Mozart
Article
Mozart is a recurring person in the Astral Codex Ten archive, appearing 4 times across 4 issues between June 03, 2022 and April 01, 2025. The archive places it in contexts such as “a veritable “who’s who” list of musical greats such as Vivaldi, Bach, Handel, Mozart, and Haydn”; “Mozart saw (says each self-proclaimed Athena) His father in the statue’s grim finality”; “Finding ways to quantify Beethoven vs Mozart vs Andrew Lyde Webber is out of scope”. It most often appears alongside Catholic Church, China, Florence.
Metadata
- Category: People
- Mention count: 4
- Issue count: 4
- First seen: June 03, 2022
- Last seen: April 01, 2025
Appears In
- Your Book Review: The Castrato
- Your Book Review: Don Juan
- Your Book Review: Silver Age Marvel Comics
- The Colors Of Her Coat
Related Pages
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- Catholic Church (2 shared issues)
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- China (2 shared issues)
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- Florence (2 shared issues)
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- Italy (2 shared issues)
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- Juggernaut (2 shared issues)
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- Paris (2 shared issues)
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- Shakespeare (2 shared issues)
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- Spider-man (2 shared issues)
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- X-men (2 shared issues)
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- 1812 (1 shared issues)
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- 18th century (1 shared issues)
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- 20th Century Fox (1 shared issues)
External Links
Source Context
Recovered passages from the original issue text. When the raw archive preserved outbound links inside the source passage, they are listed directly under the quote.
For a period of about two centuries, writing music for castrati was a top goal for composers, a goal that was achieved by a veritable “who’s who” list of musical greats such as Vivaldi, Bach, Handel, Mozart, and Haydn. In addition to their singing, castrati frequently also doubled as professional composers, impresarios, and teachers. We might point to people like Dr. Dre and Jay-Z as modern analogues of the more prominent castrati—artists who were highly influential because of their own music, but also because of their personalities, record labels, eyes for talent (e.g. Dr. Dre signing a young Eminem), and business activities. As we will see in the next section, the larger-than-life singer/musician archetype can be traced back to individuals like Farinelli, Caffarelli, Tenducci, Senesino, and many others.
We owe this tale to Tirso de Molina, Who sought to school young Spaniards in morality, Though others showed it — odds are if you’ve seen a Production, it’s Molière’s — some partiality; Mozart saw (says each self-proclaimed Athena) His father in the statue’s grim finality, And Strauss made it a piece that— fine, I’ll say it: I’d sooner dine in Hell than try to play it.
Generative: Shakespeare was the inspiration for a great deal of later work. I would add a fourth: 4. Innovative: Shakespeare was the greatest writer of his time and innovated in new ways that have become standard in writing going forward Richard argues that when you look at activities with objective standards, performance improves over time. It is only when we look at subjective things, like art, where many people believe that the people who came early were the Greatest Of All Time (GOATs). But I think the same thing is going on in both objective and subjective fields. The greatest individuals at any time period both perform the activity well AND find a way to do it in ways that have never been done before. Wayne Gretzky was the greatest hockey player of his time. He still holds the record for the most points (goals + assists) in a regular season (1985-86). He also holds second place (212, 1981-82) and third place (208, 1984-85). In fact when you rank all players by season across all time “Gretzky seasons” are four of the top five and eight of the top ten. When you look at career points, Gretzky has so many more points than second place (Jaromir Jagr) that Gretzky would still win even if you didn’t count any of his goals (i.e., he has more assists than Jagr has goals plus assists). Gretsky also holds the record for most records (at 61). Derek Thompson, at The Atlantic, argues that Gretzky has the most impressive statistical achievement in any sport. The top player in terms of assists last year was Nikita Kucherov, coming in at 100 assists – enough to be the 4th best player of all time – but only the 14th best season because Gretzky did better 11 times. And yet if Gretsky played today he would likely be outclassed by Nikita Kucherov – and many modern players. Because hockey players today are, generally, much better than hockey players back when Gretsky was playing. Part of the REASON they are better is that they learned how to play by watching Gretzky. Gretzky did not just play better than everyone at the time – he played differently. His famous quote “Skate to where the puck is going to be, not where it has been” seems obvious to us today, but it was novel enough that it got put on Wayne Gretzky posters after he said it. That is true for many innovations: What is obvious today once had to be invented by someone, and wasn’t obvious before that happened. Before Gretsky, players played hockey between the two nets. Gretsky played BEHIND the net. He did it so often and so well, “behind the net” became referred to as Gretsky’s “office”. Now it is well known that if a player can get behind the net and then pass outfront it is almost always a goal (the goalie can’t see where the puck is coming from in time). All professional players and teams know that and do whatever they can to stop it from happening. The players that now play behind the net, or the writers that mix metaphors in witty ways are not considered “great” because everyone does it now – or at least understands how it can be done. What made Gretsky and Shakespeare great is that they were the first of their respective kinds to figure out new