> (German translation, \"a little night music\" or \"a little serenade\") was composed, the world was experiencing growing pains due to international commerce, a rising middle class, political upheaval, changes in the Church, and civil unrest. These difficulties washed over Europe and the Americas. The Spanish and Austrian Succession, Seven Years War, American and French Revolutions created a groundswell of democracy and the emergence of an increasingly independent and powerful middle class. This fact, when coupled with the Industrial Revolution, brought about a style of music that abandoned the grandiosity and ornamentation of the Baroque family of styles and, instead, focused on simplistic harmonies and subtle textures. This new style was a direct representation of the ascent of the middle class and the crumbling of the aristocracy [Siepmann].\r\n\r\n<em>Eine Kleine Nachtmusik</em> encapsulates the Classical-style because it is a sonata and contains a clearer and more symmetrical expression of emotions. When listening to this music, it feels effortless as if you are drifting or dreaming. When I listened to the piece for the first time I felt at peace. One does not feel as if one needs to<em> do</em> <em>anything</em> except enjoy the flow of the symphony. The economical use of four or five chords and two or three short themes evokes a distinctive departure from previous pretentious styles, like Baroque, and most musical historians believe that this element has roots in the affluent middle-class that was beginning to commission such works for special occasions [Siepmann].\r\n\r\n[caption id=\"attachment_1792\" align=\"alignright\" width=\"192\" caption=\"Statue of Boccherini in Pisa, Italy http://tinyurl.com/3kd6r2g\"]<a href=\"http://tinyurl.com/3kd6r2g\"><img class=\"size-full wp-image-1792\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Boccherini.bmp\" alt=\"\" width=\"192\" height=\"173\" /></a>[/caption]\r\n\r\nFor example, Luigi Boccherini\'s <em>Minuetto</em> is a perfect example of Baroque-style that the aristocracy adored. It is opulent, ornate and pompous. It was created to impress aristocratic listeners. It is almost impossible to listen to Boccherini\'s piece without tapping your foot or being overwhelmed by the urge to dance or skip around. I am not really sure if this is what Boccerini had in mind but that is my impression. At the time it must have been heart-pounding and impressive.\r\n\r\nClick on the following link to listen to Boccherini\'s <em>Minuetto</em>:\r\n<a href=\"http://www.youtube.com/watch?v=kSE15tLBdso\">Luigi Boccherini\\\'s Minuetto </a>\r\n\r\nMozart created <em>Eine Kleine Nachtmusik</em> to cater to the newly affluent middle-class in a way that was elegant, respectful, and tasteful, but definitely not pompous and ornate. His composition was straightforward and melodic. It soothed the audience. It seems worlds apart when compared to Boccherini\'s Baroque-style compositions of just a couple of years prior. According to Stanley Sadie, Mozart\'s string chamber music is more concerned with sensuous beauty of harmony or texture. The new possibilities of symmetry clearly attracted him. Mozart\'s longest four-movement chamber work is generously proportioned in every particular, with spacious, harmonically slow-moving themes and broad structural spans.\"\r\n\r\n[caption id=\"attachment_1821\" align=\"alignleft\" width=\"211\" caption=\"Mozart&#039;s Eine Kleine Nachtmusik - 4th Movement - http://tinyurl.com/3sevo8b\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png\"><img class=\"size-full wp-image-1821 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png\" alt=\"\" width=\"211\" height=\"212\" /></a>[/caption]\r\n\r\n&nbsp;\r\n\r\nClick on the following link to listen to Mozart\'s <em>Eine Kleine Nachtmusik, Romananza</em>, fourth movement:\r\n<a href=\"http://www.youtube.com/watch?v=2Okl6WSDfLE\">Mozart\'s Eine Kleine Nachtmusik - Romananza</a>\r\n\r\nThe structure of <em>Eine Kleine Nachtmusik\'s</em> four movements was innovative and original because, according to Siepmann, \"It is overwhelmingly these [four movements] that have ensured Mozart\'s immortality as a symphonist. In their perfection of form, variety of character, individuality of tone and emotional and spiritual reach, they are like nothing written before them, not even by Haydn.\" He goes on to say that, for the first time in musical history, Mozart \"liberated the wind instruments.\"\r\n\r\nWhen this composition was written Mozart was 31 years old, but it was first published posthumously in 1827. Although it is not known who commissioned the piece, it is thought to have originally contained five movements, one of which has been lost forever. Whether the fifth movement was stolen by a music rival or simply destroyed by Mozart will never be known [Einstein].\r\n\r\nWhen compared to Haydn\'s <em>Surprise II</em>, Symphony No. 94 in G Major, published in 1791, Mozart\'s compositions show quite a bit more restraint and less aggressive transitions. Although the melodic elements are very similar, Haydn seems to focus on startling (or \"surprising\") his audience, as evidenced by the fortissimo chord at the end of the lovely, and almost mesmerizing, opening theme of the second movement.\r\n\r\n[caption id=\"attachment_1823\" align=\"alignright\" width=\"270\" caption=\"Sample CD Cover Haydn&#039;s &quot;Surprise&quot; http://tinyurl.com/3nzbs5v\"]<img class=\"size-full wp-image-1823 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Surprise1.png\" alt=\"\" width=\"270\" height=\"280\" />[/caption]\r\n\r\nClick on the following link to listen (be prepared for the \"surprise\" chord) to Haydn\'s Surprise II, Symphony No. 94 in G Major:\r\n<a href=\"http://www.youtube.com/watch?v=lLjwkamp3lI\">Haydn\\\'s Surprise II, Symphony No. 94 in G Major</a>\r\n\r\nWhen <em>Eine Kleine Nachtmusik</em> was composed Mozart was surrounded by deep emotional turmoil. The changing relationship between the Church and the aristocracy was directly affecting him especially since Emperor Joseph II had banned \"loud\" church music (Mozart\'s bread and butter)[Keefe]. He lost two children that year and had met a new student that showed great promise, the sixteen-year-old Ludwig van Beethoven. Mozart was appointed to the Kammer Musik as its sole composer and this left only two composers at Court, Mozart and Antonio Salieri[Keefe]. Mozart had been living beyond his means and therefore, suffering from great financial losses for years. He viewed his appointment as a new start professionally. Salieri and Mozart quickly became musical rivals and stories have long been told about the circumstances of Mozart\'s death which occurred just four years after his appointment to the Kammer Musik. If the stories are true, and Salieri did poison Mozart, then Salieri did not get the result he desired. After Mozart\'s death his music soared in popularity [Sadie].\r\n\r\nEven though Mozart was appointed a rather prestigious post in the Italian Court, his pay was minimal, and his ability to sway the fickle public ran hot and cold. He was commissioned to write pieces for wealthy middle-class families and his work was generally well-liked at the time; however, he was seen as just another composer among many. Most of his professional success was never realized until after his death, in 1791, at the young age of thirty-five. Since it is not known who commissioned this piece and because it was not published until 36 years after his death, it is believed that very few people had knowledge of or ever heard the composition performed live by Mozart [Sadie].\r\n\r\nToday, when conducting an Internet search of Mozart\'s <em>Eine Kleine Nachtmusik</em>, I found 1.8 million sites related to this one specific work. It has been played by well-known symphony orchestras throughout the world and it is chosen for hundreds of collections of top ten classical compositions. It is amazing to me that Mozart\'s \"throw away\" symphony may have been lost forever and never played or published. Mozart did not seem to value this piece since he did not ever perform it publicly and never delivered it to whomever commissioned the work. It was found amongst a pile of unpublished works that his wife eventually sold after his death. Fiero states, \"Mozart achieved a balance between lyrical invention and formal clarity that brought the classical style to its peak.\" I completely agree with Fiero and feel that although this composer made little money during his lifetime and never received accolades befitting his talent while he was alive, he would certainly deserve a spot in the Classical Music Hall of Fame. Future generations could benefit from his example of spending your life doing what you love even if you don\'t make much money. He was a prodigy (first public performance at Salzburg University in 1761 at age of five. [Sadie]) and grew in to an astounding musical talent that many say was never fully realized. Mozart kept striving for more and succumbed to the pressures of trying to fit in and \"keep up with the Jonses\" so he did not leave much for his family upon his unexpected  death. If nothing else, this is an example that we should all do what we love when we chose a career and enjoy every minute of the life we have.\r\n\r\nWORKS CITED\r\nEINSTEIN, Alfred., Mozart: His Character, His Work. Oxford University Press, New York, 1945, p144; p157-159; This is a Biography by a famed scholar of Mozart and I used it to research the simplistic composition of <em>Eine Kleine Nachtmusik</em> and the limited number of keys Mozart selected.\r\n\r\nSIEPMANN, Jeremy., Mozart: His Life &amp; Music, Sourcebooks Media Fusion, Naperville, Illinois, 2006, p163-167; p169-171; This is an audio-Biography that I used to research how this piece was innovative or unusual for its time.\r\n\r\nKEEFE, Simon., The Cambridge Companion to Mozart, Cambridge University Press, Cambridge, United Kingdom, 2003, p xii-xvii; This is a textbook from college-level courses on Mozart and I used it to research the chronology of Mozart\'s life and learn about the events occurring in his life at the time he composed <em>Eine Kleine Nachtmusik</em>. I also researched his appointment to the Kammer Musik in this book.\r\n\r\nSADIE, Stanley., The New Grove: Mozart, Norton, New York, 1980, p108-115; This is a Dictionary of Music and Musicians that I used to research Mozart\'s life and associations in Vienna during the years of 1785 to 1788.\r\n\r\nFIERO, Gloria., The Humanist Tradition, Volume Two, Chapter 26, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed October 2-7, 2011. This is a college-level course textbook that I used to learn about Mozart\'s connection to Haydn and different elements that he brought to Classically-styled music.','Mozart in the Hall of Fame?','','inherit','open','open','','1749-revision-15','','','2011-10-10 17:57:25','2011-10-10 23:57:25','',1749,'http://jeanatacc.com/2011/?p=1830',0,'revision','',0),(1831,41,'2011-10-10 18:05:17','2011-10-11 00:05:17','[caption id=\"attachment_1774\" align=\"alignleft\" width=\"157\" caption=\"Wolfgang Amadeus Mozart (1756-1791) http://www.biographyonline.net/music/mozart.html\"]<a href=\"http://www.biographyonline.net/music/mozart.html\"><img class=\"size-full wp-image-1774  \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Mozart1.jpg\" alt=\"\" width=\"157\" height=\"205\" /></a>[/caption]\r\n\r\nIf Ludwig van Beethoven were alive today he would be mounting a formidable effort to request a prestigious spot in the Classical Music Hall of Fame at the Royal College of Music, for Wolfgang Amadeus Mozart (1756-1791). Many details about the genesis of <em>Eine Kleine Nachtmusik</em> are still a mystery but the fact remains that this piece is the most well-known of Mozart\'s 640+ works. Mozart\'s acclaimed composition created the foundation of classical music in Vienna and is the fundamental reason why Mozart deserves a coveted place in the Classical Music Hall of Fame [Einstein].<!--more-->\r\n\r\nIn 1787, when <em>Eine Kleine Nachtmusik\'s</em> (German translation, \"a little night music\" or \"a little serenade\") was composed, the world was experiencing growing pains due to international commerce, a rising middle class, political upheaval, changes in the Church, and civil unrest. These difficulties washed over Europe and the Americas. The Spanish and Austrian Succession, Seven Years War, American and French Revolutions created a groundswell of democracy and the emergence of an increasingly independent and powerful middle class. This fact, when coupled with the Industrial Revolution, brought about a style of music that abandoned the grandiosity and ornamentation of the Baroque family of styles and, instead, focused on simplistic harmonies and subtle textures. This new style was a direct representation of the ascent of the middle class and the crumbling of the aristocracy [Siepmann].\r\n\r\n<em>Eine Kleine Nachtmusik</em> encapsulates the Classical-style because it is a sonata and contains a clearer and more symmetrical expression of emotions. When listening to this music, it feels effortless as if you are drifting or dreaming. When I listened to the piece for the first time I felt at peace. One does not feel as if one needs to<em> do</em> <em>anything</em> except enjoy the flow of the symphony. The economical use of four or five chords and two or three short themes evokes a distinctive departure from previous pretentious styles, like Baroque, and most musical historians believe that this element has roots in the affluent middle-class that was beginning to commission such works for special occasions [Siepmann].\r\n\r\n[caption id=\"attachment_1792\" align=\"alignright\" width=\"192\" caption=\"Statue of Boccherini in Pisa, Italy http://tinyurl.com/3kd6r2g\"]<a href=\"http://tinyurl.com/3kd6r2g\"><img class=\"size-full wp-image-1792\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Boccherini.bmp\" alt=\"\" width=\"192\" height=\"173\" /></a>[/caption]\r\n\r\nFor example, Luigi Boccherini\'s <em>Minuetto</em> is a perfect example of Baroque-style that the aristocracy adored. It is opulent, ornate and pompous. It was created to impress aristocratic listeners. It is almost impossible to listen to Boccherini\'s piece without tapping your foot or being overwhelmed by the urge to dance or skip around. I am not really sure if this is what Boccerini had in mind but that is my impression. At the time it must have been heart-pounding and impressive.\r\n\r\nClick on the following link to listen to Boccherini\'s <em>Minuetto</em>:\r\n<a href=\"http://www.youtube.com/watch?v=kSE15tLBdso\">Luigi Boccherini\\\'s Minuetto </a>\r\n\r\nMozart created <em>Eine Kleine Nachtmusik</em> to cater to the newly affluent middle-class in a way that was elegant, respectful, and tasteful, but definitely not pompous and ornate. His composition was straightforward and melodic. It soothed the audience. It seems worlds apart when compared to Boccherini\'s Baroque-style compositions of just a couple of years prior. According to Stanley Sadie, \"Mozart\'s string chamber music is more concerned with sensuous beauty of harmony or texture. The new possibilities of symmetry clearly attracted him. Mozart\'s longest four-movement chamber work is generously proportioned in every particular, with spacious, harmonically slow-moving themes and broad structural spans.\"\r\n\r\n[caption id=\"attachment_1821\" align=\"alignleft\" width=\"211\" caption=\"Mozart&#039;s Eine Kleine Nachtmusik - 4th Movement - http://tinyurl.com/3sevo8b\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png\"><img class=\"size-full wp-image-1821 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png\" alt=\"\" width=\"211\" height=\"212\" /></a>[/caption]\r\n\r\n&nbsp;\r\n\r\nClick on the following link to listen to Mozart\'s <em>Eine Kleine Nachtmusik, Romananza</em>, fourth movement:\r\n<a href=\"http://www.youtube.com/watch?v=2Okl6WSDfLE\">Mozart\'s Eine Kleine Nachtmusik - Romananza</a>\r\n\r\nThe structure of <em>Eine Kleine Nachtmusik\'s</em> four movements was innovative and original because, according to Siepmann, \"It is overwhelmingly these [four movements] that have ensured Mozart\'s immortality as a symphonist. In their perfection of form, variety of character, individuality of tone and emotional and spiritual reach, they are like nothing written before them, not even by Haydn.\" He goes on to say that, for the first time in musical history, Mozart \"liberated the wind instruments.\"\r\n\r\nWhen this composition was written Mozart was 31 years old, but it was first published posthumously in 1827. Although it is not known who commissioned the piece, it is thought to have originally contained five movements, one of which has been lost forever. Whether the fifth movement was stolen by a music rival or simply destroyed by Mozart will never be known [Einstein].\r\n\r\nWhen compared to Haydn\'s <em>Surprise II</em>, Symphony No. 94 in G Major, published in 1791, Mozart\'s compositions show quite a bit more restraint and less aggressive transitions. Although the melodic elements are very similar, Haydn seems to focus on startling (or \"surprising\") his audience, as evidenced by the fortissimo chord at the end of the lovely, and almost mesmerizing, opening theme of the second movement.\r\n\r\n[caption id=\"attachment_1823\" align=\"alignright\" width=\"270\" caption=\"Sample CD Cover Haydn&#039;s &quot;Surprise&quot; http://tinyurl.com/3nzbs5v\"]<img class=\"size-full wp-image-1823 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Surprise1.png\" alt=\"\" width=\"270\" height=\"280\" />[/caption]\r\n\r\nClick on the following link to listen (be prepared for the \"surprise\" chord) to Haydn\'s Surprise II, Symphony No. 94 in G Major:\r\n<a href=\"http://www.youtube.com/watch?v=lLjwkamp3lI\">Haydn\\\'s Surprise II, Symphony No. 94 in G Major</a>\r\n\r\nWhen <em>Eine Kleine Nachtmusik</em> was composed Mozart was surrounded by deep emotional turmoil. The changing relationship between the Church and the aristocracy was directly affecting him especially since Emperor Joseph II had banned \"loud\" church music (Mozart\'s bread and butter)[Keefe]. He lost two children that year and had met a new student that showed great promise, the sixteen-year-old Ludwig van Beethoven. Mozart was appointed to the Kammer Musik as its sole composer and this left only two composers at Court, Mozart and Antonio Salieri[Keefe]. Mozart had been living beyond his means and therefore, suffering from great financial losses for years. He viewed his appointment as a new start professionally. Salieri and Mozart quickly became musical rivals and stories have long been told about the circumstances of Mozart\'s death which occurred just four years after his appointment to the Kammer Musik. If the stories are true, and Salieri did poison Mozart, then Salieri did not get the result he desired. After Mozart\'s death his music soared in popularity [Sadie].\r\n\r\nEven though Mozart was appointed a rather prestigious post in the Italian Court, his pay was minimal, and his ability to sway the fickle public ran hot and cold. He was commissioned to write pieces for wealthy middle-class families and his work was generally well-liked at the time; however, he was seen as just another composer among many. Most of his professional success was never realized until after his death, in 1791, at the young age of thirty-five. Since it is not known who commissioned this piece and because it was not published until 36 years after his death, it is believed that very few people had knowledge of or ever heard the composition performed live by Mozart [Sadie].\r\n\r\nToday, when conducting an Internet search of Mozart\'s <em>Eine Kleine Nachtmusik</em>, I found 1.8 million sites related to this one specific work. It has been played by well-known symphony orchestras throughout the world and it is chosen for hundreds of collections of top ten classical compositions. It is amazing to me that Mozart\'s \"throw away\" symphony may have been lost forever and never played or published. Mozart did not seem to value this piece since he did not ever perform it publicly and never delivered it to whomever commissioned the work. It was found amongst a pile of unpublished works that his wife eventually sold after his death. Fiero states, \"Mozart achieved a balance between lyrical invention and formal clarity that brought the classical style to its peak.\" I completely agree with Fiero and feel that although this composer made little money during his lifetime and never received accolades befitting his talent while he was alive, he would certainly deserve a spot in the Classical Music Hall of Fame. Future generations could benefit from his example of spending your life doing what you love even if you don\'t make much money. He was a prodigy (first public performance at Salzburg University in 1761 at age of five. [Sadie]) and grew in to an astounding musical talent that many say was never fully realized. Mozart kept striving for more and succumbed to the pressures of trying to fit in and \"keep up with the Jonses\" so he did not leave much for his family upon his unexpected  death. If nothing else, this is an example that we should all do what we love when we chose a career and enjoy every minute of the life we have.\r\n\r\nWORKS CITED\r\nEINSTEIN, Alfred., Mozart: His Character, His Work. Oxford University Press, New York, 1945, p144; p157-159; This is a Biography by a famed scholar of Mozart and I used it to research the simplistic composition of <em>Eine Kleine Nachtmusik</em> and the limited number of keys Mozart selected.\r\n\r\nSIEPMANN, Jeremy., Mozart: His Life &amp; Music, Sourcebooks Media Fusion, Naperville, Illinois, 2006, p163-167; p169-171; This is an audio-Biography that I used to research how this piece was innovative or unusual for its time.\r\n\r\nKEEFE, Simon., The Cambridge Companion to Mozart, Cambridge University Press, Cambridge, United Kingdom, 2003, p xii-xvii; This is a textbook from college-level courses on Mozart and I used it to research the chronology of Mozart\'s life and learn about the events occurring in his life at the time he composed <em>Eine Kleine Nachtmusik</em>. I also researched his appointment to the Kammer Musik in this book.\r\n\r\nSADIE, Stanley., The New Grove: Mozart, Norton, New York, 1980, p108-115; This is a Dictionary of Music and Musicians that I used to research Mozart\'s life and associations in Vienna during the years of 1785 to 1788.\r\n\r\nFIERO, Gloria., The Humanist Tradition, Volume Two, Chapter 26, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed October 2-7, 2011. This is a college-level course textbook that I used to learn about Mozart\'s connection to Haydn and different elements that he brought to Classically-styled music.','Mozart in the Hall of Fame?','','inherit','open','open','','1749-revision-16','','','2011-10-10 18:05:17','2011-10-11 00:05:17','',1749,'http://jeanatacc.com/2011/?p=1831',0,'revision','',0),(1832,41,'2011-10-10 18:50:40','2011-10-11 00:50:40','[caption id=\"attachment_1774\" align=\"alignleft\" width=\"157\" caption=\"Wolfgang Amadeus Mozart (1756-1791) http://www.biographyonline.net/music/mozart.html\"]<a href=\"http://www.biographyonline.net/music/mozart.html\"><img class=\"size-full wp-image-1774  \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Mozart1.jpg\" alt=\"\" width=\"157\" height=\"205\" /></a>[/caption]\n\nIf Ludwig van Beethoven were alive today he would be mounting a formidable effort to request a prestigious spot in the Classical Music Hall of Fame at the Royal College of Music, for Wolfgang Amadeus Mozart (1756-1791). Many details about the genesis of <em>Eine Kleine Nachtmusik</em> are still a mystery but the fact remains that this piece is the most well-known of Mozart\'s 640+ works. Mozart\'s acclaimed composition created the foundation of classical music in Vienna and is the fundamental reason why Mozart deserves a coveted place in the Classical Music Hall of Fame [Einstein].<!--more-->\n\nIn 1787, when <em>Eine Kleine Nachtmusik\'s</em> (German translation, \"a little night music\" or \"a little serenade\") was composed, the world was experiencing growing pains due to international commerce, a rising middle class, political upheaval, changes in the Church, and civil unrest. These difficulties washed over Europe and the Americas. The Spanish and Austrian Succession, Seven Years War, American and French Revolutions created a groundswell of democracy and the emergence of an increasingly independent and powerful middle class. This fact, when coupled with the Industrial Revolution, brought about a style of music that abandoned the grandiosity and ornamentation of the Baroque family of styles and, instead, focused on simplistic harmonies and subtle textures. This new style was a direct representation of the ascent of the middle class and the crumbling of the aristocracy [Siepmann].