Wolfgang Mozart is widely acknowledged as one of the best composers in western music history. He born on 27th of January 1756 in Austria and passed on in 1971.Together with Beethoven and Haydn, he revolutionized the classical music to new achievements and heights. Unlike other composers, he was talented in all the other musical genres of his time and succeeded in all (Chebat 996).
His excellent command of form, his taste and range of expression helped him to become a universal composer compared to the others. Despite all his achievements, Mozart wrote his music with a specific audience in mind.
Mozart created changes in musical industry through his mastery and genius manipulation of the tonic-dominant musical tones movement. In the operas, he successfully created tension moves that were followed by cathartic releases that were characterized by consonant and dissonant polarization between every two chords (Sadie 158).
Because of his great knowledge and experience in classical music devices, Mozart could easily play around with the human psyche in ways that caused great revolution at the time. In fact, some people refer to him as the first modern opera psychologist because of his success in creating conducive atmosphere, mood and drama in his operatic works.
For a long period of time composers have been trying to learn new approaches of transferring music from one medium to another and the art of arranging musical sounds enjoys a very long history (Kraehenbuehl 580). For instance, sixteenth century vocal music was often presented in clear keyboard settings and the growth in symphonic and chamber from seventeen century motivated the adaption from use of one instrument to another.
Symphonies were written by different composers whose vocal point of reverence was based in the old Australia lands. At the end of the 18th century the first flowering was done by Mozart, Beethoven and haydan.
From 1780s Mozarts and Haydn symphonies acquired massive hearing in concerts throughout England and Europe while Beethovens symphonies acquired a lot of respect almost immediately (Saint-Foix 130). Many of Mozarts works appear to be less adventurous since they featured dramatic vocal works and keyboard music. Most of his symphonies were divided into two parts; opening and closing of concert hence being almost identical with the main events.
At the time he lived in Vienna, Mozart composed six symphonies and most probably reused some of his old Salzburg symphonies and those of Haydn and Joseph. He also wrote down incipits to Haydns symphonies Nos.47 (56), 62(76), 75(74) perhaps with intentions of using them in his own concerts.
Among the many new pieces he wrote for Salzburg (K.504 [GA 38]), one presumably for Linz (K.425[GA 36]) and another for Prague (K.543[GA 38]).Up to date it still remains uncertain the intention behind Mozarts writing of the three works in G minor, E-flat and C major (K.504[543[GA 39],550[GA 40],551[GA 410) although some people believe that Mozart intended to use them in the fall of 1788 winter at the casino. During his last three years of his life, Mozart never wrote any symphonies (Kraehenbuehl 600).
In contrast to other programs organized in 1788, Mozart performed in Gewamdhaus in Leipzig where he featured two pianos, two symphonies and scenas by Joseph Dussek.
One might easily assume that Mozarts concerts ended with Jupiter symphony K.551 since it juxtaposed his exceptional mastery to that Leipzig Bach. During his life-time Mozart had access to orchestras such as the ensembles outside of imperial city which operated under directions from the composer in Prague and Leipzig. After making a series of appearances in Vienna, in April 11,1781mozart began to write glowingly to his father.
So as to have a strong theatre, Mozart could have drawn his players or might have hired his entire personnel. In almost all probabilities, Mozarts orchestras fell inside the limits of 24 to 35 players. Little is known concerning the orchestra which played Linz symphony K.425(GA 36) except its use of drums and trumpets in addition to the minor orchestras theatre in Vienna and the bigger ones in Prague.
In operatic performances, Mozart may have used four horns in order to give crooks time to change the horns without affecting the key for the following number (Sadie 208). Contrary, in counter like moments, unoccupied horn players could take the violinists positions.
In order for an individual to do an effective performance of the eighteen-century symphony with stylishness, it is very important to understand the eighteenth-century orchestra. One has to acknowledge certain assumptions and facts borrowed from sounds produced during Mozarts day in order to make necessary adjustments to the modern sounds.
This is especially true because orchestras then, just as today, possessed similar traits and characteristics (Saint-Foix 145). Mozarts symphonies were characterized by a very firm continuo bass-line. A bassoon is supposed to be double the string bass even when the score is not specified, although Mozart used it as a harmony-filler.
It was not easy for collector of gramophone records to gain access to Mozarts symphonies. Record companies gave greater attention to the later and best-known symphonies compared to those in the era of 78-rpm shellac disc. Surprisingly enough, No. 39 that had 17 recordings received more attention than those with popular nicknames (Zaslaw 78).
Sir Thomas Beecham had showed a lot of interest in recording Mozarts symphonies way before the arrival of long-playing record. He rerecorded ten in the gramophone. Later on Denis Vaughan became the next conductor to express his interest in tackling substantial portion in the repertoire or gramophone.
He showed great courage by including harpsichord continuo as regular features of the repertoire. His performances clearly brought out the horns tones, something that refined Mozarts music.
