Question 14

Most regular concertgoers in early-nineteenth-century Paris were not avid readers of the music criticism written for the popular press.

This statement supports the musicologist's argument by suggesting that the negative views expressed by music critics did not influence the opinions of the general public. Therefore, despite the disparagement of Mozart's works by critics, ordinary concertgoers may still have enjoyed and attended performances of his music.

A) Most regular concertgoers in early-nineteenth-century Paris were not avid readers of the music criticism written for the popular press.

This option directly supports the musicologist's argument as it implies that the concertgoers, who are crucial to the popularity of Mozart's works, were largely unaffected by the negative criticism. Their preferences, therefore, may not align with the critics' opinions, allowing for Mozart's music to remain popular among the general audience.

B) Those people on whom early-nineteenth-century French composers depended for patronage seldom attended large public concerts.

This choice does not support the musicologist's argument because it addresses a different issue regarding patronage rather than public reception. If patrons were not attending concerts, it does not imply anything about the enjoyment of Mozart's music by the general concertgoing population.

C) Programs from most of the large public concerts that were given in Paris in the early nineteenth century have survived to the present day.

While this statement may provide historical context, it does not lend support to the musicologist's argument. The survival of programs does not indicate anything about the reception of Mozart's works by the public at the time or the effect of criticism on their popularity.

D) The diaries and journals of professional musicians who lived during the early nineteenth century indicate that those musicians enjoyed playing the works of Mozart more than they enjoyed playing the works of most other composers.

This option could suggest that musicians appreciated Mozart's music, but it does not directly address the general public's enjoyment or attendance at concerts. Thus, it does not strongly support the argument regarding public perception in light of music criticism.

E) Not all the pieces that were listed on the programs from free public concerts in early-nineteenth-century Paris were actually played during those concerts.

This statement does not provide support for the musicologist's argument. It speaks to the accuracy of the programs rather than the popularity or reception of Mozart's works among concertgoers, making it irrelevant to the core argument being made.

Conclusion

The correct answer, A, effectively reinforces the musicologist's claim that public opinion was likely detached from critical disdain, allowing Mozart's music to thrive among concertgoers. All other options either diverge from the topic of audience reception or fail to provide relevant evidence that contradicts the notion of Mozart's enduring popularity despite criticism.