Turkisk marsch

Wolfgang Amadeus Mozart.
Turkisk marsch.

Turkisk marsch, eller Rondo alla turca, är ett pianostycke komponerat av den österrikiske kompositören Wolfgang Amadeus Mozart 1783. Stycket är den tredje delen och avslutningen på Pianosonaten nummer 11 i A dur K331. Mozart var runt 27 år gammal när han komponerade denna sonat och under samma tidsperiod var janitsjarisk musik på modet liksom osmansk kultur i allmänhet. Att det var exakt 100 år efter Slaget vid Wien menar vissa också kan ha inspirerat Mozart att komponera stycket.[1][2] Många kända pianister har framfört versioner av Turkisk marsch däribland kan nämnas Yuja Wang, Fazil Say och Lang Lang. [3][4][5]

Neurologisk påverkan

I en studie publicerad 2017 påvisades att studenter som lyssnade på Turkisk marsch presterade signifikant bättre än studenter som inte gjorde det. Studenternas betyg var inte bara högre än kontrollgruppernas utan de skrev även tentamen på kortare tid.[6]

Turkisk march i populärkultur

Turkisk marsch förekommer i filmen Truman Show.[7]

Källor

Media som används på denna webbplats

Mozart - Piano Sonata No. 11 in A major - III. Allegro (Turkish March).ogg
(c) Bernd Krueger, CC BY-SA 3.0 de
Piano Sonata No. 11 in A major, K. 331, Movement 3 (Turkish March)
Wolfgang-amadeus-mozart 1.jpg

This posthumous portrait of Wolfgang Amadeus Mozart was painted by Barbara Kraft at the request of Joseph Sonnleithner in 1819, long after Mozart died. Sonnleithner, who was making a "collection of portraits in oils of well-known composers" (Deutsch) wrote to Mozart's still-living sister Maria Anna ("Nannerl"), asking her to lend a picture to Kraft (a well-known artist working in Salzburg). Here is part of Nannerl's reply:

... [her friend ] Councillor von Drossdick ... sent the artist to me to see all 3 [of my] pictures [of Mozart], the one that was painted when he came back from the Italian journey is the oldest, he was then just 16 years old, but as he had just got up from a serious illness, the picture looks sickly and very yellow; the picture in the family portrait when he was 22 years old is very good, and the miniature, when he was 26 years old, is the most recent I have, I therefore shewed this one to the painter first; it seemed to me from her silence that is would not be very easy to enlarge it, I therefore had to shew her the family portrait and the other one, too. ... she wants to take her copy from the family portrait and introduce only those features from the small picture which make him look somewhat older than in the big picture."

Deutsch identifies the three pictures as:

  1. "Perhaps" the portrait by Knoller, Milan 1773. [1]
  2. The family portrait by della Croce.
  3. A lost small version of the famous portrait by Joseph Lange.
For present purposes, this implies that Kraft painted this with some basis to go on (and not completely out of her head, as the painter of this ridiculous picture did). Also, it tells us that Nannerl thought that the della Croce picture was "very good".