Vaughan employed B flat alto horns In No.24 but of more importance was the display on disc for the first time for horns in E flat alto in No.19.At the same time, as Vaughan was recording Mozarts music, the American Vox company embarked on a series with Mainz chamber orchestra and Guther kehr. However, the conductor did not complete all the recordings hence philharmonia Hungarica and kehr Maag supplied the remaining six authentic symphonies.
Although Mozart had a very short career, he was successful in creating tremendous musical output by any expected standards. He managed to create 600 works in which forty-one of them were symphonies (Chebat 998). He acquired his musical genius and talent as a result of being exposed at early age.
Together with his sister and their father, he performed at different courts in Austria. He managed to write to write his symphonies in different genres and was able to communicate to his target audience in an effective manner. His contributions created a great revolution in classical music in terms of form, subject and the mode of delivery.
Works Cited
Chebat, Gelinas-Chebat. Interactive effects of musical and visual cues on time perception: an application to waiting lines in banks. Perceptual and Motor Skills 77.3(1993):995-1020.print.
Kraehenbuehl, Coons. Information as a measure of the experience of music. The Journal of Aesthetics and Art Criticism 17.4(1959):510-522.print.
Wolfgang Amadeus Mozart is definitely one of the outstanding composers of symphonies who was well known and highly reputed during the classical period of music development (1750-1830). Although there were other symphonies during his time, his legacy stood out to be the best since his productions withstood the test of time.
He was born in January 27, 1756 by Anna Maria Perti and a musician Leopold. In his lifetime, Mozart composed forty one (41) symphonies in which thirty nine (39) were in major keys while only two (2) were in minor keys (Laitz and Bartlette 54). Coincidentally, both symphonies in minor keys were in G minor.
These are symphony number 25 which was composed in October 1773 and symphony number 40 which he produced way back in 1788. It is imperative to note that Modern study to Mozarts work has proved that he was indeed an intelligent as well as a talented musical genius who had attained musical virtuosity during his lifetime career in music. Evidently, Mozarts last symphony Jupiter in C major has overwhelming beauty that may not be forgotten quite easily.
A symphony is an artistic work of music mostly produced and played for the orchestra. In addition, it is also worth noting that symphonies contain at least one movement or episode which usually follows the sonata principles. Symphonies can also be tonal works written in four movements with the first always in sonata form.
This type of musical production grew during the period between the Baroque and the Romantic when music had lighter and undoubtedly clearer texture. Moreover, emphasis in the symphonies was in contrast created by a variety of keys, rhythms, dynamics, and melodies, (Downs 106). In the case of Mozart, he mainly dwelt on symphonies that were performed with instruments such as the flute, oboe, clarinet, bassoon, horn, trumpet (wind instruments), violin, viola, double bass (stringed instruments), and the timpani among others.
As a matter of fact, this collection of instruments that were used by Mozart were indeed vital in his productions largely due to the fact that they blended quite well in producing masterpiece symphonies. In addition, the manner in which these assortments of musical instruments were played clearly brought out the much needed flavor in his symphonies. This explains why he remained as music icon who was to be remembered long after he was dead.
Historical background of the Mozart symphonies
Many scholars have studied and described symphonies that were produced by Mozart as full rigor that have been applied in modern musicological methods. Moreover, these productions have proved to be comprehensive both in terms of contemporary and secondary literature (Zaslow 1991).
However, there is no great creation that surpasses a critiques eye bearing in mind that even the Mozart symphonies were criticized as being too complex with unnecessarily far too many lines and notes within the compositions. In other words, there are those who perceived his music as extremely complex to appeal to most audience and especially those who would be interested to learn the notes.
While the latter argument would perhaps be authentic to some degree, it is also imperative to mention that the dynamisms employed by Mozart included taking familiar musical lines of one piece of music and inserting them in his other new creations or compositions to bring out a completely new flavor.
In due course of creating the symphonies, Mozart entered into a severe financial strain and debt in 1784. By 1788, he was in serious debt. Fortunately, he survived on money that he had borrowed from his Masonic brother called Michael Puchberg. This fact did not deter Mozart from accomplishing his dream since he gave his best during his last years of life.
There are amazing complexities of symphony number 39 in E-flat; number 40 in G minor; and number 41 in C major. Close inspection of these symphonies portray a crowning achievement of Mozarts instrumental music even though they appear complex. There is also a clear indication of how Mozart was quite thorough with the absorption of his contrapuntal style in most of his music. For instance, the latter characteristic was quite profound in two of his creations namely the virtuosos J.S. Bach and Handel.
Classical-style symphonies as employed by Mozart were mainly in four movements. Their usual arrangement was fast (allegro), slow (adagio), minuet with trio (scherzo), and then fast (allegro, rondo or sonata). However, there are many symphonies by other classical masters that do not conform to this four part model (Prout 92). In addition, Mozart was keen in style and structure. He introduced the third movement (minuet) and gave it splendor. He gave it a pattern that followed an outline of ABA or Minuet-Trio-Minuet.
