Eduard Mörike – författare

The novella 'Mozart's Journey to Prague' (1855) is an imaginary recreation of the journey Mozart made from Vienna in 1787 to conduct the first performance of Don Giovanni. Set in the rococo world of the Bohemian nobility, it is a charming and playful evocation of Mozart's inner life and creative processes. Morike is one of Germany's greatest lyric poets after Goethe. His poetry combines classicism, romanticism, with elements of the traditional folk or faery tale. This edition contains all the poems for which he is most admired - including the comic idyll, 'The Auld Weathercock'.

Mozart is creative, brilliant and charming. But is he also a thief?Making his way to Prague for the opening of Don Giovanni, the great composer playfully tries to steal an orange from a Bohemian family's garden. But no sooner has he taken the fruit than he is caught by a furious gardener. Desperate to escape, Mozart frantically scrawls an apologetic note to the owners of the tree.Soon, he finds himself not only forgiven but welcomed by a family who have adored the beauty of his music and are stunned to find the celebrity wandering lost in their orangery. And when they reveal it is their daughter's wedding, there can only be one guest of honour: the musical genius Amadeus.

The novella 'Mozart's Journey to Prague' (1855) is an imaginary recreation of the journey Mozart made from Vienna in 1787 to conduct the first performance of Don Giovanni. Set in the rococo world of the Bohemian nobility, it is a charming and playful evocation of Mozart's inner life and creative processes. Morike is one of Germany's greatest lyric poets after Goethe. His poetry combines classicism, romanticism, with elements of the traditional folk or faery tale. This edition contains all the poems for which he is most admired - including the comic idyll, 'The Auld Weathercock'.

First English translation of Mörike's strikingly modern artist-novel of 1832.When one thinks of German artist-novels and Bildungsromane, works long available in translation come to mind--by Goethe, Novalis, Hoffmann, Stifter, Keller, or more recently by Mann, Kafka, Musil, or Grass. Yet Eduard Mörike's provocatively subtitled Maler Nolten: Novelle in zwei Teilen (Nolten the Painter: A Novella in Two Parts, 1832) has remained neglected and misunderstood, and until now has never been translated into English, despite itsobvious ties to other artist-novels and its striking modernity in playing with conventions of narrative authority and heroic identity. Witness the subtle irony of the opening sequence, in which the narrator is subverted by hintsat his own clumsiness and intimations about the dire truths that lurk behind the protagonist Nolten's relationships to his male friends and to the seductive yet somehow frightening women in his life. Or the interplay between the narrator's attempts to make sense of Nolten's complex inner motivations in his loves and art and the ludicrously pompous pathos with which Nolten persists in speaking and thinking, as he concocts a heroic persona caught up in passion, intrigue, and tragedy. Fascinating too is the mysterious trail of the "Grenzgänger," or border-line characters, with their hints at the dimension of "Gypsies, Tramps, and Thieves" that seems to threaten and at the same time tofoster the complex unfolding of the realities of life and art that defy Nolten's all-too-artful "mastery."Raleigh Whitinger is Professor in the Department of Germanic Languages at the University of Alberta.

While on a journey with his wife to Prague for the opening night of Don Giovanni, Mozart is caught picking an orange on the grounds of a stately home. But when the resident family find out who they are dealing with, they are delighted to be in the presence of the celebrated composer and invite him to their daughter’s wedding.Mörike’s vivid and imaginative depiction of a day in the life of Mozart captures both the humorous and the more fragile and pensive side of the Austrian genius.

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