\n\n<em>Eine Kleine Nachtmusik</em> encapsulates the Classical-style because it is a sonata and contains a clearer and more symmetrical expression of emotions. When listening to this music, it feels effortless as if you are drifting or dreaming. When I listened to the piece for the first time I felt at peace. One does not feel as if one needs to<em> do</em> <em>anything</em> except enjoy the flow of the symphony. The economical use of four or five chords and two or three short themes evokes a distinctive departure from previous pretentious styles, like Baroque, and most musical historians believe that this element has roots in the affluent middle-class that was beginning to commission such works for special occasions [Siepmann].\n\n[caption id=\"attachment_1792\" align=\"alignright\" width=\"192\" caption=\"Statue of Boccherini in Pisa, Italy http://tinyurl.com/3kd6r2g\"]<a href=\"http://tinyurl.com/3kd6r2g\"><img class=\"size-full wp-image-1792\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Boccherini.bmp\" alt=\"\" width=\"192\" height=\"173\" /></a>[/caption]\n\nFor example, Luigi Boccherini\'s <em>Minuetto</em> is a perfect example of Baroque-style that the aristocracy adored. It is opulent, ornate and pompous. It was created to impress aristocratic listeners. It is almost impossible to listen to Boccherini\'s piece without tapping your foot or being overwhelmed by the urge to dance or skip around. I am not really sure if this is what Boccerini had in mind but that is my impression. At the time it must have been heart-pounding and impressive.\n\nClick on the following link to listen to Boccherini\'s <em>Minuetto</em>:\n<a href=\"http://www.youtube.com/watch?v=kSE15tLBdso\">Luigi Boccherini\\\'s Minuetto </a>\n\nMozart created <em>Eine Kleine Nachtmusik</em> to cater to the newly affluent middle-class in a way that was elegant, respectful, and tasteful, but definitely not pompous and ornate. His composition was straightforward and melodic. It soothed the audience. It seems worlds apart when compared to Boccherini\'s Baroque-style compositions of just a couple of years prior. According to Stanley Sadie, \"Mozart\'s string chamber music is more concerned with sensuous beauty of harmony or texture. The new possibilities of symmetry clearly attracted him. Mozart\'s longest four-movement chamber work is generously proportioned in every particular, with spacious, harmonically slow-moving themes and broad structural spans.\"\n\n[caption id=\"attachment_1821\" align=\"alignleft\" width=\"211\" caption=\"Mozart&#039;s Eine Kleine Nachtmusik - 4th Movement - http://tinyurl.com/3sevo8b\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png\"><img class=\"size-full wp-image-1821 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png\" alt=\"\" width=\"211\" height=\"212\" /></a>[/caption]\n\nClick on the following link to listen to Mozart\'s <em>Eine Kleine Nachtmusik, Romananza</em>, fourth movement:\n<a href=\"http://www.youtube.com/watch?v=2Okl6WSDfLE\">Mozart\'s Eine Kleine Nachtmusik - Romananza</a>\n\nThe structure of <em>Eine Kleine Nachtmusik\'s</em> four movements was innovative and original because, according to Siepmann, \"It is overwhelmingly these [four movements] that have ensured Mozart\'s immortality as a symphonist. In their perfection of form, variety of character, individuality of tone and emotional and spiritual reach, they are like nothing written before them, not even by Haydn.\" He goes on to say that, for the first time in musical history, Mozart \"liberated the wind instruments.\"\n\nWhen this composition was written Mozart was 31 years old, but it was first published posthumously in 1827. Although it is not known who commissioned the piece, it is thought to have originally contained five movements, one of which has been lost forever. Whether the fifth movement was stolen by a music rival or simply destroyed by Mozart will never be known [Einstein].\n\nWhen compared to Haydn\'s <em>Surprise II</em>, Symphony No. 94 in G Major, published in 1791, Mozart\'s compositions show quite a bit more restraint and less aggressive transitions. Although the melodic elements are very similar, Haydn seems to focus on startling (or \"surprising\") his audience, as evidenced by the fortissimo chord at the end of the lovely, and almost mesmerizing, opening theme of the second movement.\n\n[caption id=\"attachment_1823\" align=\"alignright\" width=\"270\" caption=\"Sample CD Cover Haydn&#039;s &quot;Surprise&quot; http://tinyurl.com/3nzbs5v\"]<img class=\"size-full wp-image-1823 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Surprise1.png\" alt=\"\" width=\"270\" height=\"280\" />[/caption]\n\nClick on the following link to listen (be prepared for the \"surprise\" chord) to Haydn\'s Surprise II, Symphony No. 94 in G Major:\n<a href=\"http://www.youtube.com/watch?v=lLjwkamp3lI\">Haydn\\\'s Surprise II, Symphony No. 94 in G Major</a>\n\nWhen <em>Eine Kleine Nachtmusik</em> was composed Mozart was surrounded by deep emotional turmoil. The changing relationship between the Church and the aristocracy was directly affecting him especially since Emperor Joseph II had banned \"loud\" church music (Mozart\'s bread and butter)[Keefe]. He lost two children that year and had met a new student that showed great promise, the sixteen-year-old Ludwig van Beethoven. Mozart was appointed to the Kammer Musik as its sole composer and this left only two composers at Court, Mozart and Antonio Salieri [Keefe]. Mozart had been living beyond his means and had been suffering from great financial losses for years. He viewed his appointment as a new start professionally. Salieri and Mozart quickly became musical rivals and stories have long been told about the circumstances of Mozart\'s death which occurred just four years after his appointment to the Kammer Musik. If the stories are true, and Salieri did poison Mozart, then Salieri did not get the result he desired. After Mozart\'s death his music soared in popularity [Sadie].\n\nEven though Mozart was appointed a rather prestigious post in the Italian Court, his pay was minimal, and his ability to sway the fickle public ran hot and cold. He was commissioned to write pieces for wealthy middle-class families and his work was generally well-liked at the time; however, he was seen as just another composer among many. Most of his professional success was never realized until after his death, in 1791, at the young age of thirty-five. Since it is not known who commissioned this piece and because it was not published until 36 years after his death, it is believed that very few people had knowledge of or ever heard the composition performed live by Mozart [Sadie].\n\nToday, when conducting an Internet search of Mozart\'s <em>Eine Kleine Nachtmusik</em>, I found 1.8 million sites related to this one specific work. It has been played by well-known symphony orchestras throughout the world and it is chosen for hundreds of collections of top ten classical compositions. It is amazing to me that Mozart\'s \"throw away\" symphony may have been lost forever and never played or published. Mozart did not seem to value this piece since he did not ever perform it publicly and never delivered it to whomever commissioned the work. It was found amongst a pile of unpublished works that his wife eventually sold after his death. Fiero states, \"Mozart achieved a balance between lyrical invention and formal clarity that brought the classical style to its peak.\"\n\nI completely agree with Fiero and feel that although this composer made little money during his lifetime and never received accolades befitting his talent while he was alive, he would certainly deserve a spot in the Classical Music Hall of Fame, if there was one. Future generations could benefit from his example of spending your life doing what you love even if you don\'t make much money. He was a prodigy (first public performance at Salzburg University in 1761 at age of five. [Sadie]) and grew in to an astounding musical talent that many say was never fully realized. Mozart kept striving for more and succumbed to the pressures of trying to fit in and \"keep up with the Jonses\" so he did not leave much for his family upon his unexpected  death. If nothing else, this is an example that we should all do what we love when we chose a career and enjoy every minute of the life we have.\n\n&nbsp;\n\nWORKS CITED\nEINSTEIN, Alfred., Mozart: His Character, His Work. Oxford University Press, New York, 1945, p144; p157-159; This is a Biography by a famed scholar of Mozart and I used it to research the simplistic composition of <em>Eine Kleine Nachtmusik</em> and the limited number of keys Mozart selected.\n\nSIEPMANN, Jeremy., Mozart: His Life &amp; Music, Sourcebooks Media Fusion, Naperville, Illinois, 2006, p163-167; p169-171; This is an audio-Biography that I used to research how this piece was innovative or unusual for its time.\n\nKEEFE, Simon., The Cambridge Companion to Mozart, Cambridge University Press, Cambridge, United Kingdom, 2003, p xii-xvii; This is a textbook from college-level courses on Mozart and I used it to research the chronology of Mozart\'s life and learn about the events occurring in his life at the time he composed <em>Eine Kleine Nachtmusik</em>. I also researched his appointment to the Kammer Musik in this book.\n\nSADIE, Stanley., The New Grove: Mozart, Norton, New York, 1980, p108-115; This is a Dictionary of Music and Musicians that I used to research Mozart\'s life and associations in Vienna during the years of 1785 to 1788.\n\nFIERO, Gloria., The Humanist Tradition, Volume Two, Chapter 26, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed October 2-7, 2011. This is a college-level course textbook that I used to learn about Mozart\'s connection to Haydn and different elements that he brought to Classically-styled music.','Mozart in the Hall of Fame?','','inherit','open','open','','1749-autosave','','','2011-10-10 18:50:40','2011-10-11 00:50:40','',1749,'http://jeanatacc.com/2011/?p=1832',0,'revision','',0),(1833,41,'2011-10-10 18:06:43','2011-10-11 00:06:43','[caption id=\"attachment_1774\" align=\"alignleft\" width=\"157\" caption=\"Wolfgang Amadeus Mozart (1756-1791) http://www.biographyonline.net/music/mozart.html\"]<a href=\"http://www.biographyonline.net/music/mozart.html\"><img class=\"size-full wp-image-1774  \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Mozart1.jpg\" alt=\"\" width=\"157\" height=\"205\" /></a>[/caption]\r\n\r\nIf Ludwig van Beethoven were alive today he would be mounting a formidable effort to request a prestigious spot in the Classical Music Hall of Fame at the Royal College of Music, for Wolfgang Amadeus Mozart (1756-1791). Many details about the genesis of <em>Eine Kleine Nachtmusik</em> are still a mystery but the fact remains that this piece is the most well-known of Mozart\'s 640+ works. Mozart\'s acclaimed composition created the foundation of classical music in Vienna and is the fundamental reason why Mozart deserves a coveted place in the Classical Music Hall of Fame [Einstein].<!--more-->\r\n\r\nIn 1787, when <em>Eine Kleine Nachtmusik\'s</em> (German translation, \"a little night music\" or \"a little serenade\") was composed, the world was experiencing growing pains due to international commerce, a rising middle class, political upheaval, changes in the Church, and civil unrest. These difficulties washed over Europe and the Americas. The Spanish and Austrian Succession, Seven Years War, American and French Revolutions created a groundswell of democracy and the emergence of an increasingly independent and powerful middle class. This fact, when coupled with the Industrial Revolution, brought about a style of music that abandoned the grandiosity and ornamentation of the Baroque family of styles and, instead, focused on simplistic harmonies and subtle textures. This new style was a direct representation of the ascent of the middle class and the crumbling of the aristocracy [Siepmann].\r\n\r\n<em>Eine Kleine Nachtmusik</em> encapsulates the Classical-style because it is a sonata and contains a clearer and more symmetrical expression of emotions. When listening to this music, it feels effortless as if you are drifting or dreaming. When I listened to the piece for the first time I felt at peace. One does not feel as if one needs to<em> do</em> <em>anything</em> except enjoy the flow of the symphony. The economical use of four or five chords and two or three short themes evokes a distinctive departure from previous pretentious styles, like Baroque, and most musical historians believe that this element has roots in the affluent middle-class that was beginning to commission such works for special occasions [Siepmann].\r\n\r\n[caption id=\"attachment_1792\" align=\"alignright\" width=\"192\" caption=\"Statue of Boccherini in Pisa, Italy http://tinyurl.com/3kd6r2g\"]<a href=\"http://tinyurl.com/3kd6r2g\"><img class=\"size-full wp-image-1792\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Boccherini.bmp\" alt=\"\" width=\"192\" height=\"173\" /></a>[/caption]\r\n\r\nFor example, Luigi Boccherini\'s <em>Minuetto</em> is a perfect example of Baroque-style that the aristocracy adored. It is opulent, ornate and pompous. It was created to impress aristocratic listeners. It is almost impossible to listen to Boccherini\'s piece without tapping your foot or being overwhelmed by the urge to dance or skip around. I am not really sure if this is what Boccerini had in mind but that is my impression. At the time it must have been heart-pounding and impressive.\r\n\r\nClick on the following link to listen to Boccherini\'s <em>Minuetto</em>:\r\n<a href=\"http://www.youtube.com/watch?v=kSE15tLBdso\">Luigi Boccherini\\\'s Minuetto </a>\r\n\r\nMozart created <em>Eine Kleine Nachtmusik</em> to cater to the newly affluent middle-class in a way that was elegant, respectful, and tasteful, but definitely not pompous and ornate. His composition was straightforward and melodic. It soothed the audience. It seems worlds apart when compared to Boccherini\'s Baroque-style compositions of just a couple of years prior. According to Stanley Sadie, \"Mozart\'s string chamber music is more concerned with sensuous beauty of harmony or texture. The new possibilities of symmetry clearly attracted him. Mozart\'s longest four-movement chamber work is generously proportioned in every particular, with spacious, harmonically slow-moving themes and broad structural spans.\"\r\n\r\n[caption id=\"attachment_1821\" align=\"alignleft\" width=\"211\" caption=\"Mozart&#039;s Eine Kleine Nachtmusik - 4th Movement - http://tinyurl.com/3sevo8b\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png\"><img class=\"size-full wp-image-1821 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png\" alt=\"\" width=\"211\" height=\"212\" /></a>[/caption]\r\n\r\nClick on the following link to listen to Mozart\'s <em>Eine Kleine Nachtmusik, Romananza</em>, fourth movement:\r\n<a href=\"http://www.youtube.com/watch?v=2Okl6WSDfLE\">Mozart\'s Eine Kleine Nachtmusik - Romananza</a>\r\n\r\nThe structure of <em>Eine Kleine Nachtmusik\'s</em> four movements was innovative and original because, according to Siepmann, \"It is overwhelmingly these [four movements] that have ensured Mozart\'s immortality as a symphonist. In their perfection of form, variety of character, individuality of tone and emotional and spiritual reach, they are like nothing written before them, not even by Haydn.\" He goes on to say that, for the first time in musical history, Mozart \"liberated the wind instruments.\"\r\n\r\nWhen this composition was written Mozart was 31 years old, but it was first published posthumously in 1827. Although it is not known who commissioned the piece, it is thought to have originally contained five movements, one of which has been lost forever. Whether the fifth movement was stolen by a music rival or simply destroyed by Mozart will never be known [Einstein].\r\n\r\nWhen compared to Haydn\'s <em>Surprise II</em>, Symphony No. 94 in G Major, published in 1791, Mozart\'s compositions show quite a bit more restraint and less aggressive transitions. Although the melodic elements are very similar, Haydn seems to focus on startling (or \"surprising\") his audience, as evidenced by the fortissimo chord at the end of the lovely, and almost mesmerizing, opening theme of the second movement.\r\n\r\n[caption id=\"attachment_1823\" align=\"alignright\" width=\"270\" caption=\"Sample CD Cover Haydn&#039;s &quot;Surprise&quot; http://tinyurl.com/3nzbs5v\"]<img class=\"size-full wp-image-1823 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Surprise1.png\" alt=\"\" width=\"270\" height=\"280\" />[/caption]\r\n\r\nClick on the following link to listen (be prepared for the \"surprise\" chord) to Haydn\'s Surprise II, Symphony No. 94 in G Major:\r\n<a href=\"http://www.youtube.com/watch?v=lLjwkamp3lI\">Haydn\\\'s Surprise II, Symphony No. 94 in G Major</a>\r\n\r\nWhen <em>Eine Kleine Nachtmusik</em> was composed Mozart was surrounded by deep emotional turmoil. The changing relationship between the Church and the aristocracy was directly affecting him especially since Emperor Joseph II had banned \"loud\" church music (Mozart\'s bread and butter)[Keefe]. He lost two children that year and had met a new student that showed great promise, the sixteen-year-old Ludwig van Beethoven. Mozart was appointed to the Kammer Musik as its sole composer and this left only two composers at Court, Mozart and Antonio Salieri[Keefe]. Mozart had been living beyond his means and therefore, suffering from great financial losses for years. He viewed his appointment as a new start professionally. Salieri and Mozart quickly became musical rivals and stories have long been told about the circumstances of Mozart\'s death which occurred just four years after his appointment to the Kammer Musik. If the stories are true, and Salieri did poison Mozart, then Salieri did not get the result he desired. After Mozart\'s death his music soared in popularity [Sadie].\r\n\r\nEven though Mozart was appointed a rather prestigious post in the Italian Court, his pay was minimal, and his ability to sway the fickle public ran hot and cold. He was commissioned to write pieces for wealthy middle-class families and his work was generally well-liked at the time; however, he was seen as just another composer among many. Most of his professional success was never realized until after his death, in 1791, at the young age of thirty-five. Since it is not known who commissioned this piece and because it was not published until 36 years after his death, it is believed that very few people had knowledge of or ever heard the composition performed live by Mozart [Sadie].\r\n\r\nToday, when conducting an Internet search of Mozart\'s <em>Eine Kleine Nachtmusik</em>, I found 1.8 million sites related to this one specific work. It has been played by well-known symphony orchestras throughout the world and it is chosen for hundreds of collections of top ten classical compositions. It is amazing to me that Mozart\'s \"throw away\" symphony may have been lost forever and never played or published. Mozart did not seem to value this piece since he did not ever perform it publicly and never delivered it to whomever commissioned the work. It was found amongst a pile of unpublished works that his wife eventually sold after his death. Fiero states, \"Mozart achieved a balance between lyrical invention and formal clarity that brought the classical style to its peak.\" I completely agree with Fiero and feel that although this composer made little money during his lifetime and never received accolades befitting his talent while he was alive, he would certainly deserve a spot in the Classical Music Hall of Fame. Future generations could benefit from his example of spending your life doing what you love even if you don\'t make much money. He was a prodigy (first public performance at Salzburg University in 1761 at age of five. [Sadie]) and grew in to an astounding musical talent that many say was never fully realized. Mozart kept striving for more and succumbed to the pressures of trying to fit in and \"keep up with the Jonses\" so he did not leave much for his family upon his unexpected  death. If nothing else, this is an example that we should all do what we love when we chose a career and enjoy every minute of the life we have.\r\n\r\nWORKS CITED\r\nEINSTEIN, Alfred., Mozart: His Character, His Work. Oxford University Press, New York, 1945, p144; p157-159; This is a Biography by a famed scholar of Mozart and I used it to research the simplistic composition of <em>Eine Kleine Nachtmusik</em> and the limited number of keys Mozart selected.\r\n\r\nSIEPMANN, Jeremy., Mozart: His Life &amp; Music, Sourcebooks Media Fusion, Naperville, Illinois, 2006, p163-167; p169-171; This is an audio-Biography that I used to research how this piece was innovative or unusual for its time.\r\n\r\nKEEFE, Simon., The Cambridge Companion to Mozart, Cambridge University Press, Cambridge, United Kingdom, 2003, p xii-xvii; This is a textbook from college-level courses on Mozart and I used it to research the chronology of Mozart\'s life and learn about the events occurring in his life at the time he composed <em>Eine Kleine Nachtmusik</em>. I also researched his appointment to the Kammer Musik in this book.\r\n\r\nSADIE, Stanley., The New Grove: Mozart, Norton, New York, 1980, p108-115; This is a Dictionary of Music and Musicians that I used to research Mozart\'s life and associations in Vienna during the years of 1785 to 1788.\r\n\r\nFIERO, Gloria., The Humanist Tradition, Volume Two, Chapter 26, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed October 2-7, 2011. This is a college-level course textbook that I used to learn about Mozart\'s connection to Haydn and different elements that he brought to Classically-styled music.','Mozart in the Hall of Fame?','','inherit','open','open','','1749-revision-17','','','2011-10-10 18:06:43','2011-10-11 00:06:43','',1749,'http://jeanatacc.com/2011/?p=1833',0,'revision','',0),(1834,41,'2011-10-10 18:14:33','2011-10-11 00:14:33','[caption id=\"attachment_1774\" align=\"alignleft\" width=\"157\" caption=\"Wolfgang Amadeus Mozart (1756-1791) http://www.biographyonline.net/music/mozart.html\"]<a href=\"http://www.biographyonline.net/music/mozart.html\"><img class=\"size-full wp-image-1774  \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Mozart1.jpg\" alt=\"\" width=\"157\" height=\"205\" /></a>[/caption]\r\n\r\nIf Ludwig van Beethoven were alive today he would be mounting a formidable effort to request a prestigious spot in the Classical Music Hall of Fame at the Royal College of Music, for Wolfgang Amadeus Mozart (1756-1791). Many details about the genesis of <em>Eine Kleine Nachtmusik</em> are still a mystery but the fact remains that this piece is the most well-known of Mozart\'s 640+ works. Mozart\'s acclaimed composition created the foundation of classical music in Vienna and is the fundamental reason why Mozart deserves a coveted place in the Classical Music Hall of Fame [Einstein].<!--more-->\r\n\r\nIn 1787, when <em>Eine Kleine Nachtmusik\'s</em> (German translation, \"a little night music\" or \"a little serenade\") was composed, the world was experiencing growing pains due to international commerce, a rising middle class, political upheaval, changes in the Church, and civil unrest. These difficulties washed over Europe and the Americas. The Spanish and Austrian Succession, Seven Years War, American and French Revolutions created a groundswell of democracy and the emergence of an increasingly independent and powerful middle class. This fact, when coupled with the Industrial Revolution, brought about a style of music that abandoned the grandiosity and ornamentation of the Baroque family of styles and, instead, focused on simplistic harmonies and subtle textures. This new style was a direct representation of the ascent of the middle class and the crumbling of the aristocracy [Siepmann].\r\n\r\n<em>Eine Kleine Nachtmusik</em> encapsulates the Classical-style because it is a sonata and contains a clearer and more symmetrical expression of emotions. When listening to this music, it feels effortless as if you are drifting or dreaming. When I listened to the piece for the first time I felt at peace. One does not feel as if one needs to<em> do</em> <em>anything</em> except enjoy the flow of the symphony. The economical use of four or five chords and two or three short themes evokes a distinctive departure from previous pretentious styles, like Baroque, and most musical historians believe that this element has roots in the affluent middle-class that was beginning to commission such works for special occasions [Siepmann].\r\n\r\n[caption id=\"attachment_1792\" align=\"alignright\" width=\"192\" caption=\"Statue of Boccherini in Pisa, Italy http://tinyurl.com/3kd6r2g\"]<a href=\"http://tinyurl.com/3kd6r2g\"><img class=\"size-full wp-image-1792\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Boccherini.bmp\" alt=\"\" width=\"192\" height=\"173\" /></a>[/caption]\r\n\r\nFor example, Luigi Boccherini\'s <em>Minuetto</em> is a perfect example of Baroque-style that the aristocracy adored. It is opulent, ornate and pompous. It was created to impress aristocratic listeners. It is almost impossible to listen to Boccherini\'s piece without tapping your foot or being overwhelmed by the urge to dance or skip around. I am not really sure if this is what Boccerini had in mind but that is my impression. At the time it must have been heart-pounding and impressive.