Capability of Mozart to adapt to the external environment was apparent. He adapted to style of the moment like in symphony number 25 that was inspired by storm and stress of that time (Zaslaw 38). Mozart moved and stayed in Paris for a short period. He composed 3 symphonies including symphony no. 31 while at this place.
These works portrayed Mozarts ability to adapt to the likes and dislikes of his new hosts and consumers of his music. The three symphonies had distinct Parisian qualities different from his other works. Urgency did not deter Mozart. He was a musical genius and was able to compose, rehearse, and perform symphony no. 36 Linz in only four days! Despite the breakneck speed of writing this symphony, he was able to open a work with a slow introduction.
He demonstrated his prowess by going the way of his loyalists in writing symphony no. 38 prague. He was widely accepted in Prague, and he wrote this symphony for Prague people (Deutsch 87). Mozart slightly deviated from his norm when he left out the third movement in this symphony but was able to make it profound and quite provocative.
To recap it all, Mozart was undoubtedly great and a model to those who came after him. This was proven by the mid 19th century composer, Johannes Brahms. Mozarts last symphony Jupiter was so popular, and Brahms knew its structure so well. The fugue finale of Jupiter begins with notes C-D-F-E-A-A. In this respect, Brahms had his first symphony in C minor; second in D major; third in F major; and forth in E minor the first four notes of the Jupiter (Laitz and Bartlette 91).
Different music experts in composition and performance interpreted symphonies by Mozart differently. Some viewed majority of his works as possessing lightness, passion, and grace while others considered them works of violence and grief (Downs 52). Despite these interpretations, the symphonies are unquestionably admired and are frequently performed and recorded.
Works Cited
Deutsch, Otto. Mozart: A Documentary Biography. Stanford, CA: Stanford University Press, 1965. Print.
Downs, Philip. Classical Music: The Era of Haydn, Mozart, and Beethoven; Introduction to Music History. New York, NY: Norton & Company, 1992.Print.
Laitz, Steven and Christopher, Bartlette. Student Workbook to Accompany Graduate Review of Tonal Theory: A Recasting of Common Practice Harmony, Form, and Counterpoint. Oxford: Oxford University Press, 2009. Print.
Prout, Ebenezer. Applied Forms: A Sequel to Musical Form (3rd. ed.). Augener: London, 1971. Print.
Zaslaw, Neal. Contemporary and Secondary Literature of Music. New York: Cornell University Press, 1991. Print.
Listening to Mozart’s music can improve the persons’ intellectual abilities, increase IQ, and improve individuals’ learning and creativity significantly. This controversial claim is actively developed and supported by Don Campbell in his work The Mozart Effect. In this book, the author develops the specific theory according to which those persons who listen to Mozart’s music demonstrate significant increases in IQ and creativity in comparison with those individuals who do not pay attention to listening to Mozart’s works and choose the other music genres to enjoy.
Campbell’s theory became widely known as the ‘Mozart effect’ which supports the idea that the process of listening to Mozart’s music increases the person’s mental function and intellectual abilities greatly (Campbell 24). On the one hand, Campbell describes the Mozart effect while referring to many researches in the field of cognition and mental development. On the other hand, Campbell’s statements about the significant role of particular Mozart’s works for the person’s intellectual development are not supported with the further researches concentrated on the concrete idea of the Mozart effect.
Thus, the research shows that the Mozart effect theory is based on the false interpretation of the previous studies and on irrelevant assumptions, and it should not be discussed from the perspective of the specific role of Mozart’s music for increasing persons’ intellectual abilities because there are no credible evidences to support this claim.
In his book, Campbell builds the argument to support the idea that listening to Mozart’s music can improve people’s intellect and creativity with references to the findings of Rauscher, Shaw, and Ky’s study. In 1993, the researchers published their results on the Mozart music’s effect on the persons’ spatial reasoning. The findings attracted the attention of many researchers in the field because Rauscher, Shaw, and Ky found that persons could cope with the abstract spatial reasoning tests more effectively while listening to Mozart’s music.
The authors of the article also compared the results of the listeners with the results of the persons who conducted tests in relation to different listening conditions (Rauscher, Shaw, and Ky 611). Campbell used Rauscher, Shaw, and Ky’s findings as the support to develop his Mozart effect theory. However, the author of the theory misinterpreted the researchers’ results because he chose to generalize the findings and apply them to the discussion of the overall increase in persons’ intellectual abilities as a result of listening to Mozart’s music (Campbell 58).
Thus, Campbell’s conclusions cannot be discussed as supported with Rauscher, Shaw, and Ky’s findings because the researchers noted only temporary effect of listening to Mozart’s music on the persons’ spatial reasoning, and they did not provide any generalized conclusions about the effect of Mozart’s music on the persons’ IQ and mental development (Rauscher, Shaw, and Ky 611). From this point, Campbell not only misinterpreted the facts, but he also generalized the findings without supporting them with factual evidences.