ways of doing things. So can we quantify the quality of art? Finding ways to quantify Beethoven vs Mozart vs Andrew Lyde Webber is out of scope for this essay, but storytelling, at least part of storytelling HAS been quantified. In 2004 Steven Johnson wrote “Everything Bad is Good for You: How Popular Culture is Making Us Smarter”. In it Johnson diagrams the plots of television episodes. Most TV shows in the 1970s had two “plotlines”. There would be some sort of opening piece for a couple of minutes (plot line 1), followed by the main story for the majority of the episode (plot line 2), then after plotline 2 was wrapped up, there would be a short epilogue calling back to plot line 1 for the last minute or two of the show – very “linear television”. Johnson claims Hill Street Blues was the first innovation on that model. Instead of one main storyline there were three stories – the A, B and C stories. The writer/director would move back and forth between the three stories, which often had thematic parallels to each other. This created far more engaging television, but it was also much more difficult to follow for people who were used to the old model. That increase in complication belies Johnson’s claim that pop culture was making people smarter. But I just want to focus on how it was making stories more complicated – and “better”. It was an innovation. That innovation continued. Johnson explains that The Sopranos was the show to take it to the next level. Instead of just three plots that each ran independently, now David Chase (creator of The Sopranos) oversaw dozens and dozens of plot lines. Unlike Hill Street Blues where any given scene would advance a single plot line, in The Sopranos a single scene might push forward elements from two, three, four or more plotlines as everything intertangles. Sopranos also pushed further into long term commitment. Where Hill Street Blues plotlines were generally started and then wrapped up within each episode, Sopranos plotlines would carry over from one episode to the next. Sometimes a new plot line would be created in a scene of an episode and then go dormant for multiple episodes before coming back. This type of storytelling is common in prestige television today. Even the “dumbest” TV for the lowest common denominator is more complicated than Hill Street Blues (the most complicated show of its time). That does not mean that Mike Kelly (creator of “Revenge”, one of the lowest rated TV on IMBD still on the air today) is a better writer than Steven Bochco (creator of HSB), but it might mean that the plots of Revenge may keep modern audiences more entertained than the comparably slow moving Hill Street Blues (or maybe not. I have never seen Revenge and have no desire to attempt it, even for a more thorough review). The point is that it is possible that art IS getting better. That writers are learning from the writers that came before them on what types of stories people like to hear and engage with. Silver Age Marvel Comics did things that no comic had ever done before, but that does not mean they did ALL the innovative things that could make comics better. There are likely diminishing returns on innovation in art – but wherever those diminishing returns land on comic book creation, the creators in the 1960s were far from approaching them. Aside #6: In ancient Greece plays were traditionally a single protagonist/actor playing off of a large chorus. At some point (we aren’t sure when due to the limited number of plays that have survived) Aeschylus innovated and added a second actor (and shrunk the size of the chorus). This allowed two actors to have dialog and interact with each other. Before Aeschylus, no other playwright had thought to do this. Then it took almost twenty years before a new playwright, Sophocles, fell upon the idea of adding a THIRD actor. It seems that was as far as it went. The idea of a fourth actor would require innovation beyond the ability of the Greeks at the time. Today, comic book storytelling may be at the efficient frontier. At some point between 1965 and today it is possible the major innovations were complete and future innovations were fighting against diminishing returns (“I have an idea! What about a 272nd actor!”). Are the best comics today generally better than Ultimate Spider-man (2000), or other great comic book runs of the past 30 years? Maybe the best comic book stories to ever be written will be Swamp Thing by Alan Moore, Robert Kirkman’s The Walking Dead or Michael Bendis’ Daredevil? It could be that the innovation in comic book storytelling peaked sometime in the last 20 years. There are still more stories to tell, but they won’t be objectively better than the best stories that came before. I don’t want to debate that point. But what I will argue is that the writers of the early 1960s were very far away from the storytelling capabilities that came later. But while those Silver Age writers did not have the tools and experience writers have today, they did have an open canvas. They had “low hanging fruit of innovation”. Lee, Kirby and Ditko were some of the most innovative creators of their time, and their time just happened to be the right time for creating the modern mythological foundation of our time. IV. Silver Age Innovations When writing the first draft of this essay I came up with a dozen innovations that made Silver Age Marvel Comics different from their contemporaries and what came before. Rather than working through all of them, I am going to highlight four of those innovations, chosen mostly because those four are the most interesting to write about, and that should be enough to get the point across. Innovation #1: The Characters Let’s review the characters that Stan Lee had a part in creating between November 1961 and December 1965: The Fantastic Four (Reed Richards, Invisible Girl, Human Torch, Thing – and Franklin Storm (1964))
Is there any hope? Something bothers me about the whole semantic apocalypse framing. It focuses too much on the social level, denies personal agency. Yes, we as a culture are post- some semantic apocalypse where listening to the great symphonies of the past has become so easy that we never do it. But you, as an individual, could do it right now. You could type “Mozart symphony” into YouTube and see what happens.