\r\n\r\nClick on the following link to listen to Boccherini\'s <em>Minuetto</em>:\r\n<a href=\"http://www.youtube.com/watch?v=kSE15tLBdso\">Luigi Boccherini\\\'s Minuetto </a>\r\n\r\nMozart created <em>Eine Kleine Nachtmusik</em> to cater to the newly affluent middle-class in a way that was elegant, respectful, and tasteful, but definitely not pompous and ornate. His composition was straightforward and melodic. It soothed the audience. It seems worlds apart when compared to Boccherini\'s Baroque-style compositions of just a couple of years prior. According to Stanley Sadie, \"Mozart\'s string chamber music is more concerned with sensuous beauty of harmony or texture. The new possibilities of symmetry clearly attracted him. Mozart\'s longest four-movement chamber work is generously proportioned in every particular, with spacious, harmonically slow-moving themes and broad structural spans.\"\r\n\r\n[caption id=\"attachment_1821\" align=\"alignleft\" width=\"211\" caption=\"Mozart&#039;s Eine Kleine Nachtmusik - 4th Movement - http://tinyurl.com/3sevo8b\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png\"><img class=\"size-full wp-image-1821 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png\" alt=\"\" width=\"211\" height=\"212\" /></a>[/caption]\r\n\r\nClick on the following link to listen to Mozart\'s <em>Eine Kleine Nachtmusik, Romananza</em>, fourth movement:\r\n<a href=\"http://www.youtube.com/watch?v=2Okl6WSDfLE\">Mozart\'s Eine Kleine Nachtmusik - Romananza</a>\r\n\r\nThe structure of <em>Eine Kleine Nachtmusik\'s</em> four movements was innovative and original because, according to Siepmann, \"It is overwhelmingly these [four movements] that have ensured Mozart\'s immortality as a symphonist. In their perfection of form, variety of character, individuality of tone and emotional and spiritual reach, they are like nothing written before them, not even by Haydn.\" He goes on to say that, for the first time in musical history, Mozart \"liberated the wind instruments.\"\r\n\r\nWhen this composition was written Mozart was 31 years old, but it was first published posthumously in 1827. Although it is not known who commissioned the piece, it is thought to have originally contained five movements, one of which has been lost forever. Whether the fifth movement was stolen by a music rival or simply destroyed by Mozart will never be known [Einstein].\r\n\r\nWhen compared to Haydn\'s <em>Surprise II</em>, Symphony No. 94 in G Major, published in 1791, Mozart\'s compositions show quite a bit more restraint and less aggressive transitions. Although the melodic elements are very similar, Haydn seems to focus on startling (or \"surprising\") his audience, as evidenced by the fortissimo chord at the end of the lovely, and almost mesmerizing, opening theme of the second movement.\r\n\r\n[caption id=\"attachment_1823\" align=\"alignright\" width=\"270\" caption=\"Sample CD Cover Haydn&#039;s &quot;Surprise&quot; http://tinyurl.com/3nzbs5v\"]<img class=\"size-full wp-image-1823 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Surprise1.png\" alt=\"\" width=\"270\" height=\"280\" />[/caption]\r\n\r\nClick on the following link to listen (be prepared for the \"surprise\" chord) to Haydn\'s Surprise II, Symphony No. 94 in G Major:\r\n<a href=\"http://www.youtube.com/watch?v=lLjwkamp3lI\">Haydn\\\'s Surprise II, Symphony No. 94 in G Major</a>\r\n\r\nWhen <em>Eine Kleine Nachtmusik</em> was composed Mozart was surrounded by deep emotional turmoil. The changing relationship between the Church and the aristocracy was directly affecting him especially since Emperor Joseph II had banned \"loud\" church music (Mozart\'s bread and butter)[Keefe]. He lost two children that year and had met a new student that showed great promise, the sixteen-year-old Ludwig van Beethoven. Mozart was appointed to the Kammer Musik as its sole composer and this left only two composers at Court, Mozart and Antonio Salieri [Keefe]. Mozart had been living beyond his means and had been suffering from great financial losses for years. He viewed his appointment as a new start professionally. Salieri and Mozart quickly became musical rivals and stories have long been told about the circumstances of Mozart\'s death which occurred just four years after his appointment to the Kammer Musik. If the stories are true, and Salieri did poison Mozart, then Salieri did not get the result he desired. After Mozart\'s death his music soared in popularity [Sadie].\r\n\r\nEven though Mozart was appointed a rather prestigious post in the Italian Court, his pay was minimal, and his ability to sway the fickle public ran hot and cold. He was commissioned to write pieces for wealthy middle-class families and his work was generally well-liked at the time; however, he was seen as just another composer among many. Most of his professional success was never realized until after his death, in 1791, at the young age of thirty-five. Since it is not known who commissioned this piece and because it was not published until 36 years after his death, it is believed that very few people had knowledge of or ever heard the composition performed live by Mozart [Sadie].\r\n\r\nToday, when conducting an Internet search of Mozart\'s <em>Eine Kleine Nachtmusik</em>, I found 1.8 million sites related to this one specific work. It has been played by well-known symphony orchestras throughout the world and it is chosen for hundreds of collections of top ten classical compositions. It is amazing to me that Mozart\'s \"throw away\" symphony may have been lost forever and never played or published. Mozart did not seem to value this piece since he did not ever perform it publicly and never delivered it to whomever commissioned the work. It was found amongst a pile of unpublished works that his wife eventually sold after his death. Fiero states, \"Mozart achieved a balance between lyrical invention and formal clarity that brought the classical style to its peak.\"\r\n\r\nI completely agree with Fiero and feel that although this composer made little money during his lifetime and never received accolades befitting his talent while he was alive, he would certainly deserve a spot in the Classical Music Hall of Fame, if there was one. Future generations could benefit from his example of spending your life doing what you love even if you don\'t make much money. He was a prodigy (first public performance at Salzburg University in 1761 at age of five. [Sadie]) and grew in to an astounding musical talent that many say was never fully realized. Mozart kept striving for more and succumbed to the pressures of trying to fit in and \"keep up with the Jonses\" so he did not leave much for his family upon his unexpected  death. If nothing else, this is an example that we should all do what we love when we chose a career and enjoy every minute of the life we have.\r\n\r\n&nbsp;\r\n\r\nWORKS CITED\r\nEINSTEIN, Alfred., Mozart: His Character, His Work. Oxford University Press, New York, 1945, p144; p157-159; This is a Biography by a famed scholar of Mozart and I used it to research the simplistic composition of <em>Eine Kleine Nachtmusik</em> and the limited number of keys Mozart selected.\r\n\r\nSIEPMANN, Jeremy., Mozart: His Life &amp; Music, Sourcebooks Media Fusion, Naperville, Illinois, 2006, p163-167; p169-171; This is an audio-Biography that I used to research how this piece was innovative or unusual for its time.\r\n\r\nKEEFE, Simon., The Cambridge Companion to Mozart, Cambridge University Press, Cambridge, United Kingdom, 2003, p xii-xvii; This is a textbook from college-level courses on Mozart and I used it to research the chronology of Mozart\'s life and learn about the events occurring in his life at the time he composed <em>Eine Kleine Nachtmusik</em>. I also researched his appointment to the Kammer Musik in this book.\r\n\r\nSADIE, Stanley., The New Grove: Mozart, Norton, New York, 1980, p108-115; This is a Dictionary of Music and Musicians that I used to research Mozart\'s life and associations in Vienna during the years of 1785 to 1788.\r\n\r\nFIERO, Gloria., The Humanist Tradition, Volume Two, Chapter 26, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed October 2-7, 2011. This is a college-level course textbook that I used to learn about Mozart\'s connection to Haydn and different elements that he brought to Classically-styled music.','Mozart in the Hall of Fame?','','inherit','open','open','','1749-revision-18','','','2011-10-10 18:14:33','2011-10-11 00:14:33','',1749,'http://jeanatacc.com/2011/?p=1834',0,'revision','',0),(1835,41,'2011-10-10 18:21:44','2011-10-11 00:21:44','[caption id=\"attachment_1774\" align=\"alignleft\" width=\"157\" caption=\"Wolfgang Amadeus Mozart (1756-1791) http://www.biographyonline.net/music/mozart.html\"]<a href=\"http://www.biographyonline.net/music/mozart.html\"><img class=\"size-full wp-image-1774  \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Mozart1.jpg\" alt=\"\" width=\"157\" height=\"205\" /></a>[/caption]\r\n\r\nIf Ludwig van Beethoven were alive today he would be mounting a formidable effort to request a prestigious spot in the Classical Music Hall of Fame at the Royal College of Music, for Wolfgang Amadeus Mozart (1756-1791). Many details about the genesis of <em>Eine Kleine Nachtmusik</em> are still a mystery but the fact remains that this piece is the most well-known of Mozart\'s 640+ works. Mozart\'s acclaimed composition created the foundation of classical music in Vienna and is the fundamental reason why Mozart deserves a coveted place in the Classical Music Hall of Fame [Einstein].<!--more-->\r\n\r\nIn 1787, when <em>Eine Kleine Nachtmusik\'s</em> (German translation, \"a little night music\" or \"a little serenade\") was composed, the world was experiencing growing pains due to international commerce, a rising middle class, political upheaval, changes in the Church, and civil unrest. These difficulties washed over Europe and the Americas. The Spanish and Austrian Succession, Seven Years War, American and French Revolutions created a groundswell of democracy and the emergence of an increasingly independent and powerful middle class. This fact, when coupled with the Industrial Revolution, brought about a style of music that abandoned the grandiosity and ornamentation of the Baroque family of styles and, instead, focused on simplistic harmonies and subtle textures. This new style was a direct representation of the ascent of the middle class and the crumbling of the aristocracy [Siepmann].\r\n\r\n<em>Eine Kleine Nachtmusik</em> encapsulates the Classical-style because it is a sonata and contains a clearer and more symmetrical expression of emotions. When listening to this music, it feels effortless as if you are drifting or dreaming. When I listened to the piece for the first time I felt at peace. One does not feel as if one needs to<em> do</em> <em>anything</em> except enjoy the flow of the symphony. The economical use of four or five chords and two or three short themes evokes a distinctive departure from previous pretentious styles, like Baroque, and most musical historians believe that this element has roots in the affluent middle-class that was beginning to commission such works for special occasions [Siepmann].\r\n\r\n[caption id=\"attachment_1792\" align=\"alignright\" width=\"192\" caption=\"Statue of Boccherini in Pisa, Italy http://tinyurl.com/3kd6r2g\"]<a href=\"http://tinyurl.com/3kd6r2g\"><img class=\"size-full wp-image-1792\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Boccherini.bmp\" alt=\"\" width=\"192\" height=\"173\" /></a>[/caption]\r\n\r\nFor example, Luigi Boccherini\'s <em>Minuetto</em> is a perfect example of Baroque-style that the aristocracy adored. It is opulent, ornate and pompous. It was created to impress aristocratic listeners. It is almost impossible to listen to Boccherini\'s piece without tapping your foot or being overwhelmed by the urge to dance or skip around. I am not really sure if this is what Boccerini had in mind but that is my impression. At the time it must have been heart-pounding and impressive.\r\n\r\nClick on the following link to listen to Boccherini\'s <em>Minuetto</em>:\r\n<a href=\"http://www.youtube.com/watch?v=kSE15tLBdso\">Luigi Boccherini\\\'s Minuetto </a>\r\n\r\nMozart created <em>Eine Kleine Nachtmusik</em> to cater to the newly affluent middle-class in a way that was elegant, respectful, and tasteful, but definitely not pompous and ornate. His composition was straightforward and melodic. It soothed the audience. It seems worlds apart when compared to Boccherini\'s Baroque-style compositions of just a couple of years prior. According to Stanley Sadie, \"Mozart\'s string chamber music is more concerned with sensuous beauty of harmony or texture. The new possibilities of symmetry clearly attracted him. Mozart\'s longest four-movement chamber work is generously proportioned in every particular, with spacious, harmonically slow-moving themes and broad structural spans.\"\r\n\r\n[caption id=\"attachment_1821\" align=\"alignleft\" width=\"211\" caption=\"Mozart&#039;s Eine Kleine Nachtmusik - 4th Movement - http://tinyurl.com/3sevo8b\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png\"><img class=\"size-full wp-image-1821 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png\" alt=\"\" width=\"211\" height=\"212\" /></a>[/caption]\r\n\r\nClick on the following link to listen to Mozart\'s <em>Eine Kleine Nachtmusik, Romananza</em>, fourth movement:\r\n<a href=\"http://www.youtube.com/watch?v=2Okl6WSDfLE\">Mozart\'s Eine Kleine Nachtmusik - Romananza</a>\r\n\r\nThe structure of <em>Eine Kleine Nachtmusik\'s</em> four movements was innovative and original because, according to Siepmann, \"It is overwhelmingly these [four movements] that have ensured Mozart\'s immortality as a symphonist. In their perfection of form, variety of character, individuality of tone and emotional and spiritual reach, they are like nothing written before them, not even by Haydn.\" He goes on to say that, for the first time in musical history, Mozart \"liberated the wind instruments.\"\r\n\r\nWhen this composition was written Mozart was 31 years old, but it was first published posthumously in 1827. Although it is not known who commissioned the piece, it is thought to have originally contained five movements, one of which has been lost forever. Whether the fifth movement was stolen by a music rival or simply destroyed by Mozart will never be known [Einstein].\r\n\r\nWhen compared to Haydn\'s <em>Surprise II</em>, Symphony No. 94 in G Major, published in 1791, Mozart\'s compositions show quite a bit more restraint and less aggressive transitions. Although the melodic elements are very similar, Haydn seems to focus on startling (or \"surprising\") his audience, as evidenced by the fortissimo chord at the end of the lovely, and almost mesmerizing, opening theme of the second movement.\r\n\r\n[caption id=\"attachment_1823\" align=\"alignright\" width=\"270\" caption=\"Sample CD Cover Haydn&#039;s &quot;Surprise&quot; http://tinyurl.com/3nzbs5v\"]<img class=\"size-full wp-image-1823 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Surprise1.png\" alt=\"\" width=\"270\" height=\"280\" />[/caption]\r\n\r\nClick on the following link to listen (be prepared for the \"surprise\" chord) to Haydn\'s Surprise II, Symphony No. 94 in G Major:\r\n<a href=\"http://www.youtube.com/watch?v=lLjwkamp3lI\">Haydn\\\'s Surprise II, Symphony No. 94 in G Major</a>\r\n\r\nWhen <em>Eine Kleine Nachtmusik</em> was composed Mozart was surrounded by deep emotional turmoil. The changing relationship between the Church and the aristocracy was directly affecting him especially since Emperor Joseph II had banned \"loud\" church music (Mozart\'s bread and butter)[Keefe]. He lost two children that year and had met a new student that showed great promise, the sixteen-year-old Ludwig van Beethoven. Mozart was appointed to the Kammer Musik as its sole composer and this left only two composers at Court, Mozart and Antonio Salieri [Keefe]. Mozart had been living beyond his means and had been suffering from great financial losses for years. He viewed his appointment as a new start professionally. Salieri and Mozart quickly became musical rivals and stories have long been told about the circumstances of Mozart\'s death which occurred just four years after his appointment to the Kammer Musik. If the stories are true, and Salieri did poison Mozart, then Salieri did not get the result he desired. After Mozart\'s death his music soared in popularity [Sadie].\r\n\r\nEven though Mozart was appointed a rather prestigious post in the Italian Court, his pay was minimal, and his ability to sway the fickle public ran hot and cold. He was commissioned to write pieces for wealthy middle-class families and his work was generally well-liked at the time; however, he was seen as just another composer among many. Most of his professional success was never realized until after his death, in 1791, at the young age of thirty-five. Since it is not known who commissioned this piece and because it was not published until 36 years after his death, it is believed that very few people had knowledge of or ever heard the composition performed live by Mozart [Sadie].\r\n\r\nToday, when conducting an Internet search of Mozart\'s <em>Eine Kleine Nachtmusik</em>, I found 1.8 million sites related to this one specific work. It has been played by well-known symphony orchestras throughout the world and it is chosen for hundreds of collections of top ten classical compositions. It is amazing to me that Mozart\'s \"throw away\" symphony may have been lost forever and never played or published. Mozart did not seem to value this piece since he did not ever perform it publicly and never delivered it to whomever commissioned the work. It was found amongst a pile of unpublished works that his wife eventually sold after his death. Fiero states, \"Mozart achieved a balance between lyrical invention and formal clarity that brought the classical style to its peak.\"\r\n\r\nI completely agree with Fiero and feel that although this composer made little money during his lifetime and never received accolades befitting his talent while he was alive, he would certainly deserve a spot in the Classical Music Hall of Fame, if there was one. Future generations could benefit from his example of spending your life doing what you love even if you don\'t make much money. He was a prodigy (first public performance at Salzburg University in 1761 at age of five. [Sadie]) and grew in to an astounding musical talent that many say was never fully realized. Mozart kept striving for more and succumbed to the pressures of trying to fit in and \"keep up with the Jonses\" so he did not leave much for his family upon his unexpected  death. If nothing else, this is an example that we should all do what we love when we chose a career and enjoy every minute of the life we have.\r\n\r\n&nbsp;\r\n\r\nWORKS CITED\r\nEINSTEIN, Alfred., Mozart: His Character, His Work. Oxford University Press, New York, 1945, p144; p157-159; This is a Biography by a famed scholar of Mozart and I used it to research the simplistic composition of <em>Eine Kleine Nachtmusik</em> and the limited number of keys Mozart selected.\r\n\r\nSIEPMANN, Jeremy., Mozart: His Life &amp; Music, Sourcebooks Media Fusion, Naperville, Illinois, 2006, p163-167; p169-171; This is an audio-Biography that I used to research how this piece was innovative or unusual for its time.\r\n\r\nKEEFE, Simon., The Cambridge Companion to Mozart, Cambridge University Press, Cambridge, United Kingdom, 2003, p xii-xvii; This is a textbook from college-level courses on Mozart and I used it to research the chronology of Mozart\'s life and learn about the events occurring in his life at the time he composed <em>Eine Kleine Nachtmusik</em>. I also researched his appointment to the Kammer Musik in this book.\r\n\r\nSADIE, Stanley., The New Grove: Mozart, Norton, New York, 1980, p108-115; This is a Dictionary of Music and Musicians that I used to research Mozart\'s life and associations in Vienna during the years of 1785 to 1788.\r\n\r\nFIERO, Gloria., The Humanist Tradition, Volume Two, Chapter 26, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed October 2-7, 2011. This is a college-level course textbook that I used to learn about Mozart\'s connection to Haydn and different elements that he brought to Classically-styled music.','Mozart in the Hall of Fame?','','inherit','open','open','','1749-revision-19','','','2011-10-10 18:21:44','2011-10-11 00:21:44','',1749,'http://jeanatacc.com/2011/?p=1835',0,'revision','',0),(1837,43,'2011-10-10 18:47:14','2011-10-11 00:47:14','<p style=\"text-align: center\"><em></em><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/bannedbooks_candide.jpg\"><img class=\"aligncenter size-medium wp-image-1838\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/bannedbooks_candide-243x300.jpg\" alt=\"\" width=\"243\" height=\"300\" /></a><a href=\"http://1.bp.blogspot.com/_F-pwmL5Zr9M/TSddaGXmOaI/AAAAAAAAALE/whPxF46ECR8/s1600/bannedbooks_candide.jpg\">http://1.bp.blogspot.com/_F-pwmL5Zr9M/TSddaGXmOaI/AAAAAAAAALE/whPxF46ECR8/s1600/bannedbooks_candide.jpg</a></p>\r\n<em>Candide</em>, originally written in French, by Voltaire was written in Geneva, Switzerland in 1758; it was published in 1759 and translated into English within six weeks (Acosta). This book is about a young man who was exiled from his castle after being caught kissing the Baron’s daughter, Cunégonde. This story takes us through his adventures around the world trying to find her while along the way, encountering corruption, hypocrisy, and war, he finds enlightenment and wisdom. The world’s classic, <em>Candide</em> by Voltaire, should be preserved because of its satirical and philosophical view of society. <!--more-->\r\n\r\nThe Seven Years War (1756<em>-</em><em>1763) </em>between England and France influenced and encouraged Voltaire to write Candide. The Lisbon earthquake of 1755 also influenced Voltaire’s (and possibly many others) “darkened worldview” and demonstrated and exampled the disasters that happen in this world (Burt). In the 1750’s, the production of evangelical magazines, which the evangelical public believed the “temporal and the spiritual were suddenly and violently juxtaposed,” ceased (Snead).\r\n\r\nDuring the Enlightenment satire became a popular form of literature. A few examples would be “A Modest Proposal” written in 1729 by Jonathan Swift, and Alexander Pope’s “The Rape of the Lock” in 1714. It was also typical to find French writers questioning human dignity and morality (Fiero). Most Enlightenment thinkers and writers did not intentionally bring religion into conflict with science, though it was perceived to be that way. Writers and philosophers in the Enlightenment questioned civil and religious authority, along with good and evil. This was definitely reflected in Candide. “Influenced by the English philosopher John Locke, Enlightenment thinkers by and large believed that through the application of reason, human beings could create better societies and better people” (Taylor).\r\n\r\nThis work is innovative for its time because it was original in its philosophy on optimism. It was different because it focused on thoughts and ideas rather than feelings (Burt). Candide stands out from its peers because Voltaire had “ferociously accumulated catastrophes to make the optimist\'s stand untenable” (Sareil). It was unusual because Voltaire decided to start “dangerous attacks” during an age when people were generally searching for peace and quiet (Sareil). In Candide, Voltaire “ridiculed Optimism by refusing to discuss a metaphysical theory in its usual and proper philosophical context” (Sareil).\r\n\r\nOne thing that all Candide readers agree is its “sheer exuberance as a piece of writing” (Wright). When the book first came out it was a huge success, but was condemned by the French and Swiss authorities and banned by the Catholic Church because of its “intolerance of religion” (Wendy). Geneva denounced Candide as “full of dangerous principles concerning religion and tending to moral depravation” (Burt). People believe it is timeless and as relevant today as it was when it was written. Candide was considered an indictment of its time, as a parody of adventure literature and as an example of disillusionment (Horn).\r\n\r\nToday, people think it is one of the greatest satires of all time - a “world classic.” It took time after the publishing of Candide for contemporaries to see the impact that we see today because at the time, it represented danger for the Church. Even though it kills the theory of optimism, it is considered “the best-written and the most famous of the philosophical tales,” simply because it deals with the “problem of evil” (Sareil). Candide is an “enduring favorite with readers, young and old, everywhere” (Horn).