Campbell draws the audience’s attention to the fact that the process of listening to Mozart’s music has significant effects on people’s mental development, creativity, memory, and learning abilities as well as on increases in IQ. Moreover, listening to concrete Mozart’s works, people can also overcome depression, fears, psychological disorders, and contribute to recovery while speaking about mental disorders (Campbell 26-34). Nevertheless, the problem is in the fact that all the mentioned statements and conclusions about the positive impact of Mozart’s music on the people’s intellectual abilities and mental health depend only on irrelevant generalizations which are not supported with the further researches in the field.
Thus, McKelvie and Low focused on checking the results associated with Rauscher, Shaw, and Ky’s findings. The authors found that the process of listening to Mozart did not have any impact on the children’s spatial reasoning. The changes in the children’s spatial ability were insignificant to speak about any improvements related to the children’s IQ or memory (McKelvie and Low 241). Thus, Campbell’s generalizations associated with the role of Mozart’s music to improve the intellectual capacity can be discussed as rather unreasonable. In addition, there are controversies associated with discussing the role of Mozart’s music in comparison with the works of the other famous composers.
Campbell’s argument is discussed widely because of the author’s focus on the specific role of Mozart’s music for the learning and mental development while distinguishing between Mozart and other composers’ works. As a result, the Mozart effect is considered as the particular phenomenon in the context of studying the general role of the classical music for the persons’ mental development (Campbell 56). However, the research shows that the focus on the particular effects of Mozart’s music on persons’ IQ and learning is not supported with adequate evidences.
That is why, the Mozart effect cannot be considered as the unique phenomenon. In spite of the fact that Wilson and Brown supported the idea of the positive effect of Mozart’s music on the people’s spatial ability, the authors state that such an effect is expected as a result of listening to any form of the classical music (Wilson and Brown 365). Furthermore, Schellenberg and Hallam provided many evidences to speak about the positive effect of listening to all the forms of the classical music, without references to the specific composers. The authors present the arguments to state that the positive effect depends not on the genre of the music work, but on the factor of children’s reaction to the music.
Thus, if children enjoy the music they listen to, this process contributes to increasing their moods and, as a result, intellectual and cognitive abilities (Schellenberg and Hallam 203). From this perspective, the appropriateness of Campbell’s focus on the important role of Mozart’s music was not explained with references to the conducted researches.
The most provocative part of Campbell’s argument is the role of Mozart’s music for coping with different types of psychological disorders because the author determines the important role of Mozart’s works while ignoring the other popular debates in the field. Schellenberg and Hallam state that the positive effect on people’s mental and physical health is expected with the focus on discussing the arousal and mood hypothesis.
The researchers state that “the type of music needed to generate cognitive benefits depends on the particular listener”, and this music can contribute to improving the person’s health state significantly (Schellenberg and Hallam 207). Schellenberg and Hallam illustrate their arguments with the following example: when patients choose a specific piece of music to listen to “while undergoing minor surgery, the pain they experience is less than that of patients who listen to white noise or the background sounds of the operating room, and their pain-medication requirements are reduced” (Schellenberg and Hallam 208).
The similar effects are observed while focusing on the role of music for stimulating the mental processes and increasing the persons’ mood. It is important to note that Schellenberg and Hallam do not focus on the particular effect of Mozart’s music, and this fact supports the idea that any classical music can have similar positive effects on people and their moods and behaviors. As a result, Campbell’s argument can be discussed as based on a range of false assumptions and statements which are not supported with facts, credible conclusions, and practical findings.
Don Campbell’s theory known as the Mozart effect is rather provocative and controversial because of being based on many false assumptions and biases. This theory is also not supported with the credible arguments and evidences. From this point, Campbell fails to provide the facts to speak about the unique role of Mozart’s music for increasing people’s IQ and improving mental development.
The author misinterprets the important findings in the field, and he is inclined to make general conclusions which are not supported with the real facts. Campbell also concentrates on discussing the important role of Mozart’s music while ignoring the evidences associated with the role of the other musical pieces to improve the individuals’ mood and mental abilities. From this point, the Mozart effect can be discussed as the controversial phenomenon in contrast to the supported fact that any music which contributes to people’s arousal and positive mood improves people’s mental processes because of providing the positive stimulation. Thus, the positive effect is based on the listener’s attitude to the music instead of focusing on its genre.
Works Cited
Campbell, Don. The Mozart Effect: Tapping the Power of Music to Heal the Body, Strengthen the Mind, and Unlock the Creative Spirit. USA: HarperCollins, 2009. Print.
McKelvie, Pippa, and Jason Low. “Listening to Mozart Does not Improve Children’s Spatial Ability: Final Curtains for the Mozart Effect”. British Journal of Developmental Psychology 20.2 (2002): 241–258. Print.