\r\n\r\nI agree with the point Voltaire is trying to make about the seemingly ridiculous views on society. I agree that it is ridiculous how people see horrible, evil stuff going on in the world (natural disasters, war, etc.) yet still believe it is the “best of all possible worlds.” I agree that once we know that we have no control over certain things, we have a peace of mind in knowing that, and we are able to enjoy the other things in life.\r\n\r\nIn “A Modest Proposal” by Jonathan Swift, written in 1729, Swift satirizes the poverty and famine in Ireland (DeGategno). Similarities we see between this and “Candide,” other than they are both satires, are the reactions to these works, the fame and success, that they both involved real life situations to try to change people’s views about the problems in society, and their timelessness. They both were controversial, and they both had people that liked the works and people that hated them.\r\n\r\nIn “A Modest Proposal,” Swift used the real life situations of famine and poverty to make his point in his work, and Voltaire used the real life situations of the war and the earthquake to support his point. Candide was so controversial it was banned, and though “A Modest Proposal” was never banned it was also considered offensive to many. “A Modest Proposal” is “free from those restrictions that would make it dated (Rogal),” while Candide is also considered timeless.\r\n\r\nDifferences between these two works are that Candide is a journey story with characters and plot, while “A Modest Proposal” is, as its title suggests, a proposal stating a problem and suggesting a resolution. Another difference is that Candide touches on philosophy, and Swift’s work does not, and of course that Candide was banned, unlike Swift’s work.\r\n\r\nCandide by Voltaire should be preserved because of its satirical view of society. Its ability to perceive tragedy as comical to the reader is powerful and enables us to agree that this is not the “best of all possible worlds.” Candide encourages us to understand that evil is every where, and is one of the “masterpieces of world literature” (Sareil). Candide is important because it allows the reader to realize that “once humans accept that they are limited in their capacity to understand the world and to affect events around them, they are ready to live life on its own terms and to accept its simple joys as well as its disappointments” (Racevskis). From this book we learn that “when illusions dissolve, the resolve remains to make the best of every situation by concentrating on the practical and tangible aspects of life” (Racevskis), and then we are thus able to “cultivate our garden” which Candide suggests in the end of the story.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\n&nbsp;\r\n\r\nAcosta, Fajardo. \"Candide.\" (2001): n. page. Web. 19 Sep. 2011. &lt;http://fajardo-acosta.com/worldlit/voltaire/candide.htm&gt;.\r\n\r\n&nbsp;\r\n\r\nBurt, Daniel S. \"<em>Candide</em>.\" <em>The Novel 100: A Ranking of the Most Influential Novels of All Time</em>, Revised Edition. New York: Chelsea House Publishing, 2010. <em>Bloom\'s Literary Reference Online</em>. Facts On File, Inc. http://www.fofweb.com.lsproxy.austincc.edu/activelink2.asp?ItemID=WE54&amp;SID=5&amp;iPin= NOVLR080&amp;SingleRecord=True 26 Sep. 2011.\r\n\r\n&nbsp;\r\n\r\nDeGategno, Paul J. and R. Jay Stubblefield. \"\'A Modest Proposal\'.\" <em>Critical Companion to Jonathan Swift: A Literary Reference to His Life and Work</em>, Critical Companion. New York: Facts On File, Inc., 2006. <em>Bloom\'s Literary Reference Online</em>. Facts On File, Inc. 4 October 2011.\r\n\r\n&nbsp;\r\n\r\nFiero, First. <em>The Humanistic Tradition</em>. 13. 2. McGraw-Hill, eBook\r\n\r\n&nbsp;\r\n\r\nHorn, Pierre L. \"Candide.\" <em>Masterplots II: Juvenile &amp; Young Adult Fiction Series</em> (1991): 1-2. <em>MagillOnLiterature Plus</em>. EBSCO. Web. 10 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nRacevskis, Karlis. \"Voltaire.\" n. pag. <em>Gale Literary Databases</em>. Web. 10 Oct 2011.\r\n\r\n&nbsp;\r\n\r\nRogal, Samuel J. \"The Timelessness of <em>A Modest Proposal</em>.\" <em>English Record</em> 18.4 (Apr. 1968): 48-53. Rpt. in <em>Literature Criticism from 1400 to 1800</em>. Ed. Thomas J. Schoenberg and Lawrence J. Trudeau. Vol. 101. Detroit: Gale, 2004. <em>Literature</em><em> Resource Center</em>. Web. 5 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nSareil, Jean. \"Voltaire.\" <em>Scribner Writer Series</em>. 4. (1984): 367-392. Web. 27 Sep. 2011. &lt;http://galenet.galegroup.com.lsproxy.austincc.edu/servlet/Scribner/s1562&gt;.\r\n\r\n&nbsp;\r\n\r\nSnead, Jennifer. \"Print, Predestination, and the Public Sphere.\" <em>Early American Literature</em> 45.1 (2010): 93-118. <em>World History Collection</em>. EBSCO. Web. 9 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nTaylor, Karen L. \"Enlightenment in France.\" <em>Facts On File Companion to the French Novel</em>. New York: Facts On File, Inc., 2007. <em>Bloom\'s Literary Reference Online</em>. Facts On File, Inc. http://www.fofweb.com.lsproxy.austincc.edu/activelink2.asp?ItemID=WE54&amp;SID=5&amp;iPin= CFN161&amp;SingleRecord=True 26 Sep. 2011.\r\n\r\n&nbsp;\r\n\r\nWendy, . \"Candide - Wendys Book Review.\" <em>Banned Books</em>. (2007): n. page. Web. 24 Sep. 2011.\r\n\r\n&nbsp;\r\n\r\nWright, Johnson. <em>Candide, Voltaire, and the Enlightenment</em>. Web. 24 Sep. 2011.','Candide by Voltaire','','publish','open','open','','candide-by-voltaire','','','2011-10-10 18:48:34','2011-10-11 00:48:34','',0,'http://jeanatacc.com/2011/?p=1837',0,'post','',9),(1838,43,'2011-10-10 18:42:33','2011-10-11 00:42:33','','bannedbooks_candide','','inherit','open','open','','bannedbooks_candide','','','2011-10-10 18:42:33','2011-10-11 00:42:33','',1837,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/bannedbooks_candide.jpg',0,'attachment','image/jpeg',0),(1839,43,'2011-10-10 18:46:19','2011-10-11 00:46:19','<p style=\"text-align: center\"><em></em><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/bannedbooks_candide.jpg\"><img class=\"aligncenter size-medium wp-image-1838\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/bannedbooks_candide-243x300.jpg\" alt=\"\" width=\"243\" height=\"300\" /></a><a href=\"http://1.bp.blogspot.com/_F-pwmL5Zr9M/TSddaGXmOaI/AAAAAAAAALE/whPxF46ECR8/s1600/bannedbooks_candide.jpg\">http://1.bp.blogspot.com/_F-pwmL5Zr9M/TSddaGXmOaI/AAAAAAAAALE/whPxF46ECR8/s1600/bannedbooks_candide.jpg</a></p>\n<em>Candide</em>, originally written in French, by Voltaire was written in Geneva, Switzerland in 1758; it was published in 1759 and translated into English within six weeks (Acosta). This book is about a young man who was exiled from his castle after being caught kissing the Baron’s daughter, Cunégonde. This story takes us through his adventures around the world trying to find her while along the way, encountering corruption, hypocrisy, and war, he finds enlightenment and wisdom. The world’s classic, <em>Candide</em> by Voltaire, should be preserved because of its satirical and philosophical view of society. <!--more-->\n\nThe Seven Years War (1756<em>-</em><em>1763) between England and France influenced and encouraged Voltaire to write Candide. The Lisbon earthquake of 1755 also influenced Voltaire’s (and possibly many others) “darkened worldview” and demonstrated and exampled the disasters that happen in this world (Burt). In the 1750’s, the production of evangelical magazines, which the evangelical public believed the “temporal and the spiritual were suddenly and violently juxtaposed,” ceased (Snead).</em>\n\nDuring the Enlightenment satire became a popular form of literature. A few examples would be “A Modest Proposal” written in 1729 by Jonathan Swift, and Alexander Pope’s “The Rape of the Lock” in 1714. It was also typical to find French writers questioning human dignity and morality (Fiero). Most Enlightenment thinkers and writers did not intentionally bring religion into conflict with science, though it was perceived to be that way. Writers and philosophers in the Enlightenment questioned civil and religious authority, along with good and evil. This was definitely reflected in Candide. “Influenced by the English philosopher John Locke, Enlightenment thinkers by and large believed that through the application of reason, human beings could create better societies and better people” (Taylor).\n\nThis work is innovative for its time because it was original in its philosophy on optimism. It was different because it focused on thoughts and ideas rather than feelings (Burt). Candide stands out from its peers because Voltaire had “ferociously accumulated catastrophes to make the optimist\'s stand untenable” (Sareil). It was unusual because Voltaire decided to start “dangerous attacks” during an age when people were generally searching for peace and quiet (Sareil). In Candide, Voltaire “ridiculed Optimism by refusing to discuss a metaphysical theory in its usual and proper philosophical context” (Sareil).\n\nOne thing that all Candide readers agree is its “sheer exuberance as a piece of writing” (Wright). When the book first came out it was a huge success, but was condemned by the French and Swiss authorities and banned by the Catholic Church because of its “intolerance of religion” (Wendy). Geneva denounced Candide as “full of dangerous principles concerning religion and tending to moral depravation” (Burt). People believe it is timeless and as relevant today as it was when it was written. Candide was considered an indictment of its time, as a parody of adventure literature and as an example of disillusionment (Horn).\n\nToday, people think it is one of the greatest satires of all time - a “world classic.” It took time after the publishing of Candide for contemporaries to see the impact that we see today because at the time, it represented danger for the Church. Even though it kills the theory of optimism, it is considered “the best-written and the most famous of the philosophical tales,” simply because it deals with the “problem of evil” (Sareil). Candide is an “enduring favorite with readers, young and old, everywhere” (Horn).\n\nI agree with the point Voltaire is trying to make about the seemingly ridiculous views on society. I agree that it is ridiculous how people see horrible, evil stuff going on in the world (natural disasters, war, etc.) yet still believe it is the “best of all possible worlds.” I agree that once we know that we have no control over certain things, we have a peace of mind in knowing that, and we are able to enjoy the other things in life.\n\nIn “A Modest Proposal” by Jonathan Swift, written in 1729, Swift satirizes the poverty and famine in Ireland (DeGategno). Similarities we see between this and “Candide,” other than they are both satires, are the reactions to these works, the fame and success, that they both involved real life situations to try to change people’s views about the problems in society, and their timelessness. They both were controversial, and they both had people that liked the works and people that hated them.\n\nIn “A Modest Proposal,” Swift used the real life situations of famine and poverty to make his point in his work, and Voltaire used the real life situations of the war and the earthquake to support his point. Candide was so controversial it was banned, and though “A Modest Proposal” was never banned it was also considered offensive to many. “A Modest Proposal” is “free from those restrictions that would make it dated (Rogal),” while Candide is also considered timeless.\n\nDifferences between these two works are that Candide is a journey story with characters and plot, while “A Modest Proposal” is, as its title suggests, a proposal stating a problem and suggesting a resolution. Another difference is that Candide touches on philosophy, and Swift’s work does not, and of course that Candide was banned, unlike Swift’s work.\n\nCandide by Voltaire should be preserved because of its satirical view of society. Its ability to perceive tragedy as comical to the reader is powerful and enables us to agree that this is not the “best of all possible worlds.” Candide encourages us to understand that evil is every where, and is one of the “masterpieces of world literature” (Sareil). Candide is important because it allows the reader to realize that “once humans accept that they are limited in their capacity to understand the world and to affect events around them, they are ready to live life on its own terms and to accept its simple joys as well as its disappointments” (Racevskis). From this book we learn that “when illusions dissolve, the resolve remains to make the best of every situation by concentrating on the practical and tangible aspects of life” (Racevskis), and then we are thus able to “cultivate our garden” which Candide suggests in the end of the story.\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n<p align=\"center\">Works Cited</p>\n&nbsp;\n\nAcosta, Fajardo. \"Candide.\" (2001): n. page. Web. 19 Sep. 2011. &lt;http://fajardo-acosta.com/worldlit/voltaire/candide.htm&gt;.\n\n&nbsp;\n\nBurt, Daniel S. \"<em>Candide</em>.\" <em>The Novel 100: A Ranking of the Most Influential Novels of All Time</em>, Revised Edition. New York: Chelsea House Publishing, 2010. <em>Bloom\'s Literary Reference Online</em>. Facts On File, Inc. http://www.fofweb.com.lsproxy.austincc.edu/activelink2.asp?ItemID=WE54&amp;SID=5&amp;iPin= NOVLR080&amp;SingleRecord=True 26 Sep. 2011.\n\n&nbsp;\n\nDeGategno, Paul J. and R. Jay Stubblefield. \"\'A Modest Proposal\'.\" <em>Critical Companion to Jonathan Swift: A Literary Reference to His Life and Work</em>, Critical Companion. New York: Facts On File, Inc., 2006. <em>Bloom\'s Literary Reference Online</em>. Facts On File, Inc. 4 October 2011.\n\n&nbsp;\n\nFiero, First. <em>The Humanistic Tradition</em>. 13. 2. McGraw-Hill, eBook\n\n&nbsp;\n\nHorn, Pierre L. \"Candide.\" <em>Masterplots II: Juvenile &amp; Young Adult Fiction Series</em> (1991): 1-2. <em>MagillOnLiterature Plus</em>. EBSCO. Web. 10 Oct. 2011.\n\n&nbsp;\n\nRacevskis, Karlis. \"Voltaire.\" n. pag. <em>Gale Literary Databases</em>. Web. 10 Oct 2011.\n\n&nbsp;\n\nRogal, Samuel J. \"The Timelessness of <em>A Modest Proposal</em>.\" <em>English Record</em> 18.4 (Apr. 1968): 48-53. Rpt. in <em>Literature Criticism from 1400 to 1800</em>. Ed. Thomas J. Schoenberg and Lawrence J. Trudeau. Vol. 101. Detroit: Gale, 2004. <em>Literature</em><em> Resource Center</em>. Web. 5 Oct. 2011.\n\n&nbsp;\n\nSareil, Jean. \"Voltaire.\" <em>Scribner Writer Series</em>. 4. (1984): 367-392. Web. 27 Sep. 2011. &lt;http://galenet.galegroup.com.lsproxy.austincc.edu/servlet/Scribner/s1562&gt;.\n\n&nbsp;\n\nSnead, Jennifer. \"Print, Predestination, and the Public Sphere.\" <em>Early American Literature</em> 45.1 (2010): 93-118. <em>World History Collection</em>. EBSCO. Web. 9 Oct. 2011.\n\n&nbsp;\n\nTaylor, Karen L. \"Enlightenment in France.\" <em>Facts On File Companion to the French Novel</em>. New York: Facts On File, Inc., 2007. <em>Bloom\'s Literary Reference Online</em>. Facts On File, Inc. http://www.fofweb.com.lsproxy.austincc.edu/activelink2.asp?ItemID=WE54&amp;SID=5&amp;iPin= CFN161&amp;SingleRecord=True 26 Sep. 2011.\n\n&nbsp;\n\nWendy, . \"Candide - Wendys Book Review.\" <em>Banned Books</em>. (2007): n. page. Web. 24 Sep. 2011.\n\n&nbsp;\n\nWright, Johnson. <em>Candide, Voltaire, and the Enlightenment</em>. Web. 24 Sep.','Candide by Voltaire','','inherit','open','open','','1837-revision','','','2011-10-10 18:46:19','2011-10-11 00:46:19','',1837,'http://jeanatacc.com/2011/?p=1839',0,'revision','',0),(1840,43,'2011-10-10 18:47:14','2011-10-11 00:47:14','<p style=\"text-align: center\"><em></em><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/bannedbooks_candide.jpg\"><img class=\"aligncenter size-medium wp-image-1838\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/bannedbooks_candide-243x300.jpg\" alt=\"\" width=\"243\" height=\"300\" /></a><a href=\"http://1.bp.blogspot.com/_F-pwmL5Zr9M/TSddaGXmOaI/AAAAAAAAALE/whPxF46ECR8/s1600/bannedbooks_candide.jpg\">http://1.bp.blogspot.com/_F-pwmL5Zr9M/TSddaGXmOaI/AAAAAAAAALE/whPxF46ECR8/s1600/bannedbooks_candide.jpg</a></p>\r\n<em>Candide</em>, originally written in French, by Voltaire was written in Geneva, Switzerland in 1758; it was published in 1759 and translated into English within six weeks (Acosta). This book is about a young man who was exiled from his castle after being caught kissing the Baron’s daughter, Cunégonde. This story takes us through his adventures around the world trying to find her while along the way, encountering corruption, hypocrisy, and war, he finds enlightenment and wisdom. The world’s classic, <em>Candide</em> by Voltaire, should be preserved because of its satirical and philosophical view of society. <!--more-->\r\n\r\nThe Seven Years War (1756<em>-</em><em>1763) </em>between England and France influenced and encouraged Voltaire to write Candide. The Lisbon earthquake of 1755 also influenced Voltaire’s (and possibly many others) “darkened worldview” and demonstrated and exampled the disasters that happen in this world (Burt). In the 1750’s, the production of evangelical magazines, which the evangelical public believed the “temporal and the spiritual were suddenly and violently juxtaposed,” ceased (Snead).\r\n\r\nDuring the Enlightenment satire became a popular form of literature. A few examples would be “A Modest Proposal” written in 1729 by Jonathan Swift, and Alexander Pope’s “The Rape of the Lock” in 1714. It was also typical to find French writers questioning human dignity and morality (Fiero). Most Enlightenment thinkers and writers did not intentionally bring religion into conflict with science, though it was perceived to be that way. Writers and philosophers in the Enlightenment questioned civil and religious authority, along with good and evil. This was definitely reflected in Candide. “Influenced by the English philosopher John Locke, Enlightenment thinkers by and large believed that through the application of reason, human beings could create better societies and better people” (Taylor).\r\n\r\nThis work is innovative for its time because it was original in its philosophy on optimism. It was different because it focused on thoughts and ideas rather than feelings (Burt). Candide stands out from its peers because Voltaire had “ferociously accumulated catastrophes to make the optimist\'s stand untenable” (Sareil). It was unusual because Voltaire decided to start “dangerous attacks” during an age when people were generally searching for peace and quiet (Sareil). In Candide, Voltaire “ridiculed Optimism by refusing to discuss a metaphysical theory in its usual and proper philosophical context” (Sareil).\r\n\r\nOne thing that all Candide readers agree is its “sheer exuberance as a piece of writing” (Wright). When the book first came out it was a huge success, but was condemned by the French and Swiss authorities and banned by the Catholic Church because of its “intolerance of religion” (Wendy). Geneva denounced Candide as “full of dangerous principles concerning religion and tending to moral depravation” (Burt). People believe it is timeless and as relevant today as it was when it was written. Candide was considered an indictment of its time, as a parody of adventure literature and as an example of disillusionment (Horn).\r\n\r\nToday, people think it is one of the greatest satires of all time - a “world classic.” It took time after the publishing of Candide for contemporaries to see the impact that we see today because at the time, it represented danger for the Church. Even though it kills the theory of optimism, it is considered “the best-written and the most famous of the philosophical tales,” simply because it deals with the “problem of evil” (Sareil). Candide is an “enduring favorite with readers, young and old, everywhere” (Horn).\r\n\r\nI agree with the point Voltaire is trying to make about the seemingly ridiculous views on society. I agree that it is ridiculous how people see horrible, evil stuff going on in the world (natural disasters, war, etc.) yet still believe it is the “best of all possible worlds.” I agree that once we know that we have no control over certain things, we have a peace of mind in knowing that, and we are able to enjoy the other things in life.\r\n\r\nIn “A Modest Proposal” by Jonathan Swift, written in 1729, Swift satirizes the poverty and famine in Ireland (DeGategno). Similarities we see between this and “Candide,” other than they are both satires, are the reactions to these works, the fame and success, that they both involved real life situations to try to change people’s views about the problems in society, and their timelessness. They both were controversial, and they both had people that liked the works and people that hated them.\r\n\r\nIn “A Modest Proposal,” Swift used the real life situations of famine and poverty to make his point in his work, and Voltaire used the real life situations of the war and the earthquake to support his point. Candide was so controversial it was banned, and though “A Modest Proposal” was never banned it was also considered offensive to many. “A Modest Proposal” is “free from those restrictions that would make it dated (Rogal),” while Candide is also considered timeless.\r\n\r\nDifferences between these two works are that Candide is a journey story with characters and plot, while “A Modest Proposal” is, as its title suggests, a proposal stating a problem and suggesting a resolution. Another difference is that Candide touches on philosophy, and Swift’s work does not, and of course that Candide was banned, unlike Swift’s work.\r\n\r\nCandide by Voltaire should be preserved because of its satirical view of society. Its ability to perceive tragedy as comical to the reader is powerful and enables us to agree that this is not the “best of all possible worlds.” Candide encourages us to understand that evil is every where, and is one of the “masterpieces of world literature” (Sareil). Candide is important because it allows the reader to realize that “once humans accept that they are limited in their capacity to understand the world and to affect events around them, they are ready to live life on its own terms and to accept its simple joys as well as its disappointments” (Racevskis). From this book we learn that “when illusions dissolve, the resolve remains to make the best of every situation by concentrating on the practical and tangible aspects of life” (Racevskis), and then we are thus able to “cultivate our garden” which Candide suggests in the end of the story.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\n&nbsp;\r\n\r\nAcosta, Fajardo. \"Candide.\" (2001): n. page. Web. 19 Sep. 2011. &lt;http://fajardo-acosta.com/worldlit/voltaire/candide.htm&gt;.\r\n\r\n&nbsp;\r\n\r\nBurt, Daniel S. \"<em>Candide</em>.\" <em>The Novel 100: A Ranking of the Most Influential Novels of All Time</em>, Revised Edition. New York: Chelsea House Publishing, 2010. <em>Bloom\'s Literary Reference Online</em>. Facts On File, Inc. http://www.fofweb.com.lsproxy.austincc.edu/activelink2.asp?ItemID=WE54&amp;SID=5&amp;iPin= NOVLR080&amp;SingleRecord=True 26 Sep. 2011.\r\n\r\n&nbsp;\r\n\r\nDeGategno, Paul J. and R. Jay Stubblefield. \"\'A Modest Proposal\'.\" <em>Critical Companion to Jonathan Swift: A Literary Reference to His Life and Work</em>, Critical Companion. New York: Facts On File, Inc., 2006. <em>Bloom\'s Literary Reference Online</em>. Facts On File, Inc. 4 October 2011.\r\n\r\n&nbsp;\r\n\r\nFiero, First. <em>The Humanistic Tradition</em>. 13. 2. McGraw-Hill, eBook\r\n\r\n&nbsp;\r\n\r\nHorn, Pierre L. \"Candide.\" <em>Masterplots II: Juvenile &amp; Young Adult Fiction Series</em> (1991): 1-2. <em>MagillOnLiterature Plus</em>. EBSCO. Web. 10 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nRacevskis, Karlis. \"Voltaire.\" n. pag. <em>Gale Literary Databases</em>. Web. 10 Oct 2011.\r\n\r\n&nbsp;\r\n\r\nRogal, Samuel J. \"The Timelessness of <em>A Modest Proposal</em>.\" <em>English Record</em> 18.4 (Apr. 1968): 48-53. Rpt. in <em>Literature Criticism from 1400 to 1800</em>. Ed. Thomas J. Schoenberg and Lawrence J. Trudeau. Vol. 101. Detroit: Gale, 2004. <em>Literature</em><em> Resource Center</em>. Web. 5 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nSareil, Jean. \"Voltaire.\" <em>Scribner Writer Series</em>. 4. (1984): 367-392. Web. 27 Sep. 2011. &lt;http://galenet.galegroup.com.lsproxy.austincc.edu/servlet/Scribner/s1562&gt;.\r\n\r\n&nbsp;\r\n\r\nSnead, Jennifer. \"Print, Predestination, and the Public Sphere.\" <em>Early American Literature</em> 45.1 (2010): 93-118. <em>World History Collection</em>. EBSCO. Web. 9 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nTaylor, Karen L. \"Enlightenment in France.\" <em>Facts On File Companion to the French Novel</em>. New York: Facts On File, Inc., 2007. <em>Bloom\'s Literary Reference Online</em>. Facts On File, Inc. http://www.fofweb.com.lsproxy.austincc.edu/activelink2.asp?ItemID=WE54&amp;SID=5&amp;iPin= CFN161&amp;SingleRecord=True 26 Sep. 2011.\r\n\r\n&nbsp;\r\n\r\nWendy, . \"Candide - Wendys Book Review.\" <em>Banned Books</em>. (2007): n. page. Web. 24 Sep. 2011.\r\n\r\n&nbsp;\r\n\r\nWright, Johnson. <em>Candide, Voltaire, and the Enlightenment</em>. Web. 24 Sep. 2011.','Candide by Voltaire','','inherit','open','open','','1837-revision-2','','','2011-10-10 18:47:14','2011-10-11 00:47:14','',1837,'http://jeanatacc.com/2011/?p=1840',0,'revision','',0),(1841,41,'2011-10-10 18:25:30','2011-10-11 00:25:30','[caption id=\"attachment_1774\" align=\"alignleft\" width=\"157\" caption=\"Wolfgang Amadeus Mozart (1756-1791) http://www.biographyonline.net/music/mozart.html\"]<a href=\"http://www.biographyonline.net/music/mozart.html\"><img class=\"size-full wp-image-1774  \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Mozart1.jpg\" alt=\"\" width=\"157\" height=\"205\" /></a>[/caption]\r\n\r\nIf Ludwig van Beethoven were alive today he would be mounting a formidable effort to request a prestigious spot in the Classical Music Hall of Fame at the Royal College of Music, for Wolfgang Amadeus Mozart (1756-1791). Many details about the genesis of <em>Eine Kleine Nachtmusik</em> are still a mystery but the fact remains that this piece is the most well-known of Mozart\'s 640+ works. Mozart\'s acclaimed composition created the foundation of classical music in Vienna and is the fundamental reason why Mozart deserves a coveted place in the Classical Music Hall of Fame [Einstein].<!--more-->\r\n\r\nIn 1787, when <em>Eine Kleine Nachtmusik\'s</em> (German translation, \"a little night music\" or \"a little serenade\") was composed, the world was experiencing growing pains due to international commerce, a rising middle class, political upheaval, changes in the Church, and civil unrest. These difficulties washed over Europe and the Americas. The Spanish and Austrian Succession, Seven Years War, American and French Revolutions created a groundswell of democracy and the emergence of an increasingly independent and powerful middle class. This fact, when coupled with the Industrial Revolution, brought about a style of music that abandoned the grandiosity and ornamentation of the Baroque family of styles and, instead, focused on simplistic harmonies and subtle textures. This new style was a direct representation of the ascent of the middle class and the crumbling of the aristocracy [Siepmann].\r\n\r\n<em>Eine Kleine Nachtmusik</em> encapsulates the Classical-style because it is a sonata and contains a clearer and more symmetrical expression of emotions. When listening to this music, it feels effortless as if you are drifting or dreaming. When I listened to the piece for the first time I felt at peace. One does not feel as if one needs to<em> do</em> <em>anything</em> except enjoy the flow of the symphony. The economical use of four or five chords and two or three short themes evokes a distinctive departure from previous pretentious styles, like Baroque, and most musical historians believe that this element has roots in the affluent middle-class that was beginning to commission such works for special occasions [Siepmann].\r\n\r\n[caption id=\"attachment_1792\" align=\"alignright\" width=\"192\" caption=\"Statue of Boccherini in Pisa, Italy http://tinyurl.com/3kd6r2g\"]<a href=\"http://tinyurl.com/3kd6r2g\"><img class=\"size-full wp-image-1792\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Boccherini.bmp\" alt=\"\" width=\"192\" height=\"173\" /></a>[/caption]\r\n\r\nFor example, Luigi Boccherini\'s <em>Minuetto</em> is a perfect example of Baroque-style that the aristocracy adored. It is opulent, ornate and pompous. It was created to impress aristocratic listeners. It is almost impossible to listen to Boccherini\'s piece without tapping your foot or being overwhelmed by the urge to dance or skip around. I am not really sure if this is what Boccerini had in mind but that is my impression. At the time it must have been heart-pounding and impressive.\r\n\r\nClick on the following link to listen to Boccherini\'s <em>Minuetto</em>:\r\n<a href=\"http://www.youtube.com/watch?v=kSE15tLBdso\">Luigi Boccherini\\\'s Minuetto </a>\r\n\r\nMozart created <em>Eine Kleine Nachtmusik</em> to cater to the newly affluent middle-class in a way that was elegant, respectful, and tasteful, but definitely not pompous and ornate. His composition was straightforward and melodic. It soothed the audience. It seems worlds apart when compared to Boccherini\'s Baroque-style compositions of just a couple of years prior. According to Stanley Sadie, \"Mozart\'s string chamber music is more concerned with sensuous beauty of harmony or texture. The new possibilities of symmetry clearly attracted him. Mozart\'s longest four-movement chamber work is generously proportioned in every particular, with spacious, harmonically slow-moving themes and broad structural spans.\"\r\n\r\n[caption id=\"attachment_1821\" align=\"alignleft\" width=\"211\" caption=\"Mozart&#039;s Eine Kleine Nachtmusik - 4th Movement - http://tinyurl.com/3sevo8b\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png\"><img class=\"size-full wp-image-1821 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png\" alt=\"\" width=\"211\" height=\"212\" /></a>[/caption]\r\n\r\nClick on the following link to listen to Mozart\'s <em>Eine Kleine Nachtmusik, Romananza</em>, fourth movement:\r\n<a href=\"http://www.youtube.com/watch?v=2Okl6WSDfLE\">Mozart\'s Eine Kleine Nachtmusik - Romananza</a>\r\n\r\nThe structure of <em>Eine Kleine Nachtmusik\'s</em> four movements was innovative and original because, according to Siepmann, \"It is overwhelmingly these [four movements] that have ensured Mozart\'s immortality as a symphonist. In their perfection of form, variety of character, individuality of tone and emotional and spiritual reach, they are like nothing written before them, not even by Haydn.\" He goes on to say that, for the first time in musical history, Mozart \"liberated the wind instruments.\"\r\n\r\nWhen this composition was written Mozart was 31 years old, but it was first published posthumously in 1827. Although it is not known who commissioned the piece, it is thought to have originally contained five movements, one of which has been lost forever. Whether the fifth movement was stolen by a music rival or simply destroyed by Mozart will never be known [Einstein].\r\n\r\nWhen compared to Haydn\'s <em>Surprise II</em>, Symphony No. 94 in G Major, published in 1791, Mozart\'s compositions show quite a bit more restraint and less aggressive transitions. Although the melodic elements are very similar, Haydn seems to focus on startling (or \"surprising\") his audience, as evidenced by the fortissimo chord at the end of the lovely, and almost mesmerizing, opening theme of the second movement.\r\n\r\n[caption id=\"attachment_1823\" align=\"alignright\" width=\"270\" caption=\"Sample CD Cover Haydn&#039;s &quot;Surprise&quot; http://tinyurl.com/3nzbs5v\"]<img class=\"size-full wp-image-1823 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Surprise1.png\" alt=\"\" width=\"270\" height=\"280\" />[/caption]\r\n\r\nClick on the following link to listen (be prepared for the \"surprise\" chord) to Haydn\'s Surprise II, Symphony No. 94 in G Major:\r\n<a href=\"http://www.youtube.com/watch?v=lLjwkamp3lI\">Haydn\\\'s Surprise II, Symphony No. 94 in G Major</a>\r\n\r\nWhen <em>Eine Kleine Nachtmusik</em> was composed Mozart was surrounded by deep emotional turmoil. The changing relationship between the Church and the aristocracy was directly affecting him especially since Emperor Joseph II had banned \"loud\" church music (Mozart\'s bread and butter)[Keefe]. He lost two children that year and had met a new student that showed great promise, the sixteen-year-old Ludwig van Beethoven. Mozart was appointed to the Kammer Musik as its sole composer and this left only two composers at Court, Mozart and Antonio Salieri [Keefe]. Mozart had been living beyond his means and had been suffering from great financial losses for years. He viewed his appointment as a new start professionally. Salieri and Mozart quickly became musical rivals and stories have long been told about the circumstances of Mozart\'s death which occurred just four years after his appointment to the Kammer Musik. If the stories are true, and Salieri did poison Mozart, then Salieri did not get the result he desired. After Mozart\'s death his music soared in popularity [Sadie].\r\n\r\nEven though Mozart was appointed a rather prestigious post in the Italian Court, his pay was minimal, and his ability to sway the fickle public ran hot and cold. He was commissioned to write pieces for wealthy middle-class families and his work was generally well-liked at the time; however, he was seen as just another composer among many. Most of his professional success was never realized until after his death, in 1791, at the young age of thirty-five. Since it is not known who commissioned this piece and because it was not published until 36 years after his death, it is believed that very few people had knowledge of or ever heard the composition performed live by Mozart [Sadie].\r\n\r\nToday, when conducting an Internet search of Mozart\'s <em>Eine Kleine Nachtmusik</em>, I found 1.8 million sites related to this one specific work. It has been played by well-known symphony orchestras throughout the world and it is chosen for hundreds of collections of top ten classical compositions. It is amazing to me that Mozart\'s \"throw away\" symphony may have been lost forever and never played or published. Mozart did not seem to value this piece since he did not ever perform it publicly and never delivered it to whomever commissioned the work. It was found amongst a pile of unpublished works that his wife eventually sold after his death. Fiero states, \"Mozart achieved a balance between lyrical invention and formal clarity that brought the classical style to its peak.\"\r\n\r\nI completely agree with Fiero and feel that although this composer made little money during his lifetime and never received accolades befitting his talent while he was alive, he would certainly deserve a spot in the Classical Music Hall of Fame, if there was one. Future generations could benefit from his example of spending your life doing what you love even if you don\'t make much money. He was a prodigy (first public performance at Salzburg University in 1761 at age of five. [Sadie]) and grew in to an astounding musical talent that many say was never fully realized. Mozart kept striving for more and succumbed to the pressures of trying to fit in and \"keep up with the Jonses\" so he did not leave much for his family upon his unexpected  death. If nothing else, this is an example that we should all do what we love when we chose a career and enjoy every minute of the life we have.\r\n\r\n&nbsp;\r\n\r\nWORKS CITED\r\nEINSTEIN, Alfred., Mozart: His Character, His Work. Oxford University Press, New York, 1945, p144; p157-159; This is a Biography by a famed scholar of Mozart and I used it to research the simplistic composition of <em>Eine Kleine Nachtmusik</em> and the limited number of keys Mozart selected.\r\n\r\nSIEPMANN, Jeremy., Mozart: His Life &amp; Music, Sourcebooks Media Fusion, Naperville, Illinois, 2006, p163-167; p169-171; This is an audio-Biography that I used to research how this piece was innovative or unusual for its time.\r\n\r\nKEEFE, Simon., The Cambridge Companion to Mozart, Cambridge University Press, Cambridge, United Kingdom, 2003, p xii-xvii; This is a textbook from college-level courses on Mozart and I used it to research the chronology of Mozart\'s life and learn about the events occurring in his life at the time he composed <em>Eine Kleine Nachtmusik</em>. I also researched his appointment to the Kammer Musik in this book.\r\n\r\nSADIE, Stanley., The New Grove: Mozart, Norton, New York, 1980, p108-115; This is a Dictionary of Music and Musicians that I used to research Mozart\'s life and associations in Vienna during the years of 1785 to 1788.\r\n\r\nFIERO, Gloria., The Humanist Tradition, Volume Two, Chapter 26, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed October 2-7, 2011. This is a college-level course textbook that I used to learn about Mozart\'s connection to Haydn and different elements that he brought to Classically-styled music.','Mozart in the Hall of Fame?','','inherit','open','open','','1749-revision-20','','','2011-10-10 18:25:30','2011-10-11 00:25:30','',1749,'http://jeanatacc.com/2011/?p=1841',0,'revision','',0),(1842,41,'2011-10-10 18:54:01','2011-10-11 00:54:01','[caption id=\"attachment_1774\" align=\"alignleft\" width=\"157\" caption=\"Wolfgang Amadeus Mozart (1756-1791) http://www.biographyonline.net/music/mozart.html\"]<a href=\"http://www.biographyonline.net/music/mozart.html\"><img class=\"size-full wp-image-1774  \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Mozart1.jpg\" alt=\"\" width=\"157\" height=\"205\" /></a>[/caption]\r\n\r\nIf Ludwig van Beethoven were alive today he would be mounting a formidable effort to request a prestigious spot in the Classical Music Hall of Fame at the Royal College of Music, for Wolfgang Amadeus Mozart (1756-1791). Many details about the genesis of <em>Eine Kleine Nachtmusik</em> are still a mystery but the fact remains that this piece is the most well-known of Mozart\'s 640+ works. Mozart\'s acclaimed composition created the foundation of classical music in Vienna and is the fundamental reason why Mozart deserves a coveted place in the Classical Music Hall of Fame [Einstein].<!--more-->\r\n\r\nIn 1787, when <em>Eine Kleine Nachtmusik\'s</em> (German translation, \"a little night music\" or \"a little serenade\") was composed, the world was experiencing growing pains due to international commerce, a rising middle class, political upheaval, changes in the Church, and civil unrest. These difficulties washed over Europe and the Americas. The Spanish and Austrian Succession, Seven Years War, American and French Revolutions created a groundswell of democracy and the emergence of an increasingly independent and powerful middle class. This fact, when coupled with the Industrial Revolution, brought about a style of music that abandoned the grandiosity and ornamentation of the Baroque family of styles and, instead, focused on simplistic harmonies and subtle textures. This new style was a direct representation of the ascent of the middle class and the crumbling of the aristocracy [Siepmann].\r\n\r\n<em>Eine Kleine Nachtmusik</em> encapsulates the Classical-style because it is a sonata and contains a clearer and more symmetrical expression of emotions. When listening to this music, it feels effortless as if you are drifting or dreaming. When I listened to the piece for the first time I felt at peace. One does not feel as if one needs to<em> do</em> <em>anything</em> except enjoy the flow of the symphony. The economical use of four or five chords and two or three short themes evokes a distinctive departure from previous pretentious styles, like Baroque, and most musical historians believe that this element has roots in the affluent middle-class that was beginning to commission such works for special occasions [Siepmann].\r\n\r\n[caption id=\"attachment_1792\" align=\"alignright\" width=\"192\" caption=\"Statue of Boccherini in Pisa, Italy http://tinyurl.com/3kd6r2g\"]<a href=\"http://tinyurl.com/3kd6r2g\"><img class=\"size-full wp-image-1792\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Boccherini.bmp\" alt=\"\" width=\"192\" height=\"173\" /></a>[/caption]\r\n\r\nFor example, Luigi Boccherini\'s <em>Minuetto</em> is a perfect example of Baroque-style that the aristocracy adored. It is opulent, ornate and pompous. It was created to impress aristocratic listeners. It is almost impossible to listen to Boccherini\'s piece without tapping your foot or being overwhelmed by the urge to dance or skip around. I am not really sure if this is what Boccerini had in mind but that is my impression. At the time it must have been heart-pounding and impressive.\r\n\r\nClick on the following link to listen to Boccherini\'s <em>Minuetto</em>:\r\n<a href=\"http://www.youtube.com/watch?v=kSE15tLBdso\">Luigi Boccherini\\\'s Minuetto </a>\r\n\r\nMozart created <em>Eine Kleine Nachtmusik</em> to cater to the newly affluent middle-class in a way that was elegant, respectful, and tasteful, but definitely not pompous and ornate. His composition was straightforward and melodic. It soothed the audience. It seems worlds apart when compared to Boccherini\'s Baroque-style compositions of just a couple of years prior. According to Stanley Sadie, \"Mozart\'s string chamber music is more concerned with sensuous beauty of harmony or texture. The new possibilities of symmetry clearly attracted him. Mozart\'s longest four-movement chamber work is generously proportioned in every particular, with spacious, harmonically slow-moving themes and broad structural spans.\"\r\n\r\n[caption id=\"attachment_1821\" align=\"alignleft\" width=\"211\" caption=\"Mozart&#039;s Eine Kleine Nachtmusik - 4th Movement - http://tinyurl.com/3sevo8b\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png\"><img class=\"size-full wp-image-1821 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Romananza3.png\" alt=\"\" width=\"211\" height=\"212\" /></a>[/caption]\r\n\r\nClick on the following link to listen to Mozart\'s <em>Eine Kleine Nachtmusik, Romananza</em>, fourth movement:\r\n<a href=\"http://www.youtube.com/watch?v=2Okl6WSDfLE\">Mozart\'s Eine Kleine Nachtmusik - Romananza</a>\r\n\r\nThe structure of <em>Eine Kleine Nachtmusik\'s</em> four movements was innovative and original because, according to Siepmann, \"It is overwhelmingly these [four movements] that have ensured Mozart\'s immortality as a symphonist. In their perfection of form, variety of character, individuality of tone and emotional and spiritual reach, they are like nothing written before them, not even by Haydn.\" He goes on to say that, for the first time in musical history, Mozart \"liberated the wind instruments.\"\r\n\r\nWhen this composition was written Mozart was 31 years old, but it was first published posthumously in 1827. Although it is not known who commissioned the piece, it is thought to have originally contained five movements, one of which has been lost forever. Whether the fifth movement was stolen by a music rival or simply destroyed by Mozart will never be known [Einstein].\r\n\r\nWhen compared to Haydn\'s <em>Surprise II</em>, Symphony No. 94 in G Major, published in 1791, Mozart\'s compositions show quite a bit more restraint and less aggressive transitions. Although the melodic elements are very similar, Haydn seems to focus on startling (or \"surprising\") his audience, as evidenced by the fortissimo chord at the end of the lovely, and almost mesmerizing, opening theme of the second movement.\r\n\r\n[caption id=\"attachment_1823\" align=\"alignright\" width=\"270\" caption=\"Sample CD Cover Haydn&#039;s &quot;Surprise&quot; http://tinyurl.com/3nzbs5v\"]<img class=\"size-full wp-image-1823 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Surprise1.png\" alt=\"\" width=\"270\" height=\"280\" />[/caption]\r\n\r\nClick on the following link to listen (be prepared for the \"surprise\" chord) to Haydn\'s Surprise II, Symphony No. 94 in G Major:\r\n<a href=\"http://www.youtube.com/watch?v=lLjwkamp3lI\">Haydn\\\'s Surprise II, Symphony No. 94 in G Major</a>\r\n\r\nWhen <em>Eine Kleine Nachtmusik</em> was composed Mozart was surrounded by deep emotional turmoil. The changing relationship between the Church and the aristocracy was directly affecting him especially since Emperor Joseph II had banned \"loud\" church music (Mozart\'s bread and butter)[Keefe]. He lost two children that year and had met a new student that showed great promise, the sixteen-year-old Ludwig van Beethoven. Mozart was appointed to the Kammer Musik as its sole composer and this left only two composers at Court, Mozart and Antonio Salieri [Keefe]. Mozart had been living beyond his means and had been suffering from great financial losses for years. He viewed his appointment as a new start professionally. Salieri and Mozart quickly became musical rivals and stories have long been told about the circumstances of Mozart\'s death which occurred just four years after his appointment to the Kammer Musik. If the stories are true, and Salieri did poison Mozart, then Salieri did not get the result he desired. After Mozart\'s death his music soared in popularity [Sadie].\r\n\r\nEven though Mozart was appointed a rather prestigious post in the Italian Court, his pay was minimal, and his ability to sway the fickle public ran hot and cold. He was commissioned to write pieces for wealthy middle-class families and his work was generally well-liked at the time; however, he was seen as just another composer among many. Most of his professional success was never realized until after his death, in 1791, at the young age of thirty-five. Since it is not known who commissioned this piece and because it was not published until 36 years after his death, it is believed that very few people had knowledge of or ever heard the composition performed live by Mozart [Sadie].\r\n\r\nToday, when conducting an Internet search of Mozart\'s <em>Eine Kleine Nachtmusik</em>, I found 1.8 million sites related to this one specific work. It has been played by well-known symphony orchestras throughout the world and it is chosen for hundreds of collections of top ten classical compositions. It is amazing to me that Mozart\'s \"throw away\" symphony may have been lost forever and never played or published. Mozart did not seem to value this piece since he did not ever perform it publicly and never delivered it to whomever commissioned the work. It was found amongst a pile of unpublished works that his wife eventually sold after his death. Fiero states, \"Mozart achieved a balance between lyrical invention and formal clarity that brought the classical style to its peak.\"\r\n\r\nI completely agree with Fiero and feel that although this composer made little money during his lifetime and never received accolades befitting his talent while he was alive, he would certainly deserve a spot in the Classical Music Hall of Fame, if there was one. Future generations could benefit from his example of spending your life doing what you love even if you don\'t make much money. He was a prodigy (first public performance at Salzburg University in 1761 at age of five. [Sadie]) and grew in to an astounding musical talent that many say was never fully realized. Mozart kept striving for more and succumbed to the pressures of trying to fit in and \"keep up with the Jonses\" so he did not leave much for his family upon his unexpected  death. If nothing else, this is an example that we should all do what we love when we chose a career and enjoy every minute of the life we have.\r\n\r\n&nbsp;\r\n\r\nWORKS CITED\r\nEINSTEIN, Alfred., Mozart: His Character, His Work. Oxford University Press, New York, 1945, p144; p157-159; This is a Biography by a famed scholar of Mozart and I used it to research the simplistic composition of <em>Eine Kleine Nachtmusik</em> and the limited number of keys Mozart selected.\r\n\r\nSIEPMANN, Jeremy., Mozart: His Life &amp; Music, Sourcebooks Media Fusion, Naperville, Illinois, 2006, p163-167; p169-171; This is an audio-Biography that I used to research how this piece was innovative or unusual for its time.\r\n\r\nKEEFE, Simon., The Cambridge Companion to Mozart, Cambridge University Press, Cambridge, United Kingdom, 2003, p xii-xvii; This is a textbook from college-level courses on Mozart and I used it to research the chronology of Mozart\'s life and learn about the events occurring in his life at the time he composed <em>Eine Kleine Nachtmusik</em>. I also researched his appointment to the Kammer Musik in this book.\r\n\r\nSADIE, Stanley., The New Grove: Mozart, Norton, New York, 1980, p108-115; This is a Dictionary of Music and Musicians that I used to research Mozart\'s life and associations in Vienna during the years of 1785 to 1788.\r\n\r\nFIERO, Gloria., The Humanist Tradition, Volume Two, Chapter 26, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed October 2-7, 2011. This is a college-level course textbook that I used to learn about Mozart\'s connection to Haydn and different elements that he brought to Classically-styled music.','Mozart in the Hall of Fame?','','inherit','open','open','','1749-revision-21','','','2011-10-10 18:54:01','2011-10-11 00:54:01','',1749,'http://jeanatacc.com/2011/?p=1842',0,'revision','',0),(1843,48,'2011-10-10 21:27:56','2011-10-11 03:27:56','[caption id=\"attachment_1850\" align=\"aligncenter\" width=\"300\" caption=\"Hell&#039;s Kitchen presents The Last Supper!