Rauscher, Frances, Gordon Shaw, and Catherine Ky. “Music and Spatial Task Performance”. Nature 365.6447 (1993): 611-615. Print.
Schellenberg, Glenn, and Susan Hallam. “Music Listening and Cognitive Abilities in 10 and 11 Year Olds: The Blur Effect”. Annals of the New York Academy of Sciences 1060 (2005): 202-209. Print.
Wilson, Thomas, and Tina Brown. “Reexamination of the Effect of Mozart’s Music on Spatial-Task Performance”. The Journal of Psychology 131.4 (1997): 365-370. Print.
There are currently many products on the market that claim to enhance the intellectual ability of infants. Such products range from DVDs claiming to teach babies to talk, to handbooks that show parents how to teach their infants to use sign language. Most parents want to give their children the best possible start in life and so are susceptible to products that claim to increase their child’s intelligence. This essay will look at one of these supposed ‘intellect-enhancing’ products called The Mozart Effect. It will explore how popular this product has become despite scientific proof that it does not work.
The concept of the Mozart Effect first appeared in a French book entitled Pourquoi Mozart? The book was published in 1991 and was written by Dr. Alfred A. Tomatis who claimed that listening to Mozart assisted the retraining of one’s ear and helped to develop and, in some cases, heal the brain. (Fisher, 2004.) Proponents of the Mozart Effect claim that the benefits are diverse and positively influence the areas of health, education, and well-being. (Rich, 2001.)
Some researchers have tried to provide a scientific explanation for how the Mozart Effect works. Scientists such as Shaw and Leng claimed that listening to intricate pieces of music increases cortical firing which is the same process used during spatial reasoning. Therefore, the idea is that listening to the complex pieces of Mozart will increase spatial reasoning. Spatial reasoning refers to the ability to imagine spatial patterns and then mentally adjust them in a logical and ordered manner. The ability to do this is a component of intelligence. (Holden & Gabrieli, 2004.)
Since Tomatis’ book was first published in 1991, numerous articles and other books were written about the Mozart Effect. In 1998, the hype around the Mozart music theory reached a peak when the Governor of Georgia, Zell Miller, declared that $105,000 of the state budget would go towards giving a CD or tape of classical music to every newborn in the state. In the same year, Florida created a law that stated that classical music must be played every day in state-funded childcare institutions. Also in that year, the National Academy of Recording Arts and Sciences Foundation gave out hundreds of copies of classical music to all hospitals in the area. (Holden & Gabrieli, 2004.)
In the 1990s, Don Campbell wrote two detailed books entitled, The Mozart Effect: Tapping the Power of Music to Heal the Body, Strengthen the Mind, and Unlock the Creative Spirit and The Mozart Effect for Children. Along with these books, Don also created several products that promoted the Mozart Effect. Campbell claims that his Mozart Effect products have a wide range of benefits that include improving health, memory, recovery from mental and physical disorders, harmonizing of different learning styles, creativity, awareness, listening, recovery from attention deficit disorders, healing of injuries, visualization, imagination and reducing depression and anxiety. (Rich, 2001.)
The problem with these books and products is that there wasn’t, and still isn’t, any scientific proof to support these ideas or benefits. It is extremely deceptive to pray on the need parents have to do the best for their children and to influence them to waste their time and money on a product that people have proven does not work. (Fisher, 2004.)
In 1999, two groups of researchers set out to determine the validity of the Mozart Effect and published their findings in a paper under the heading, Prelude or Requiem for the ‘Mozart Effect’? It was determined that there wasn’t any improvement in intelligence, but that the music did increase ‘enjoyment arousal.’ This effect is created whenever someone listens to something they like, and it temporarily enhances simple cognitive tasks such as cutting or folding paper. (Ellenvell, 2001.)
Despite the support for the Mozart Effect, many studies have been done to test the validity of this theory and it has been determined that the only effect the music has is on increasing energy and positive feelings, which can be said for most kinds of music. It has been proven that the Mozart Effect does not have any effect on one’s intelligence. (Holden & Gabrieli, 2004.)
If I, as a licensed psychologist, were to endorse a product that promoted “The Mozart Effect,” and claimed it would work, I would be in direct violation of the American Psychological Associations’ (APA) Code of Ethics. (American Psychological Association, 2002.) Section 5 is entitled, Avoidance of False or Deceptive Statements, and the first point includes that psychologists cannot knowingly make public statements that are false or deceptive, regarding their work. Such statements include adverts, product endorsements, print media, resumes, etc. (Dove, 2003.)
There are many products on the market at the moment that claim to assist the development of infants’ intellect. The advertising of these products is directed at the parents and specifically designed to make them believe that they will be giving their child a head start in life. If there were a product that could assist in increasing the intellect of infants, it would be a worldwide phenomenon that all governments would invest huge amounts of money in. It has been scientifically proven that the Mozart Effect does not raise intellect, yet many parents around the world believe it will. It would be wise for parents to only invest in products that have been scientifically proven to work.