\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/hells-kitchen-logo.jpg\"><img class=\"size-medium wp-image-1850\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/hells-kitchen-logo-300x225.jpg\" alt=\"\" width=\"300\" height=\"225\" /></a>[/caption]\r\n<p style=\"text-align: center\"> http://l.yimg.com/l/tv/us/img/site/94/20/0000039420_20070501155204.jpg</p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nOver the course of his illustrious career, Tintoretto painted\r\nexactly eight versions of the famous Last Supper, the first one in\r\n1547, while the last painting was begun in 1591 and finished in 1594,\r\nthe same year that Tintoretto died. The bulk of these paintings may\r\nstill be viewed today, as all but a single one remain in Venice.\r\nAlmost everyone the world over is familiar with the imagery of the\r\nlast supper, where Jesus and his apostles are sharing the last meal\r\nthat they will have together. Judas plots the demise of his master,\r\nwhile Jesus instructs his followers to eat of his flesh and drink of\r\nhis blood while offering bread and wine for the rite of\r\ntransubstantiation. <!--more-->Tintoretto painted during the burgeoning\r\nrenaissance, and was even apprenticed to the great master Titian, who\r\nre-invented the nude as an art form with his work \'The Venice of\r\nUrbino\', which is still heralded even today as a timeless piece. \"The\r\ncentury that began with Bellini and Giorgione is [closing]. Titian,\r\nthe colossus, has long been buried in the church of the Frari, and\r\nVeronese, the last legitimate competitor, has been dead for three\r\nyears; thus Tintoretto, thanks not only to talent, ambition, and\r\nprodigious energy, but to the brute facts of attrition and survival,\r\nfinds himself in the role of Venice\'s leading artist” (Hahn 200).\r\nTintoretto’s Last Supper should without any doubt be preserved just\r\nfor the legacy that Tintoretto left, but also because his obsession\r\nwith this particular image and the fact that he continued to work on\r\nit over the course of his entire career suggests that the artist was\r\nespecially close to the story and ideas behind the Last Supper.\r\n\r\nIt takes almost no skill or knowledge to equate the intense\r\nreligious message portrayed in The Last Supper with classical art.\r\nPractically everyone is familiar in one way or another with Leonardo\r\nDa Vinci\'s painting of the subject, which is still just as eagerly\r\ndeciphered for its symbology today as his other immortal work, the\r\nMona Lisa. In the subject matter Tintoretto selected, he was very much\r\nfollowing the fad of the times, since historical works of art as well\r\nas those containing religious or mythological subject matter were in\r\nthe highest of demand. One of Tintoretto\'s peers, the sculptor\r\nDonatello, portrayed the biblical story of Judith and Holofernes as\r\none of his works. Michelangelo sculpted the David that still rivets\r\nour imagination even today. According to the Italian style of\r\npainting, Tintoretto\'s images are carefully composed, with painstaking\r\nattention paid to the details of the arrangement, and the mathematical\r\nproportions of each figure in relation to the room. Humanism was a\r\nprevalent school of thought at the time, defined as any viewpoint that\r\nis human-centered. \"Second-generation humanists felt it their duty to\r\nactively contribute to civic life, resurrecting the classical age\'s\r\nrepublican ideals along with its literary sensibilities. At the same\r\ntime, artists showed a new interest in realistic representations of\r\nthe human body, as seen in the works of Michelangelo. Humanistic\r\nvalues spread rapidly among the elite, including women scholars like\r\nAlessandra Scala and Isotta Nogarola” (Boucquey).\r\n\r\nIt is only in his technique that Tintoretto towers above his\r\ncontemporaries. Although the act of setting up a miniature model to\r\nhelp guide an artist through properly translating the image they\r\ndesire was not unheard of, it is this practice which gave Tintoretto\r\nthe ability to create such life-like detail in his paintings. \"The\r\ncharacteristic qualities of his works—a wonderfully dramatic sense of\r\nmovement, space, and lighting—were in part aided by his use of small\r\nwax models which he grouped inside a box to create a stage-like\r\nsetting, changing the figures, lighting, and setting to explore\r\ndifferent effects” ( Hutchinson ). Among the artists who used this\r\nparticular method of preparing their paintings, Tintoretto was\r\nconsidered possibly the most brilliant of them all, and was capable of\r\nextracting amazing detail. Tintoretto was also among those who used\r\nmannerism to break away from the traditional style of the time.\r\n\"Mannerism [was] a style in art and architecture (c.1520–1600),\r\noriginating in Italy as a reaction against the equilibrium of form and\r\nproportions characteristic of the High Renaissance. Mannerists devised\r\ncompositions in which they deliberately confused scale and spatial\r\nrelationships between figures, crowding them into the picture plane.\r\nOften strange tunnel-like spaces were created, as in the works of\r\nTintoretto and El Greco. Lighting became harsh, and coloring tended to\r\nbe acrimonious. The mannerists devised sophisticated and obscure\r\nallegories” (Mannerism).\r\n\r\nEven though there are those who look down at Tintoretto for\r\nchoosing to work in the mannerist style, as well as those who would\r\nlike to claim that the works of Titian eclipse Tintoretto, whom was at\r\nodds with his former mentor, there is no denying that Tintoretto was\r\nacknowledged for his greatness practically within his lifetime. Only a\r\nfew decades after Tintoretto\'s death at the turn of the century,\r\nWilliam Blake was partial to Tintoretto\'s paintings and made a point\r\nto study them along with the works of masters like Michelangelo and\r\nDonatello. \"Although he adhered to tempera, Blake had seen and been\r\nmoved by exhibitions of European oils including works by...Titian,\r\nMichelangelo, and Tintoretto at several London galleries, and his work\r\nshowed their painterly influence, especially in his use of\r\nperspective” (Heims). A century after that Yeats had glowing words of\r\npraise for Tintoretto, even though he uses a work by Tintoretto to\r\nshow how an image can never tell a story as fully as words. Yeats\r\nillustrates his point with Tintoretto\'s painting Origin of the Milky\r\nWay (ca. 1577): \"A hundred generations might write out what seemed the\r\nmeaning of the one, and they would write different meanings, for no\r\nsymbol tells all its meaning to any generation; but when you have\r\nsaid, \'That woman there is Juno, and the milk out of her breast is\r\nmaking the Milky Way,\' you have told the meaning of the other, and the\r\nfine painting, which has added so much irrelevant beauty, has not told\r\nit better” (qtd in Harper).\r\n\r\nMore modern reviews of Tintoretto’s work seem to have equally\r\nkind words, remarking that,\"The style is spontaneous, and the\r\norganization seems no less inspired. More intuitive Italian rational,\r\nmore interested in motion and impact than order and logic, his designs\r\naim to immerse us in their actions, involving us psychologically and\r\nviscerally” (Hahn). In a rare example of coherency throughout the\r\nages, the works of this particular artist seem to be found as\r\ninspiring and entrancing now as they were during the years shortly\r\nafter his career ended. It is probably a monument to the way\r\nTintoretto broke away from the conventional style of the renaissance\r\nby taking part in the mannerist movement that his works stand so far\r\napart from those that are considered masters of the time while still\r\nbeing considered masterful in their own right.\r\n\r\nWhen I saw this piece I fell immediately in love with the\r\nintricately rendered details and the way that Tintoretto has invited\r\nus into the same space that Jesus occupies. The apostles and their\r\nmaster sit at a table that seems to recede back into the shadowy room\r\nof a simple inn. Servants go about their business in the foreground,\r\nand the meal appears to be winding to a close. A single candle\r\nilluminates the room, with the ghostly suggestion of angels projecting\r\nfrom the flame to represent the presence of the holy ghost. Compared\r\nto the usual paintings of the renaissance, Tintoretto’s style seems\r\nmore moving and realistic, as if he wanted to draw the viewer in with\r\nthe believability of the scene, then keep them there with all the\r\nsubtle iconography. There are a myriad of tiny details to engage the\r\neye, from the cat peeking into the tub of water that a servant girl\r\nleans over, to the angels that seem to fade into the background,\r\nemerging from the dusky woodwork.\r\n\r\nIn order to compare the Last Supper by Tintoretto with another\r\nwork of its time, there is only one piece that can be chosen. The Last\r\nSupper by Leonardo Da Vinci is the obvious choice, although it almost\r\ndoesn’t seem fair to hold the rather plain fresco alongside\r\nTintoretto’s brilliantly rendered oil painting. Because these are both\r\nimages of the Last Supper parable, the best place for comparison would\r\nbe the actual representation of the story. Leonardo does a better job\r\nof translating through arrangement and hidden iconography the spirit\r\nof the story, while it is almost difficult to decipher what Tintoretto\r\nis seeking to portray, because he has made Jesus and his followers\r\nseem so human. However, the very humanity that Tintoretto has placed\r\ninto his painting is what makes it speak to the viewer. Certainly in\r\nthe sense of style and skill, Tintoretto has outclassed Leonardo.\r\nLooking at Leonardo’s Last Supper, the image seems flat and almost\r\nsimplistic. There is less attention paid to the spacial proportions,\r\nso while there is some recession of the room where Jesus and his\r\nfollowers are feasting, the proportion seems uninteresting and does\r\nnot invite the eye to wander past the table and the men seated at it.\r\nCertainly there are some strange and mysterious theories floating\r\naround about the Leonardo copy, and what the artist was trying to say\r\nwith his arrangement, while Tintoretto’s version is more straight\r\nforward and easier to decipher. However, if mystery is what makes a\r\npiece of art great, then there is a monumental mystery in Tintoretto’s\r\ndecision not to specify Judas out of the apostles. There is no way to\r\nspecifically pinpoint which man is Judas, while in the Leonardo\r\nfresco, each member of the dinner party has been identified.\r\n\r\nNot only was Tintoretto an amazingly talented artist, he was also\r\na very prolific artist, painting somewhere around five hundred images\r\nover the course of his life. This may not be as surprising knowing\r\nthat he did eight different versions of the Last Supper alone. Because\r\nthe breadth and body of his work is so great, selecting a specific\r\nwork to represent his skill is difficult. From the eight versions of\r\nthe Last Supper it is clear that Tintoretto himself was fascinated\r\nwith this story, and indeed, the story is what makes it such an\r\nobvious choice to be preserved. For anyone not familiar with the\r\nbackground of the Last Supper, it was the Passover meal during which\r\nJesus performed the right of transubstantiation – giving his followers\r\nbread and wine which was then ‘transubstantiated’ into the body and\r\nblood of Christ, allowing his followers to take in his spirit and\r\npower – before being betrayed by Judas and taken to be crucified. The\r\nLast Supper is the beginning of one of the world’s oldest tales of\r\nbetrayal, but where Leonardo chose to emphasis that aspect, making it\r\nclear who each individual in his painting is, Tintoretto has chosen to\r\nfocus instead on the fellowship of the Passover without hinting at the\r\ngreat betrayal that is about to take place. For the religious\r\novertones, the beauty and skill with which the painting was executed,\r\nand the impact that Tintoretto had on the history and art of the\r\nrenaissance, this piece is of invaluable importance and should\r\nabsolutely be preserved for the future.\r\n\r\n_______________Works Cited_______________\r\n\r\nHahn, Robert. \"Motion, energy, and revelation: Tintoretto\'s Last\r\nSuppers.\" TriQuarterly 126 (2006): 200+. Literature Resource Center.\r\nWeb. 9 Oct. 2011.\r\n\r\n\"Renaissance art and architecture.\" Columbia Electronic Encyclopedia,\r\n6th Edition (2010): 1. MasterFILE Premier. EBSCO. Web. 9 Oct. 2011.\r\n\r\n\"Tintoretto.\" Hutchinson\'s Biography Database (2011): 1. MAS Ultra -\r\nSchool Edition. EBSCO. Web. 9 Oct. 2011.\r\n\r\nBoucquey, Thierry, gen. ed. \"humanism in the Renaissance.\"\r\nEncyclopedia of World Writers, 14th through 18th Centuries. New York:\r\nFacts On File, Inc., 2005. Bloom\'s Literary Reference Online. Facts On\r\nFile, Inc. 9. Oct. 2011.\r\n\r\n\"Mannerism.\" Columbia Electronic Encyclopedia, 6th Edition (2010): 1.\r\nMAS Ultra - School Edition. EBSCO. Web. 9 Oct. 2011.\r\n\r\nHarper, George Mills. W. B. Yeats and W. T. Horton: A Record of an\r\nOccult Friendship; Horton, W. T. A Book of Images; Yeats, W. B. The\r\nCollected Letters of W. B. Yeats (vols. 2–3), Essays and\r\nIntroductions.\r\n\r\nHeims, Neil. \"Blake, William.\" In Bloom, Harold, ed. William Blake,\r\nBloom\'s BioCritiques. Philadelphia: Chelsea House Publishing, 2005.\r\nBloom\'s Literary Reference Online. Facts On File, Inc.\r\n\r\nHahn, Robert. \"Tintoretto and the Truths of Incoherence.\" Raritan 26.4\r\n(2007): 125-150. World History Collection. EBSCO. Web. 10 Oct. 2011.','The Last Supper by Tintoretto','','publish','open','open','','the-last-supper-by-tintoretto','','','2011-10-23 11:55:00','2011-10-23 17:55:00','',0,'http://jeanatacc.com/2011/?p=1843',0,'post','',8),(3433,95,'2013-10-14 11:19:02','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2013-10-14 11:19:02','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=3433',0,'post','',0),(3434,84,'2013-10-14 11:20:07','2013-10-14 17:20:07','During the Protestant Reformation, the music of the Baroque era underwent a major change. In the theatre, the opera brought the idea of bringing music and drama together by telling stories with song. However, in mid-eighteenth century England, composer George Fredric Handel from Germany wrote the first oratorio. That oratorio was the Messiah, which was the first piece of music to be written as a sacred and religious text. This type of music was not told as a performance with dramatic scenery, but with a choir, orchestra, and a narrator. The Messiah is based on the first modern English Bible, The King James Bible, which was first published in 1611. Handel’s Messiah is written in three parts to announce the birth, death and resurrection of Jesus Christ. The Messiah contains verses of the Old and New Testaments. Like the Baroque music of its time, this piece of music compares to the usual Baroque musical pieces in terms of its style of tempo. The Messiah by George Fredric Handel is best known for its Hallelujah chorus, which still makes audiences stand to this day.  It is also known for bringing the Holy Scripture to life in a jubilant and lively style. \r\nHandel’s Messiah can be considered an innovation to its era because this piece can be considered the first oratorio ever written of its time. It stands out from the musical masterpieces from its era because it is the first one to contain religious content from the Holy Scripture. As the first oratorio written of its time, it contained a choir and an orchestra. As a synopsis of the life of Christ, this musical masterpiece was a contrast to the dramatic imagery of opera. Unlike the tragedy and sadness of opera, this religious text was very jubilant. It was the first of its kind to create a biblical allusion to the King James Bible as well. The King James Bible gave way to all three parts of the oratorio because it contains the Old Testament requirements a Savior, the death of Jesus Christ in the second, and the redemption of Christ in the third. Thanks to Handel and the Protestant Reformation, the Baroque Era brought an influential type of music that changed the world of performing arts that influenced many artists in the centuries to come.\r\nThe first time Handel played the Messiah was during the winter of 1741 and on into 1742. He was invited by the Duke of Devonshire in Dublin to perform. While Handel did not play the Messiah during this season, the popularity of his music was at large that he was invited back to play a performance that following spring. This concert included the Messiah. This concert was extraordinary that the newspaper in Dublin gave it a rating of it being the most remarkable piece in Dublin or anywhere in the world. Once again, during that summer, Handel gave another performance of the Messiah for his private benefits. When Handel performed in 1743 in London’s Convent Garden theatre, the people of London did not care for Handel’s Messiah as much. According to the English press, the voices of the female sopranos were raised in ranking. Handel decided to refer to the Messiah as the “New Sacred Oratorio”, and he also divided his performance season in half to three concerts. That next year, in 1744, Handel held no performances in London. He would play in London on and off through the years. Until he died in 1759, Handel played concerts throughout the years in London beginning in 1750.\r\nHandel’s Messiah still has that thrill that it had in its early days, where everybody stands and praises the Lord during the “Hallelujah Chorus.” This tradition traces back to 1743 where King George II rose from his seat during a performance in London. Played at both Easter and Christmas, these holidays have their own references to the song in which each part applies to a specific event in the life of Christ. All together, the whole oratorio explains how Christ has come back to Earth to redeem us. This message is most clear in the “Hallelujah Chorus”, which implies a joyous celebration that we have been redeemed from our sins. For the most part, people look towards enlightenment as they stand to sing this song. In fact, the majority of this song is sung standing to praise that Christ has done so much to save us from sin and evil.\r\nIn my opinion, this piece is beautiful and harmonious to my ears. Even though I do not know all the words to this song, I still like singing along to the “Hallelujah Chorus.” Being a song that is enlightening and proclaiming that a Savior is here to redeem us, I agree with the majority of people who think that this is an enlightening and encouraging piece. The Messiah is a piece of music for all ages because I feel like people from children to seniors can feel spiritual happiness by listening to this piece of music. This piece, I believe, should be a classic to sing and play for congregations over the ages because its powerful words and verses of spiritual enlightenment. This and many of Handel’s oratorios should be treasured over many centuries to remind people that there is hope and encouragement from Jesus Christ the Savior. \r\nAnother piece of classic religious music is the American Civil War hymn, The Battle Hymn of the Republic. This song, as written by Julia Ward Howe, also has become an American patriotic song. Written at a hotel in Washington D.C., Howe heard a regimen sing John Brown’s Body earlier in that day in 1861. That exact same night, she instantly jumped out of bed and wrote down some ideas to her song. Inspired and disturbed by the slaying of abolitionist John Brown that day, she recalled an Old Testament verse of Isaiah claiming “I have trodden the wine press alone … and trampled them in my wrath … For the day of vengeance was in my heart, / and my year of redemption has come.\" [Isaiah 63:1–6] (Julia Ward Howe). From this verse, Howe had written a whole song about redemption inspired from an abolitionist who had redeemed his life by going with Christ. Today, The Battle Hymn of the Republic has been sung at many military funerals for soldiers.\r\nLike Handel’s Messiah, The Battle Hymn of the Republic is a song that one can find people singing at religious rituals in the United States. In Howe’s song, she notes that vengeance and redemption are really important. Like this song, the Messiah talks about Christ’s redemption and how He has died for our sins. Also, both songs place a strong emphasis on the Bible and Christianity being references for higher powers redeeming us for our sins. In both songs, one can be assured that Christians can be saved from sin and evil. \r\nGeorge Fredric Handel’s Messiah should be restored because it’s the first ever recorded song to tell about the life, death, and resurrection of Jesus Christ. I highly recommend this musical masterpiece to be sung and cherished traditionally on Easter and Christmas annually, I hope that future generations of young children learn the Messiah at a very young age because I believe every young person should know how Christ died for our sins. More importantly, I hope everybody gets a chance to learn that we are all redeemers of Christ. I encourage Christianity to be a continuous value for everyone who believes that Christ is their Savior. The Messiah, especially the “Hallelujah Chorus”, should be a trademark of all Christian denominations because I believe the thing that they all have in common is that Christ is the eternal Savior. The Messiah by George Fredric Handel, as well as other oratorios, should go in the time machine because celebrating the life of Jesus Christ is a joyous celebration and upbringing that I believe everybody should get the chance to experience. \r\n\r\nSources:\r\nHETTRICK, JANE SCHATKIN. \"Handel\'s Messiah: Comfort For God\'s People.\" American Organist Magazine 46.12 (2012): 78-80. Academic Search Complete. Web. 30 Sept. 2013.\r\n\r\nKapilow, Robert. What Makes It Great?: Short Masterpieces, Great Composers. Hoboken, NJ: Wiley, 2011. Print.\r\n\"The Battle Hymn of the Republic.\" Dictionary of American History. 2003. Encyclopedia.com. 30 Sep. 2013 .\r\n\r\n\r\n','George Fredric Handel\'s Messiah','','inherit','open','open','','3424-revision-v1','','','2013-10-14 11:20:07','2013-10-14 17:20:07','',3424,'http://jeanatacc.com/2011/?p=3434',0,'revision','',0),(1846,51,'2011-10-10 23:06:22','2011-10-11 05:06:22','<p style=\"text-align: center;\" dir=\"LTR\" align=\"LEFT\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/EssayOnMan.jpg\"><img class=\"size-medium wp-image-1919 aligncenter\" title=\"EssayOnMan\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/EssayOnMan-188x300.jpg\" alt=\"\" width=\"188\" height=\"300\" /></a>http://www.english-e-corner.com/britishliterature/contents/Enlightenment2/EssayOnMan.jpg</p>\r\n<p dir=\"LTR\" align=\"CENTER\">ALEXANDER POPES</p>\r\n<p dir=\"LTR\" align=\"CENTER\">ESSAY ON MAN</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Alexander Pope (21 May 1688 – 30 May 1744) was a poet in england during the 18th century. Pope is regarded as one of the brilliant minds of his time. He is most famously attributed with his work on early author Homer. Alexander is also famous for being the “third-most quoted writer behind Shakespeare and the poet Tennyson.” The works of Pope have out lasted the test of time, tho it is true that many people do not recall or identify the works of pope, everyone comes across them at one point. Although <span style=\"text-decoration: underline;\">Essay of Man</span> was a masterpiece that came later in his life, Pope has always been a man of the written word. Whether it was his work on the translation of Homer, Popes <span style=\"text-decoration: underline;\">Essay on Criticism</span>, his <span style=\"text-decoration: underline;\">Twickenham and the Grotto</span>, or even his Editions of Shakespeare works Pope was a true visionary.</p>\r\n<p dir=\"LTR\" align=\"LEFT\"><!--more--></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The <span style=\"text-decoration: underline;\">Essay of Man</span> is a historic piece that could not be replaced if lost. That is why it must be preserved for all time for the people of the present to look back on as a ground breaking poem, but also for the people of the future to show them the ideas of ethics of humanity of people in the past. Popes <span style=\"text-decoration: underline;\">Essay of Man</span> “is a philosophical poem, written in heroic couplets and published between 1732 and 1734. Pope intended this poem to be the centerpiece of a proposed system of ethics that was to be put forth in poetic form” (Nuttal,1). The poem is in a close resemblance to Milton’s <span style=\"text-decoration: underline;\">Paradise Lost</span> in both of there ideas of God and Man. Pope “attempts to vindicate the ways of God and man” “it makes an assumption that man has fallen and must seek his own salvation”(Nuttal,2) while Milton attempts to “justify the ways of God to Man” (1.26) which dealt more with the fall of Satan and the temptation of Adam and Eve.