Classical music has always been popular. Not every person understands its beauty and meaning, however, I believe that it can influence on every person it its particular way, no matter whether you like it or not. Recently, I had a great opportunity to see the concert at the Nightingale Concert Hall. It was performed by the Reno Chamber Orchestra conducted by Theodore Kuchar. The orchestra performed Mozart’s Symphonies. I was greatly impressed by the concert.
However, I have chosen the Symphony No. 28 in C Major, part III (Menuetto: Allegreto) for my respond as I liked it the most. The Mozart’s Symphony No. 28 in C Major, part III (Menuetto: Allegreto) is one of the most impressive musical compositions I have ever heard, it is calm and energetic at the same time, and it makes you feel as if you went into the 17th century.
As I have already mentioned, the concert was devoted to the music by Mozart. I have heard many compositions by Wolfgang Mozart, and I consider him one of the most talented and unique composers of all times.
His music is wonderful, magic, and mysterious. It can be tender, energetic, romantic and joyful. For example, such work as “The Requiem” which is his most famous and impressive work. Actually, I have never heard the Symphony No. 28 in C Major before, but I am glad that I had a chance to hear this wonderful “piece of Art” as I really got a real pleasure.
So, the Symphony No. 28 in C Major, part III (Menuetto: Allegreto) was composed by Wolfgang Amadeus Mozart approximately in 1774. It was the last piece of his “Salzburg series”. Few words should be mentioned about the époque when the work was created. This period is called the Classical period in Western music.
Usually, the classical music includes all works written from the 16th to the 19th century, however, a true classical period is between the years 1730 and 1820. It is marked by works of such great composers as Wolfgang Amadeus Mozart, Franz Schubert, Ludwig van Beethoven and Antonio Salieri.
The music of the classical period was much “lighter” than the music of the previous Baroque period. As M. Tevfik Dorak writes in the article “Classical (Period) Music”, the characteristic features of this period were “slow harmonic rhythm, primary triads, appoggiaturas, frequent cadences, clear articulation, variety in orchestral texture, varying dynamics, independence of orchestral sections, tenor registry of the bassoon, double woodwind (including clarinets)” (n. pg.).
At first, the Classical music took some features from the Baroque music. But later, it adopted its unique style, format and form. According to the book by Kerman and Tomlinson, “a four-movement format dominated Classical instrumental genres.
The internal structures of important Classical forms associated with the four-movement plan: sonata form, theme and variations, minuet form, rondo form” (76). All these features can be found in the compositions written by Mozart, the most influential composer of the period. He lived a short life, but he managed to create music that will live forever. Mozart was a very talented child. He started performing before European royalty when he was 5.
His first teacher was his father Leopold. But it was Bach who had the greatest influence on the Mozart’s development as the composer, “Bach introduced Wolfgang to the world of the opera and the symphony, treating the boy as the colleague…” (Melograni and Cochrane 20). Bach’s music was filled with symbolism and “harmonic innovations” of the period, but the music of his pupil was not so radical. It was very charming, had a natural flow and was filled with different emotions: humor, sorrow, joy that can interweave or go separately.
The composer created the most successful operas and symphonies ever. Mozart was one of the first composers who started creating symphonies. It was a “musical genre that just began to gain acceptance” and it was Mozart, who “succeeded in producing compositions of high quality in a new genre” (Melograni and Cochrane 22).
One of such “perfect compositions” is Mozart’s Symphony No. 28 in C Major, part III (Menuetto: Allegreto). The symphony is arranged in the traditional classical symphonic form: Allegro vivace, Andante cantabile in F major, Menuetto: Allegretto – Trio, and Molto Allegro. The sonata is filled with contrasts and it is rather extraverted. It begins with the themes of symphony, but the second part of the trio is more accentuated and expressive.
I guess, it is incorporated and modified with Allegretto. The characteristic feature of the symphony is the “five-voice fugato” that are aimed to present fife symphonic themes of the composition. In the third part, they are used in order to combine themes together. The motifs are joined in the “fugal cola”. The third part is characterized by classical harmony and “tender” melody that rises and falls through the composition.
As for me, I was charmed with the music. I believe that it is a special ability to know to listen to the classical music and I am glad that I develop this ability. So, the piece was very exciting and I was fascinated with the rhythm and dynamics of the melody and with the contrast of strong and light musical waves.
The Symphony No. 28 in C Major, part III (Menuetto: Allegreto) is one of the greatest orchestra compositions. It is a marvelous work of the Classical period. It still captures attention of many people and evokes wonderful feeling of delight with the music.
Wolfgang Mozart is widely acknowledged as one of the best composers in western music history. He born on 27th of January 1756 in Austria and passed on in 1971.Together with Beethoven and Haydn, he revolutionized the classical music to new achievements and heights. Unlike other composers, he was talented in all the other musical genres of his time and succeeded in all (Chebat 996).
His excellent command of form, his taste and range of expression helped him to become a universal composer compared to the others. Despite all his achievements, Mozart wrote his music with a specific audience in mind.
Mozart created changes in musical industry through his mastery and genius manipulation of the tonic-dominant musical tones movement. In the operas, he successfully created tension moves that were followed by cathartic releases that were characterized by consonant and dissonant polarization between every two chords (Sadie 158).
Because of his great knowledge and experience in classical music devices, Mozart could easily play around with the human psyche in ways that caused great revolution at the time. In fact, some people refer to him as the first modern opera psychologist because of his success in creating conducive atmosphere, mood and drama in his operatic works.
For a long period of time composers have been trying to learn new approaches of transferring music from one medium to another and the art of arranging musical sounds enjoys a very long history (Kraehenbuehl 580). For instance, sixteenth century vocal music was often presented in clear keyboard settings and the growth in symphonic and chamber from seventeen century motivated the adaption from use of one instrument to another.
Symphonies were written by different composers whose vocal point of reverence was based in the old Australia lands. At the end of the 18th century the first flowering was done by Mozart, Beethoven and haydan.
From 1780s Mozart’s and Haydn symphonies acquired massive hearing in concerts throughout England and Europe while Beethoven’s symphonies acquired a lot of respect almost immediately (Saint-Foix 130). Many of Mozart’s works appear to be less adventurous since they featured dramatic vocal works and keyboard music. Most of his symphonies were divided into two parts; opening and closing of concert hence being almost identical with the main events.
At the time he lived in Vienna, Mozart composed six symphonies and most probably reused some of his old Salzburg symphonies and those of Haydn and Joseph. He also wrote down incipits to Haydn’s symphonies Nos.47 (56), 62(76), 75(74) perhaps with intentions of using them in his own concerts.
Among the many new pieces he wrote for Salzburg (K.504 [GA 38]), one presumably for Linz (K.425[GA 36]) and another for Prague (K.543[GA 38]).Up to date it still remains uncertain the intention behind Mozart’s writing of the three works in G minor, E-flat and C major (K.504[543[GA 39],550[GA 40],551[GA 410) although some people believe that Mozart intended to use them in the fall of 1788 winter at the casino. During his last three years of his life, Mozart never wrote any symphonies (Kraehenbuehl 600).
In contrast to other programs organized in 1788, Mozart performed in Gewamdhaus in Leipzig where he featured two pianos, two symphonies and scenas by Joseph Dussek.
One might easily assume that Mozart’s concerts ended with “Jupiter” symphony K.551 since it juxtaposed his exceptional mastery to that Leipzig Bach. During his life-time Mozart had access to orchestras such as the ensembles outside of imperial city which operated under directions from the composer in Prague and Leipzig. After making a series of appearances in Vienna, in April 11,1781mozart began to write glowingly to his father.
So as to have a strong theatre, Mozart could have drawn his players or might have hired his entire personnel. In almost all probabilities, Mozart’s orchestras fell inside the limits of 24 to 35 players. Little is known concerning the orchestra which played “Linz” symphony K.425(GA 36) except its use of drums and trumpets in addition to the minor orchestras theatre in Vienna and the bigger ones in Prague.
In operatic performances, Mozart may have used four horns in order to give crooks time to change the horns without affecting the key for the following number (Sadie 208). Contrary, in counter like moments, unoccupied horn players could take the violinists positions.
In order for an individual to do an effective performance of the eighteen-century symphony with stylishness, it is very important to understand the eighteenth-century orchestra. One has to acknowledge certain assumptions and facts borrowed from sounds produced during Mozart’s day in order to make necessary adjustments to the modern sounds.
This is especially true because orchestras then, just as today, possessed similar traits and characteristics (Saint-Foix 145). Mozart’s symphonies were characterized by a very firm continuo bass-line. A bassoon is supposed to be double the string bass even when the score is not specified, although Mozart used it as a harmony-filler.
It was not easy for collector of gramophone records to gain access to Mozart’s symphonies. Record companies gave greater attention to the later and best-known symphonies compared to those in the era of 78-rpm shellac disc. Surprisingly enough, No. 39 that had 17 recordings received more attention than those with popular nicknames (Zaslaw 78).
Sir Thomas Beecham had showed a lot of interest in recording Mozart’s symphonies way before the arrival of long-playing record. He rerecorded ten in the gramophone. Later on Denis Vaughan became the next conductor to express his interest in tackling substantial portion in the repertoire or gramophone.
He showed great courage by including harpsichord continuo as regular features of the repertoire. His performances clearly brought out the horn’s tones, something that refined Mozart’s music.