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The <span style=\"text-decoration: underline;\">Essay of Man</span> consists of four epistles which presented his view of the universe, he says that “no matter how imperfect, complex, inscrutable and disturbing the Universe appears to be, it functions in a rational fashion according to the natural laws. The natural laws consider the Universe as a whole a perfect work of God”(Nuttle,1). To humans it appears to be evil and imperfect in many ways but to Pope it is due largely to the minds and the brain power of people and there comprehension of the un-known. Pope goes on to tell about the peoples place in his idea, he describes it as “Great Chain of Being” this being the  “middle stage between the angels and the beasts of the world. If we are able to accomplish this then we potentially could lead happy and virtuous lives” his belief that if people could understand his ideas of the difference between God and Man the people of the world could possible live better lives. As in that man is in the “stage between angels and beasts” Popes belief is that if man better understood they would no longer be living there life’s in the middle of angels and beast, man would be closer to the stage of the angels and no longer be stuck in the middle. The fact that this poet had these ideas and beliefs so long ago is a surprise to many, when people read The <span style=\"text-decoration: underline;\">Essay of Man</span> they are astonished on how well thought out and how fascinating Popes ideas are. This to me is another reason this work should be preserves for all time. People of today and people of the future can look back on this work and learn from it, whether it be a new look on life, an new idea on religion, or just as a poetic masterpiece. Popes essay is one of the poetic pieces that has a deeper meaning, from starting of as a letter to  Lord Bolingbroke and was transformed into a religious/life outlook.</p>\r\n<p dir=\"LTR\" align=\"CENTER\">WORK CITED</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Essay on Man-</p>\r\n<p dir=\"LTR\" align=\"LEFT\">http://www.gutenberg.org/files/2428/2428-h/2428-h.htm</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Alexander Pope-</p>\r\n<p dir=\"LTR\" align=\"LEFT\">http://en.wikipedia.org/wiki/Alexander_Pope#cite_note-Nuttal_1984-12</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Popes Essay</p>\r\n<p dir=\"LTR\" align=\"LEFT\">- http://theotherpages.org/poems/pope-i.html</p>\r\n<p dir=\"LTR\" align=\"LEFT\">An Essay on Man Poem-</p>\r\n<p dir=\"LTR\" align=\"LEFT\">http://classiclit.about.com/od/essayonmanapope/a/aa_essayonman_e1.htm</p>','Pope\'s Essay on Man','','publish','open','open','','popes-essay-on-man','','','2011-10-21 11:11:35','2011-10-21 17:11:35','',0,'http://jeanatacc.com/2011/?p=1846',0,'post','',2),(1847,48,'2011-10-10 21:17:58','2011-10-11 03:17:58','','Auto Draft','','inherit','open','open','','1843-revision','','','2011-10-10 21:17:58','2011-10-11 03:17:58','',1843,'http://jeanatacc.com/2011/?p=1847',0,'revision','',0),(3445,86,'2013-10-14 11:34:04','2013-10-14 17:34:04','<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/modest.jpg\"><img class=\"alignnone size-medium wp-image-3441\" alt=\"modest\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/modest-167x300.jpg\" width=\"167\" height=\"300\" /></a></p>\r\n<p style=\"text-align: center\">A Modest Proposal</p>\r\n<p style=\"text-align: center\">(For Preventing the Children of Poor People in Ireland From Being a Burden to Their Parents of Country, and for Making Them Beneficial to the Public)</p>\r\n<p style=\"text-align: center\">Jonathan swift</p>\r\n<p style=\"text-align: center\">1729</p>\r\n&nbsp;\r\n\r\nSwift’s A Modest Proposal is in short his satirical suggested solution to the famine that weighed heavily on the people of Ireland. However, it is much more than that. With Swift’s proposal it is clear that his solution that \"…children should be bred and butchered for the English dining table, thus providing income for the poor and alleviating the miseries of all…\" was not the correct way to go. (Fiero) Swift opens with a heart wrenching description of the destitute women and children on the streets. He explains that as the children grow older they are a continuous burden on the parents and society because they become thieves. He suggests that his proposal will be great for the entire population. He identifies a year old is a proper age to be sold and \"will make four dishes of excellent nutritive meat\" (Swift). He admits that predominately the boys will be sold because the females are able to breed and feed the babies they birth and to sell them would be \"bordering upon cruelty\" (Swift). He claims that he doesn\'t have any personal motives in offering his idea besides \"the public good of my country, by advancing our trade, providing for infants, relieving the poor, and giving some pleasure to the rich\" (Swift). Ironically, he ends his proposal by informing the reader that none of his kids are young enough to be a part of his solution and his wife is too old to have any more kids. This inevitably solidifies the satirical irony this proposal is founded on. A Modest Proposal should be preserved because it teaches the complete tragedy of the times and its effects on society historically, in both an informational and entertaining style.<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/modest.jpg\"><!--more--></a>\r\n\r\n&nbsp;\r\n\r\nAt the time A Modest Proposal was written at a time when the British government was severely oppressing the Irish people. They had limited the Irish folks\' ability to export nearly everything that was worth exporting as well as forcing them to make all their purchases from foreign sellers because the imports were so few. Many of the families were unable to feed their own children because of how little income they were able to gain, this is something that Swift reviews as the \"cruel and enduring realities of Ireland\'s social misery\" (Briggs). They were in a terrible condition because \"the Irish that had legitimated the English colonization of Ireland for centuries\" (Splenetic). There was a great upset in the religious world as well. Although Catholicism was the major religion the Protestant minorities had immigrated to England and for the idea of safety in numbers they unity with the English. This unity brought a force that created \"a series of discriminatory inheritance laws which effectively broke up large Catholic estates\" (Baker). This left the \"Anglo-Irish\" as the prime owners of the country so to speak. However, as the redheaded step children they had no unity driving force, their people constantly split between two powers, Tory Lordship and Whiggish House of Commons, vying for the overall rule, leaving those with very little caught in the middle with no one fighting on their behalf. The lack of powerful leadership left them vulnerable to the strong hand of the English who desired no competition in the economy for farms and businesses. Thus, they created laws that at the root destroyed the Irish economy and brought the famine and destitution of the Irish people.\r\n\r\n&nbsp;\r\n\r\nHe copied a popular style of the time and used pamphlets that could be easily passed out in mass quantities for not very much money. He used this humorous approach because often times the solutions of his peers had such disregard for the tragic implication on the people whom they were supposed to be helping for the sake of economic efficiency. The suggestion of cannibalism was a theme that ran among the pamphleteers. It suggested that the Irish were so below humanity they were \"given to dietary practices\" (Splenetic). The many authors may have had some sympathy because this was the way the Irish were viewed they also had \"disgust and contempt for the objects of the slur\" (Splenetic). Swift was able to pull ideas from the writings of others over the previous seventy years. Swift\'s foundation for his writings is in the \"methods and implicit values\" of the pioneers in this type of influential writing, that create \"the confident social and financial projections of Swift\'s proposers\" (Briggs).\r\n\r\n&nbsp;\r\n\r\nThe satirical stand point from which Swift wrote this pamphlet marks it a part from others of it\'s kind. He was quite negative with his outlook of humanity and once even wrote a letter to Alexander Pope \"that he hated the human race, whose misuse of reason produced, in his view, an irredeemably corrupt society\" (Fiero). This ability to see the works of his predecessors and identify what made them ridiculous, in their disregard for the effect of their proposals, actually made him a better writer. He was able to \"extend the life of the original[s], even while drawing critical attention to [them]\" (Briggs). Other pieces allowed \"formal values to take precedence over feeling and human ones\" so Swift flipped the script and showed the true colors of those writings with a \"man\'s overconfident and unfeeling slavery to the same methods\" (Briggs).\r\n\r\n&nbsp;\r\n\r\nThe pamphlet was not well received in it\'s time. Many took the pamphlet too literally, which lead them to believe that swift\'s intentions were to actually beginning eating their children. This for any mother is an absolute abomination to her family and of course no one thought this was a good idea. For those who were able to understand and catch on to his satirical stand point they did. To want any more of the pamphlets to be printed as it so clearly was pointing the laughing finger in the face of such a serious matter and \"expressing contempt for the community under scrutiny,\" (Chowdhury).\r\n\r\n&nbsp;\r\n\r\nBarbara Bengels wrote a short piece on A modest proposal and focused on Swift\'s usage of clothes. She read into why he would have used the symbolism if clothes and identified it as it being something mothers are able to take pride in and how the \"physical revulsion\" comes from the comparison dressing a child in clothes and dressing a child with gravy. She thinks Swift is revealing the moral depravity of the times. She believes that Swift may be chastising the reader and their ability to pick up these comparisons he was making because he so cleverly covers up his true intentions. She claims he is hiding the meaning \"behind a mask of feigned sincerity\" (Bengels). I think this very deep reflection on the pamphlet can be credited to hindsight being 20/20.  She is able to see from a deep perspective exactly what he was implying and assign a greater meaning to it.\r\n\r\n&nbsp;\r\n\r\nI found Swifts proposal hilarious and terribly sad. To think this actually was to be looked at as even a momentary solution means that it was representative of a time of such dyer  circumstances. I understand the satire he was using and how it was reflective of the times, which magnifies the horrendous lack of humanity that was being used by the leadership of the times. I found it the language he uses to set the scene at the very beginning of the pamphlet meaningful because he wrenches at the heart of the reader. He identifies exactly who is being hurt by the bad economy. Women and children appear to be taking the brunt of the situation. They are the ones that need the most help and who would be able to \"benefit\" from his solution. It is really quite sad that Swift identifies that the women would not have to take care of the children after they are a year old as a positive side to his suggestion. I think it is admirable how he is able to add humor to such a horrible topic. He very smartly takes the very thing that other writers had disregarded as unimportant, which is humanity and our values and morals, and showed the reader just how poor those ideas were. It is a very well thought out and crafted piece of literature, that is able to show us the history of his writings as well as reveal to us the depravity they were facing all in a light hearted manner.\r\n\r\n&nbsp;\r\n\r\nA Modest Proposal can be compared to the visual satires of William Hogarth. Hogarth had a wholly different talent of bringing a parody of attention to the human experience. While Swift uses words to ironically paint the scene of the tragedy that was sweeping a nation, Hogarth is able to make prints and paintings with humor poking at reality. Hogarth actually illustrated \"Gulliver\'s Travels\" by Swift. Hogarth\'s pieces were reprinted and sold without his permission, this was before the first copy write laws. Contrastingly, Swift wanted his pamphlets to be reproduced and spread out as far and wide as possible, for he claims he did not have anything to gain. The engraving Gin Lane by Hogarth contrasts with Swifts proposal because they are just that, an engraving and a proposal. Gin Lane takes place in London, while A Modest Proposal is meant for Ireland. Both focus on the situations of the poor. Both works are dramatic views into the disparity of the times with an overlaying facts of the times and an underlaying parody of extremity. Both works view woman as the focus of the hard times, however, Gin Lane recognizes men, women and children while A Modest Proposal generally focuses as children with a rippling effect on economy as a whole. Gin Lane is drawing attention to \"gin addiction\" as a \"heroic attack on the social conditions of [the] time\". A Modest Proposal is an attack on the situation and previous proposed solutions. (Fiero)\r\n\r\n&nbsp;\r\n\r\nI think the most significant thing about this work that future generations should be aware of is how close to reality these events were. Even if they have very little idea of the 1700\'s, the descriptive words used to identify exactly what was going on is enough of a history lesson to give them a good grasp of what was happening then. Not only is it a good history type of lesson it is also fairly enjoyable to read. I think this credits the pamphlet above the others. While the other pamphleteers may have had \"good\" ideas of what solutions should be (I say that in quotes because they were truly horrible ideas they cloaked with fancy words and roundabout phrases similar to politicians so readers would have a difficult time deciphering the true implications), none can hold a match to the great Swift in his ability to identify the problem and make it humorous at that. If the future desires to know about the times and get a peek into the the 1700\'s while being entertained (which may I dare say, is a difficult thing to find), they ought to preserve and read A Modest Proposal.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nWorks Cited\r\n\r\nBaker, Lyman A. “Conditions in Early Eighteenth Century Ireland”.  Periodical. 1999.  Kansas State University. 7 Oct 2013\r\n\r\nThis was a personal article written. I used this to better understand the historical times.\r\n\r\n&nbsp;\r\n\r\nBengels, Barbara. \"Swift\'s A MODEST PROPOSAL.\" Explicator 65.1 (2006): 13-15. Academic Search Complete. Web. 4 Oct. 2013.\r\n\r\nThis was a periodical where she observed Swift’s use of clothing in his writings. that I used to see what people of current times think of the pamphlet.\r\n\r\n&nbsp;\r\n\r\nBriggs, Peter M. \"John Graunt, Sir William Petty, And Swift\'s Modest Proposal.\" Eighteenth-Century Life 29.2 (2005): 3-24. Academic Search Complete. Web. 4 Oct. 2013.\r\n\r\nThis was an excerpt from a book that compared the style and ideas of these three authors. I used this to better define Swift’s in comparison to other writers of the time. Also, I was able to see what made Swift’s writings satirical because I could see the true intentions of other writers.\r\n\r\n&nbsp;\r\n\r\nChowdhury, Ahsan. \"Splenetic Ogres And Heroic Cannibals In Jonathan Swift\'s A Modest Proposal (1729).\" English Studies In Canada 34.2/3 (2008): 131-157. Academic Search Complete. Web. 4 Oct. 2013.\r\n\r\nThis article described the comparison and usage of the idea of cannibalism within Swift’s writings. I used this to gain a better understanding of what people thought of the work then.\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria K. “Humanistic Tradition Vol 2”. Ebook. McGraw Hill. 2011.\r\n\r\nThis is our book for class. I used this to compare Hogarth’s works with Swift’s writings.\r\n\r\n&nbsp;\r\n\r\nHozeski, Bruce W. \"A Mathematical Error In Jonathan Swift\'s \"A Modest Proposal.\" American Notes &amp; Queries 15.4 (1976): 53. Academic Search Complete. Web. 4 Oct. 2013.\r\n\r\nThis is an article that looks into the thought of Swift’s proposal being mathematically incorrect and the insinuations that come with that. I used this to see understand the text of Swift’s proposal better.\r\n\r\n&nbsp;\r\n\r\nSwift, Jonathan. “A Modest Proposal”. Renascence Edition. 2003. University of Oregon. 3Oct 2013.\r\n\r\nThis is the full actual work of Swift. I based my entire proposal for preserving off of this.\r\n\r\n&nbsp;','A Modest Proposal','','inherit','open','open','','3437-revision-v1','','','2013-10-14 11:34:04','2013-10-14 17:34:04','',3437,'http://jeanatacc.com/2011/?p=3445',0,'revision','',0),(1920,1,'2011-10-21 11:06:08','2011-10-21 17:06:08','<p dir=\"LTR\" align=\"CENTER\"></p>\n<p style=\"text-align: center;\" dir=\"LTR\" align=\"LEFT\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/EssayOnMan.jpg\"><img class=\"size-medium wp-image-1919 aligncenter\" title=\"EssayOnMan\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/EssayOnMan-188x300.jpg\" alt=\"\" width=\"188\" height=\"300\" /></a>http://www.english-e-corner.com/britishliterature/contents/Enlightenment2/EssayOnMan.jpg</p>\n<p dir=\"LTR\" align=\"CENTER\">ALEXANDER POPES</p>\n<p dir=\"LTR\" align=\"CENTER\">ESSAY ON MAN</p>\n<p dir=\"LTR\" align=\"LEFT\"><span style=\"font-size: large;\">Alexander Pope (21 May 1688 – 30 May 1744) was a poet in england during the 18th century. Pope is regarded as one of the brilliant minds of his time. He is most famously attributed with his work on early author Homer. Alexander is also famous for being the “third-most quoted writer behind Shakespeare and the poet Tennyson.” The works of Pope have out lasted the test of time, tho it is true that many people do not recall or identify the works of pope, everyone comes across them at one point. Although <span style=\"text-decoration: underline;\">Essay of Man</span> was a masterpiece that came later in his life, Pope has always been a man of the written word. Whether it was his work on the translation of Homer, Popes <span style=\"text-decoration: underline;\">Essay on Criticism</span>, his <span style=\"text-decoration: underline;\">Twickenham and the Grotto</span>, or even his Editions of Shakespeare works Pope was a true visionary.</span></p>\n<p dir=\"LTR\" align=\"LEFT\"><!--more--></p>\n<p dir=\"LTR\" align=\"LEFT\">The <span style=\"text-decoration: underline;\">Essay of Man</span> is a historic piece that could not be replaced if lost. That is why it must be preserved for all time for the people of the present to look back on as a ground breaking poem, but also for the people of the future to show them the ideas of ethics of humanity of people in the past. Popes <span style=\"text-decoration: underline;\">Essay of Man</span> “is a philosophical poem, written in heroic couplets and published between 1732 and 1734. Pope intended this poem to be the centerpiece of a proposed system of ethics that was to be put forth in poetic form” (Nuttal,1). The poem is in a close resemblance to Milton’s <span style=\"text-decoration: underline;\">Paradise Lost</span> in both of there ideas of God and Man. Pope “attempts to vindicate the ways of God and man” “it makes an assumption that man has fallen and must seek his own salvation”(Nuttal,2) while Milton attempts to “justify the ways of God to Man” (1.26) which dealt more with the fall of Satan and the temptation of Adam and Eve.</p>\n<p dir=\"LTR\" align=\"LEFT\">The <span style=\"text-decoration: underline;\">Essay of Man</span> consists of four epistles which presented his view of the universe, he says that “no matter how imperfect, complex, inscrutable and disturbing the Universe appears to be, it functions in a rational fashion according to the natural laws. The natural laws consider the Universe as a whole a perfect work of God”(Nuttle,1). To humans it appears to be evil and imperfect in many ways but to Pope it is due largely to the minds and the brain power of people and there comprehension of the un-known. Pope goes on to tell about the peoples place in his idea, he describes it as “Great Chain of Being” this being the  “middle stage between the angels and the beasts of the world. If we are able to accomplish this then we potentially could lead happy and virtuous lives” his belief that if people could understand his ideas of the difference between God and Man the people of the world could possible live better lives. As in that man is in the “stage between angels and beasts” Popes belief is that if man better understood they would no longer be living there life’s in the middle of angels and beast, man would be closer to the stage of the angels and no longer be stuck in the middle. The fact that this poet had these ideas and beliefs so long ago is a surprise to many, when people read The <span style=\"text-decoration: underline;\">Essay of Man</span> they are astonished on how well thought out and how fascinating Popes ideas are. This to me is another reason this work should be preserves for all time. People of today and people of the future can look back on this work and learn from it, whether it be a new look on life, an new idea on religion, or just as a poetic masterpiece. Popes essay is one of the poetic pieces that has a deeper meaning, from starting of as a letter to  Lord Bolingbroke and was transformed into a religious/life outlook.</p>\n<p dir=\"LTR\" align=\"CENTER\">WORK CITED</p>\n<p dir=\"LTR\" align=\"LEFT\">Essay on Man-</p>\n<p dir=\"LTR\" align=\"LEFT\">http://www.gutenberg.org/files/2428/2428-h/2428-h.htm</p>\n<p dir=\"LTR\" align=\"LEFT\">Alexander Pope-</p>\n<p dir=\"LTR\" align=\"LEFT\">http://en.wikipedia.org/wiki/Alexander_Pope#cite_note-Nuttal_1984-12</p>\n<p dir=\"LTR\" align=\"LEFT\">Popes Essay</p>\n<p dir=\"LTR\" align=\"LEFT\">- http://theotherpages.org/poems/pope-i.html</p>\n<p dir=\"LTR\" align=\"LEFT\">An Essay on Man Poem-</p>\n<p dir=\"LTR\" align=\"LEFT\">http://classiclit.about.com/od/essayonmanapope/a/aa_essayonman_e1.htm</p>','Pope\'s Essay on Man','','inherit','open','open','','1846-revision','','','2011-10-21 11:06:08','2011-10-21 17:06:08','',1846,'http://jeanatacc.com/2011/?p=1920',0,'revision','',0),(1850,48,'2011-10-10 21:26:36','2011-10-11 03:26:36','','Hell\'s Kitchen','Hell\'s Kitchen presents The Last Supper!','inherit','open','open','','hells-kitchen-logo','','','2011-10-10 21:26:36','2011-10-11 03:26:36','',1843,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/hells-kitchen-logo.jpg',0,'attachment','image/jpeg',0),(1852,48,'2011-10-10 21:25:49','2011-10-11 03:25:49','    Over the course of his illustrious career, Tintoretto painted\r\nexactly eight versions of the famous Last Supper, the first one in\r\n1547, while the last painting was begun in 1591 and finished in 1594,\r\nthe same year that Tintoretto died. The bulk of these paintings may\r\nstill be viewed today, as all but a single one remain in Venice.\r\nAlmost everyone the world over is familiar with the imagery of the\r\nlast supper, where Jesus and his apostles are sharing the last meal\r\nthat they will have together. Judas plots the demise of his master,\r\nwhile Jesus instructs his followers to eat of his flesh and drink of\r\nhis blood while offering bread and wine for the rite of\r\ntransubstantiation. Tintoretto painted during the burgeoning\r\nrenaissance, and was even apprenticed to the great master Titian, who\r\nre-invented the nude as an art form with his work \'The Venice of\r\nUrbino\', which is still heralded even today as a timeless piece. \"The\r\ncentury that began with Bellini and Giorgione is [closing]. Titian,\r\nthe colossus, has long been buried in the church of the Frari, and\r\nVeronese, the last legitimate competitor, has been dead for three\r\nyears; thus Tintoretto, thanks not only to talent, ambition, and\r\nprodigious energy, but to the brute facts of attrition and survival,\r\nfinds himself in the role of Venice\'s leading artist” (Hahn 200).\r\nTintoretto’s Last Supper should without any doubt be preserved just\r\nfor the legacy that Tintoretto left, but also because his obsession\r\nwith this particular image and the fact that he continued to work on\r\nit over the course of his entire career suggests that the artist was\r\nespecially close to the story and ideas behind the Last Supper.\r\n\r\n    It takes almost no skill or knowledge to equate the intense\r\nreligious message portrayed in The Last Supper with classical art.\r\nPractically everyone is familiar in one way or another with Leonardo\r\nDa Vinci\'s painting of the subject, which is still just as eagerly\r\ndeciphered for its symbology today as his other immortal work, the\r\nMona Lisa. In the subject matter Tintoretto selected, he was very much\r\nfollowing the fad of the times, since historical works of art as well\r\nas those containing religious or mythological subject matter were in\r\nthe highest of demand. One of Tintoretto\'s peers, the sculptor\r\nDonatello, portrayed the biblical story of Judith and Holofernes as\r\none of his works. Michelangelo sculpted the David that still rivets\r\nour imagination even today. According to the Italian style of\r\npainting, Tintoretto\'s images are carefully composed, with painstaking\r\nattention paid to the details of the arrangement, and the mathematical\r\nproportions of each figure in relation to the room. Humanism was a\r\nprevalent school of thought at the time, defined as any viewpoint that\r\nis human-centered. \"Second-generation humanists felt it their duty to\r\nactively contribute to civic life, resurrecting the classical age\'s\r\nrepublican ideals along with its literary sensibilities. At the same\r\ntime, artists showed a new interest in realistic representations of\r\nthe human body, as seen in the works of Michelangelo. Humanistic\r\nvalues spread rapidly among the elite, including women scholars like\r\nAlessandra Scala and Isotta Nogarola” (Boucquey).\r\n\r\n    It is only in his technique that Tintoretto towers above his\r\ncontemporaries. Although the act of setting up a miniature model to\r\nhelp guide an artist through properly translating the image they\r\ndesire was not unheard of, it is this practice which gave Tintoretto\r\nthe ability to create such life-like detail in his paintings. \"The\r\ncharacteristic qualities of his works—a wonderfully dramatic sense of\r\nmovement, space, and lighting—were in part aided by his use of small\r\nwax models which he grouped inside a box to create a stage-like\r\nsetting, changing the figures, lighting, and setting to explore\r\ndifferent effects” ( Hutchinson ). Among the artists who used this\r\nparticular method of preparing their paintings, Tintoretto was\r\nconsidered possibly the most brilliant of them all, and was capable of\r\nextracting amazing detail. Tintoretto was also among those who used\r\nmannerism to break away from the traditional style of the time.\r\n\"Mannerism [was] a style in art and architecture (c.1520–1600),\r\noriginating in Italy as a reaction against the equilibrium of form and\r\nproportions characteristic of the High Renaissance. Mannerists devised\r\ncompositions in which they deliberately confused scale and spatial\r\nrelationships between figures, crowding them into the picture plane.\r\nOften strange tunnel-like spaces were created, as in the works of\r\nTintoretto and El Greco. Lighting became harsh, and coloring tended to\r\nbe acrimonious. The mannerists devised sophisticated and obscure\r\nallegories” (Mannerism).\r\n\r\n    Even though there are those who look down at Tintoretto for\r\nchoosing to work in the mannerist style, as well as those who would\r\nlike to claim that the works of Titian eclipse Tintoretto, whom was at\r\nodds with his former mentor, there is no denying that Tintoretto was\r\nacknowledged for his greatness practically within his lifetime. Only a\r\nfew decades after Tintoretto\'s death at the turn of the century,\r\nWilliam Blake was partial to Tintoretto\'s paintings and made a point\r\nto study them along with the works of masters like Michelangelo and\r\nDonatello. \"Although he adhered to tempera, Blake had seen and been\r\nmoved by exhibitions of European oils including works by...Titian,\r\nMichelangelo, and Tintoretto at several London galleries, and his work\r\nshowed their painterly influence, especially in his use of\r\nperspective” (Heims). A century after that Yeats had glowing words of\r\npraise for Tintoretto, even though he uses a work by Tintoretto to\r\nshow how an image can never tell a story as fully as words. Yeats\r\nillustrates his point with Tintoretto\'s painting Origin of the Milky\r\nWay (ca. 1577): \"A hundred generations might write out what seemed the\r\nmeaning of the one, and they would write different meanings, for no\r\nsymbol tells all its meaning to any generation; but when you have\r\nsaid, \'That woman there is Juno, and the milk out of her breast is\r\nmaking the Milky Way,\' you have told the meaning of the other, and the\r\nfine painting, which has added so much irrelevant beauty, has not told\r\nit better” (qtd in Harper).\r\n\r\n    More modern reviews of Tintoretto’s work seem to have equally\r\nkind words, remarking that,\"The style is spontaneous, and the\r\norganization seems no less inspired. More intuitive Italian rational,\r\nmore interested in motion and impact than order and logic, his designs\r\naim to immerse us in their actions, involving us psychologically and\r\nviscerally” (Hahn). In a rare example of coherency throughout the\r\nages, the works of this particular artist seem to be found as\r\ninspiring and entrancing now as they were during the years shortly\r\nafter his career ended. It is probably a monument to the way\r\nTintoretto broke away from the conventional style of the renaissance\r\nby taking part in the mannerist movement that his works stand so far\r\napart from those that are considered masters of the time while still\r\nbeing considered masterful in their own right.\r\n\r\n    When I saw this piece I fell immediately in love with the\r\nintricately rendered details and the way that Tintoretto has invited\r\nus into the same space that Jesus occupies. The apostles and their\r\nmaster sit at a table that seems to recede back into the shadowy room\r\nof a simple inn. Servants go about their business in the foreground,\r\nand the meal appears to be winding to a close. A single candle\r\nilluminates the room, with the ghostly suggestion of angels projecting\r\nfrom the flame to represent the presence of the holy ghost. Compared\r\nto the usual paintings of the renaissance, Tintoretto’s style seems\r\nmore moving and realistic, as if he wanted to draw the viewer in with\r\nthe believability of the scene, then keep them there with all the\r\nsubtle iconography. There are a myriad of tiny details to engage the\r\neye, from the cat peeking into the tub of water that a servant girl\r\nleans over, to the angels that seem to fade into the background,\r\nemerging from the dusky woodwork.\r\n\r\n    In order to compare the Last Supper by Tintoretto with another\r\nwork of its time, there is only one piece that can be chosen. The Last\r\nSupper by Leonardo Da Vinci is the obvious choice, although it almost\r\ndoesn’t seem fair to hold the rather plain fresco alongside\r\nTintoretto’s brilliantly rendered oil painting. Because these are both\r\nimages of the Last Supper parable, the best place for comparison would\r\nbe the actual representation of the story. Leonardo does a better job\r\nof translating through arrangement and hidden iconography the spirit\r\nof the story, while it is almost difficult to decipher what Tintoretto\r\nis seeking to portray, because he has made Jesus and his followers\r\nseem so human. However, the very humanity that Tintoretto has placed\r\ninto his painting is what makes it speak to the viewer. Certainly in\r\nthe sense of style and skill, Tintoretto has outclassed Leonardo.\r\nLooking at Leonardo’s Last Supper, the image seems flat and almost\r\nsimplistic. There is less attention paid to the special proportions,\r\nso while there is some recession of the room where Jesus and his\r\nfollowers are feasting, the proportion seems uninteresting and does\r\nnot invite the eye to wander past the table and the men seated at it.\r\nCertainly there are some strange and mysterious theories floating\r\naround about the Leonardo copy, and what the artist was trying to say\r\nwith his arrangement, while Tintoretto’s version is more straight\r\nforward and easier to decipher. However, if mystery is what makes a\r\npiece of art great, then there is a monumental mystery in Tintoretto’s\r\ndecision not to specify Judas out of the apostles. There is no way to\r\nspecifically pinpoint which man is Judas, while in the Leonardo\r\nfresco, each member of the dinner party has been identified.\r\n\r\n    Not only was Tintoretto an amazingly talented artist, he was also\r\na very prolific artist, painting somewhere around five hundred images\r\nover the course of his life. This may not be as surprising knowing\r\nthat he did eight different versions of the Last Supper alone. Because\r\nthe breadth and body of his work is so great, selecting a specific\r\nwork to represent his skill is difficult. From the eight versions of\r\nthe Last Supper it is clear that Tintoretto himself was fascinated\r\nwith this story, and indeed, the story is what makes it such an\r\nobvious choice to be preserved. For anyone not familiar with the\r\nbackground of the Last Supper, it was the Passover meal during which\r\nJesus performed the right of transubstantiation – giving his followers\r\nbread and wine which was then ‘transubstantiated’ into the body and\r\nblood of Christ, allowing his followers to take in his spirit and\r\npower – before being betrayed by Judas and taken to be crucified. The\r\nLast Supper is the beginning of one of the world’s oldest tales of\r\nbetrayal, but where Leonardo chose to emphasis that aspect, making it\r\nclear who each individual in his painting is, Tintoretto has chosen to\r\nfocus instead on the fellowship of the Passover without hinting at the\r\ngreat betrayal that is about to take place. For the religious\r\novertones, the beauty and skill with which the painting was executed,\r\nand the impact that Tintoretto had on the history and art of the\r\nrenaissance, this piece is of invaluable importance and should\r\nabsolutely be preserved for the future.\r\n\r\n\r\n\r\n_______________Works Cited_______________\r\n\r\n\r\nHahn, Robert. \"Motion, energy, and revelation: Tintoretto\'s Last\r\nSuppers.\" TriQuarterly 126 (2006): 200+. Literature Resource Center.\r\nWeb. 9 Oct. 2011.\r\n\r\n\"Renaissance art and architecture.\" Columbia Electronic Encyclopedia,\r\n6th Edition (2010): 1. MasterFILE Premier. EBSCO. Web. 9 Oct. 2011.\r\n\r\n\"Tintoretto.\" Hutchinson\'s Biography Database (2011): 1. MAS Ultra -\r\nSchool Edition. EBSCO. Web. 9 Oct. 2011.\r\n\r\n Boucquey, Thierry, gen. ed. \"humanism in the Renaissance.\"\r\nEncyclopedia of World Writers, 14th through 18th Centuries. New York:\r\nFacts On File, Inc., 2005. Bloom\'s Literary Reference Online. Facts On\r\nFile, Inc. 9. Oct. 2011.\r\n\r\n\"Mannerism.\" Columbia Electronic Encyclopedia, 6th Edition (2010): 1.\r\nMAS Ultra - School Edition. EBSCO. Web. 9 Oct. 2011.\r\n\r\nHarper, George Mills. W. B. Yeats and W. T. Horton: A Record of an\r\nOccult Friendship; Horton, W. T. A Book of Images; Yeats, W. B. The\r\nCollected Letters of W. B. Yeats (vols. 2–3), Essays and\r\nIntroductions.\r\n\r\n Heims, Neil. \"Blake, William.\" In Bloom, Harold, ed. William Blake,\r\nBloom\'s BioCritiques. Philadelphia: Chelsea House Publishing, 2005.\r\nBloom\'s Literary Reference Online. Facts On File, Inc.\r\n\r\nHahn, Robert. \"Tintoretto and the Truths of Incoherence.\" Raritan 26.4\r\n(2007): 125-150. World History Collection. EBSCO. Web. 10 Oct. 2011.','The Last Supper by Tintoretto','','inherit','open','open','','1843-revision-2','','','2011-10-10 21:25:49','2011-10-11 03:25:49','',1843,'http://jeanatacc.com/2011/?p=1852',0,'revision','',0),(1853,48,'2011-10-10 21:27:38','2011-10-11 03:27:38','[caption id=\"attachment_1850\" align=\"alignnone\" width=\"300\" caption=\"Hell&#039;s Kitchen presents The Last Supper!\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/hells-kitchen-logo.jpg\"><img class=\"size-medium wp-image-1850\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/hells-kitchen-logo-300x225.jpg\" alt=\"\" width=\"300\" height=\"225\" /></a>[/caption]\r\n\r\nOver the course of his illustrious career, Tintoretto painted\r\nexactly eight versions of the famous Last Supper, the first one in\r\n1547, while the last painting was begun in 1591 and finished in 1594,\r\nthe same year that Tintoretto died. The bulk of these paintings may\r\nstill be viewed today, as all but a single one remain in Venice.\r\nAlmost everyone the world over is familiar with the imagery of the\r\nlast supper, where Jesus and his apostles are sharing the last meal\r\nthat they will have together. Judas plots the demise of his master,\r\nwhile Jesus instructs his followers to eat of his flesh and drink of\r\nhis blood while offering bread and wine for the rite of\r\ntransubstantiation. Tintoretto painted during the burgeoning\r\nrenaissance, and was even apprenticed to the great master Titian, who\r\nre-invented the nude as an art form with his work \'The Venice of\r\nUrbino\', which is still heralded even today as a timeless piece. \"The\r\ncentury that began with Bellini and Giorgione is [closing]. Titian,\r\nthe colossus, has long been buried in the church of the Frari, and\r\nVeronese, the last legitimate competitor, has been dead for three\r\nyears; thus Tintoretto, thanks not only to talent, ambition, and\r\nprodigious energy, but to the brute facts of attrition and survival,\r\nfinds himself in the role of Venice\'s leading artist” (Hahn 200).\r\nTintoretto’s Last Supper should without any doubt be preserved just\r\nfor the legacy that Tintoretto left, but also because his obsession\r\nwith this particular image and the fact that he continued to work on\r\nit over the course of his entire career suggests that the artist was\r\nespecially close to the story and ideas behind the Last Supper.\r\n\r\nIt takes almost no skill or knowledge to equate the intense\r\nreligious message portrayed in The Last Supper with classical art.\r\nPractically everyone is familiar in one way or another with Leonardo\r\nDa Vinci\'s painting of the subject, which is still just as eagerly\r\ndeciphered for its symbology today as his other immortal work, the\r\nMona Lisa. In the subject matter Tintoretto selected, he was very much\r\nfollowing the fad of the times, since historical works of art as well\r\nas those containing religious or mythological subject matter were in\r\nthe highest of demand. One of Tintoretto\'s peers, the sculptor\r\nDonatello, portrayed the biblical story of Judith and Holofernes as\r\none of his works. Michelangelo sculpted the David that still rivets\r\nour imagination even today. According to the Italian style of\r\npainting, Tintoretto\'s images are carefully composed, with painstaking\r\nattention paid to the details of the arrangement, and the mathematical\r\nproportions of each figure in relation to the room. Humanism was a\r\nprevalent school of thought at the time, defined as any viewpoint that\r\nis human-centered. \"Second-generation humanists felt it their duty to\r\nactively contribute to civic life, resurrecting the classical age\'s\r\nrepublican ideals along with its literary sensibilities. At the same\r\ntime, artists showed a new interest in realistic representations of\r\nthe human body, as seen in the works of Michelangelo. Humanistic\r\nvalues spread rapidly among the elite, including women scholars like\r\nAlessandra Scala and Isotta Nogarola” (Boucquey).\r\n\r\nIt is only in his technique that Tintoretto towers above his\r\ncontemporaries. Although the act of setting up a miniature model to\r\nhelp guide an artist through properly translating the image they\r\ndesire was not unheard of, it is this practice which gave Tintoretto\r\nthe ability to create such life-like detail in his paintings. \"The\r\ncharacteristic qualities of his works—a wonderfully dramatic sense of\r\nmovement, space, and lighting—were in part aided by his use of small\r\nwax models which he grouped inside a box to create a stage-like\r\nsetting, changing the figures, lighting, and setting to explore\r\ndifferent effects” ( Hutchinson ). Among the artists who used this\r\nparticular method of preparing their paintings, Tintoretto was\r\nconsidered possibly the most brilliant of them all, and was capable of\r\nextracting amazing detail. Tintoretto was also among those who used\r\nmannerism to break away from the traditional style of the time.\r\n\"Mannerism [was] a style in art and architecture (c.1520–1600),\r\noriginating in Italy as a reaction against the equilibrium of form and\r\nproportions characteristic of the High Renaissance. Mannerists devised\r\ncompositions in which they deliberately confused scale and spatial\r\nrelationships between figures, crowding them into the picture plane.\r\nOften strange tunnel-like spaces were created, as in the works of\r\nTintoretto and El Greco. Lighting became harsh, and coloring tended to\r\nbe acrimonious. The mannerists devised sophisticated and obscure\r\nallegories” (Mannerism).\r\n\r\nEven though there are those who look down at Tintoretto for\r\nchoosing to work in the mannerist style, as well as those who would\r\nlike to claim that the works of Titian eclipse Tintoretto, whom was at\r\nodds with his former mentor, there is no denying that Tintoretto was\r\nacknowledged for his greatness practically within his lifetime. Only a\r\nfew decades after Tintoretto\'s death at the turn of the century,\r\nWilliam Blake was partial to Tintoretto\'s paintings and made a point\r\nto study them along with the works of masters like Michelangelo and\r\nDonatello. \"Although he adhered to tempera, Blake had seen and been\r\nmoved by exhibitions of European oils including works by...Titian,\r\nMichelangelo, and Tintoretto at several London galleries, and his work\r\nshowed their painterly influence, especially in his use of\r\nperspective” (Heims). A century after that Yeats had glowing words of\r\npraise for Tintoretto, even though he uses a work by Tintoretto to\r\nshow how an image can never tell a story as fully as words. Yeats\r\nillustrates his point with Tintoretto\'s painting Origin of the Milky\r\nWay (ca. 1577): \"A hundred generations might write out what seemed the\r\nmeaning of the one, and they would write different meanings, for no\r\nsymbol tells all its meaning to any generation; but when you have\r\nsaid, \'That woman there is Juno, and the milk out of her breast is\r\nmaking the Milky Way,\' you have told the meaning of the other, and the\r\nfine painting, which has added so much irrelevant beauty, has not told\r\nit better” (qtd in Harper).\r\n\r\nMore modern reviews of Tintoretto’s work seem to have equally\r\nkind words, remarking that,\"The style is spontaneous, and the\r\norganization seems no less inspired. More intuitive Italian rational,\r\nmore interested in motion and impact than order and logic, his designs\r\naim to immerse us in their actions, involving us psychologically and\r\nviscerally” (Hahn). In a rare example of coherency throughout the\r\nages, the works of this particular artist seem to be found as\r\ninspiring and entrancing now as they were during the years shortly\r\nafter his career ended. It is probably a monument to the way\r\nTintoretto broke away from the conventional style of the renaissance\r\nby taking part in the mannerist movement that his works stand so far\r\napart from those that are considered masters of the time while still\r\nbeing considered masterful in their own right.\r\n\r\nWhen I saw this piece I fell immediately in love with the\r\nintricately rendered details and the way that Tintoretto has invited\r\nus into the same space that Jesus occupies. The apostles and their\r\nmaster sit at a table that seems to recede back into the shadowy room\r\nof a simple inn. Servants go about their business in the foreground,\r\nand the meal appears to be winding to a close. A single candle\r\nilluminates the room, with the ghostly suggestion of angels projecting\r\nfrom the flame to represent the presence of the holy ghost. Compared\r\nto the usual paintings of the renaissance, Tintoretto’s style seems\r\nmore moving and realistic, as if he wanted to draw the viewer in with\r\nthe believability of the scene, then keep them there with all the\r\nsubtle iconography. There are a myriad of tiny details to engage the\r\neye, from the cat peeking into the tub of water that a servant girl\r\nleans over, to the angels that seem to fade into the background,\r\nemerging from the dusky woodwork.\r\n\r\nIn order to compare the Last Supper by Tintoretto with another\r\nwork of its time, there is only one piece that can be chosen. The Last\r\nSupper by Leonardo Da Vinci is the obvious choice, although it almost\r\ndoesn’t seem fair to hold the rather plain fresco alongside\r\nTintoretto’s brilliantly rendered oil painting. Because these are both\r\nimages of the Last Supper parable, the best place for comparison would\r\nbe the actual representation of the story. Leonardo does a better job\r\nof translating through arrangement and hidden iconography the spirit\r\nof the story, while it is almost difficult to decipher what Tintoretto\r\nis seeking to portray, because he has made Jesus and his followers\r\nseem so human. However, the very humanity that Tintoretto has placed\r\ninto his painting is what makes it speak to the viewer. Certainly in\r\nthe sense of style and skill, Tintoretto has outclassed Leonardo.\r\nLooking at Leonardo’s Last Supper, the image seems flat and almost\r\nsimplistic. There is less attention paid to the special proportions,\r\nso while there is some recession of the room where Jesus and his\r\nfollowers are feasting, the proportion seems uninteresting and does\r\nnot invite the eye to wander past the table and the men seated at it.\r\nCertainly there are some strange and mysterious theories floating\r\naround about the Leonardo copy, and what the artist was trying to say\r\nwith his arrangement, while Tintoretto’s version is more straight\r\nforward and easier to decipher. However, if mystery is what makes a\r\npiece of art great, then there is a monumental mystery in Tintoretto’s\r\ndecision not to specify Judas out of the apostles. There is no way to\r\nspecifically pinpoint which man is Judas, while in the Leonardo\r\nfresco, each member of the dinner party has been identified.\r\n\r\nNot only was Tintoretto an amazingly talented artist, he was also\r\na very prolific artist, painting somewhere around five hundred images\r\nover the course of his life. This may not be as surprising knowing\r\nthat he did eight different versions of the Last Supper alone. Because\r\nthe breadth and body of his work is so great, selecting a specific\r\nwork to represent his skill is difficult. From the eight versions of\r\nthe Last Supper it is clear that Tintoretto himself was fascinated\r\nwith this story, and indeed, the story is what makes it such an\r\nobvious choice to be preserved. For anyone not familiar with the\r\nbackground of the Last Supper, it was the Passover meal during which\r\nJesus performed the right of transubstantiation – giving his followers\r\nbread and wine which was then ‘transubstantiated’ into the body and\r\nblood of Christ, allowing his followers to take in his spirit and\r\npower – before being betrayed by Judas and taken to be crucified. The\r\nLast Supper is the beginning of one of the world’s oldest tales of\r\nbetrayal, but where Leonardo chose to emphasis that aspect, making it\r\nclear who each individual in his painting is, Tintoretto has chosen to\r\nfocus instead on the fellowship of the Passover without hinting at the\r\ngreat betrayal that is about to take place. For the religious\r\novertones, the beauty and skill with which the painting was executed,\r\nand the impact that Tintoretto had on the history and art of the\r\nrenaissance, this piece is of invaluable importance and should\r\nabsolutely be preserved for the future.\r\n\r\n_______________Works Cited_______________\r\n\r\nHahn, Robert. \"Motion, energy, and revelation: Tintoretto\'s Last\r\nSuppers.\" TriQuarterly 126 (2006): 200+. Literature Resource Center.\r\nWeb. 9 Oct. 2011.\r\n\r\n\"Renaissance art and architecture.\" Columbia Electronic Encyclopedia,\r\n6th Edition (2010): 1. MasterFILE Premier. EBSCO. Web. 9 Oct. 2011.\r\n\r\n\"Tintoretto.\" Hutchinson\'s Biography Database (2011): 1. MAS Ultra -\r\nSchool Edition. EBSCO. Web. 9 Oct. 2011.\r\n\r\nBoucquey, Thierry, gen. ed. \"humanism in the Renaissance.\"\r\nEncyclopedia of World Writers, 14th through 18th Centuries. New York:\r\nFacts On File, Inc., 2005. Bloom\'s Literary Reference Online. Facts On\r\nFile, Inc. 9. Oct. 2011.\r\n\r\n\"Mannerism.\" Columbia Electronic Encyclopedia, 6th Edition (2010): 1.\r\nMAS Ultra - School Edition. EBSCO. Web. 9 Oct. 2011.\r\n\r\nHarper, George Mills. W. B. Yeats and W. T. Horton: A Record of an\r\nOccult Friendship; Horton, W. T. A Book of Images; Yeats, W. B. The\r\nCollected Letters of W. B. Yeats (vols. 2–3), Essays and\r\nIntroductions.\r\n\r\nHeims, Neil. \"Blake, William.\" In Bloom, Harold, ed. William Blake,\r\nBloom\'s BioCritiques. Philadelphia: Chelsea House Publishing, 2005.\r\nBloom\'s Literary Reference Online. Facts On File, Inc.\r\n\r\nHahn, Robert. \"Tintoretto and the Truths of Incoherence.\" Raritan 26.4\r\n(2007): 125-150. World History Collection. EBSCO. 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