Vaughan employed B flat alto horns In No.24 but of more importance was the display on disc for the first time for horns in “E flat alto” in No.19.At the same time, as Vaughan was recording Mozart’s music, the American Vox company embarked on a series with Mainz chamber orchestra and Guther kehr. However, the conductor did not complete all the recordings hence philharmonia Hungarica and kehr Maag supplied the remaining six authentic symphonies.
Although Mozart had a very short career, he was successful in creating tremendous musical output by any expected standards. He managed to create 600 works in which forty-one of them were symphonies (Chebat 998). He acquired his musical genius and talent as a result of being exposed at early age.
Together with his sister and their father, he performed at different courts in Austria. He managed to write to write his symphonies in different genres and was able to communicate to his target audience in an effective manner. His contributions created a great revolution in classical music in terms of form, subject and the mode of delivery.
Works Cited
Chebat, Gelinas-Chebat. “Interactive effects of musical and visual cues on time perception: an application to waiting lines in banks.” Perceptual and Motor Skills 77.3(1993):995-1020.print.
Kraehenbuehl, Coons. “Information as a measure of the experience of music.” The Journal of Aesthetics and Art Criticism 17.4(1959):510-522.print.
Wolfgang Amadeus Mozart is definitely one of the outstanding composers of symphonies who was well known and highly reputed during the classical period of music development (1750-1830). Although there were other symphonies during his time, his legacy stood out to be the best since his productions withstood the test of time.
He was born in January 27, 1756 by Anna Maria Perti and a musician Leopold. In his lifetime, Mozart composed forty one (41) symphonies in which thirty nine (39) were in major keys while only two (2) were in minor keys (Laitz and Bartlette 54). Coincidentally, both symphonies in minor keys were in G minor.
These are symphony number 25 which was composed in October 1773 and symphony number 40 which he produced way back in 1788. It is imperative to note that Modern study to Mozart’s work has proved that he was indeed an intelligent as well as a talented musical genius who had attained musical virtuosity during his lifetime career in music. Evidently, Mozart’s last symphony “Jupiter” in C major has overwhelming beauty that may not be forgotten quite easily.
A symphony is an artistic work of music mostly produced and played for the orchestra. In addition, it is also worth noting that symphonies contain at least one movement or episode which usually follows the sonata principles. Symphonies can also be tonal works written in four movements with the first always in sonata form.
This type of musical production grew during the period between the Baroque and the Romantic when music had lighter and undoubtedly clearer texture. Moreover, emphasis in the symphonies was in contrast created by a variety of keys, rhythms, dynamics, and melodies, (Downs 106). In the case of Mozart, he mainly dwelt on symphonies that were performed with instruments such as the flute, oboe, clarinet, bassoon, horn, trumpet (wind instruments), violin, viola, double bass (stringed instruments), and the timpani among others.
As a matter of fact, this collection of instruments that were used by Mozart were indeed vital in his productions largely due to the fact that they blended quite well in producing masterpiece symphonies. In addition, the manner in which these assortments of musical instruments were played clearly brought out the much needed flavor in his symphonies. This explains why he remained as music icon who was to be remembered long after he was dead.
Historical background of the Mozart symphonies
Many scholars have studied and described symphonies that were produced by Mozart as full rigor that have been applied in modern musicological methods. Moreover, these productions have proved to be comprehensive both in terms of contemporary and secondary literature (Zaslow 1991).
However, there is no great creation that surpasses a critique’s eye bearing in mind that even the Mozart symphonies were criticized as being too complex with unnecessarily far too many lines and notes within the compositions. In other words, there are those who perceived his music as extremely complex to appeal to most audience and especially those who would be interested to learn the notes.
While the latter argument would perhaps be authentic to some degree, it is also imperative to mention that the dynamisms employed by Mozart included taking familiar musical lines of one piece of music and inserting them in his other new creations or compositions to bring out a completely new flavor.
In due course of creating the symphonies, Mozart entered into a severe financial strain and debt in 1784. By 1788, he was in serious debt. Fortunately, he survived on money that he had borrowed from his Masonic brother called Michael Puchberg. This fact did not deter Mozart from accomplishing his dream since he gave his best during his last years of life.
There are amazing complexities of symphony number 39 in E-flat; number 40 in G minor; and number 41 in C major. Close inspection of these symphonies portray a crowning achievement of Mozart’s instrumental music even though they appear complex. There is also a clear indication of how Mozart was quite thorough with the absorption of his contrapuntal style in most of his music. For instance, the latter characteristic was quite profound in two of his creations namely the virtuosos J.S. Bach and Handel.
Classical-style symphonies as employed by Mozart were mainly in four movements. Their usual arrangement was fast (allegro), slow (adagio), minuet with trio (scherzo), and then fast (allegro, rondo or sonata). However, there are many symphonies by other classical masters that do not conform to this four part model (Prout 92). In addition, Mozart was keen in style and structure. He introduced the third movement (minuet) and gave it splendor. He gave it a pattern that followed an outline of ABA or Minuet-Trio-Minuet.
Capability of Mozart to adapt to the external environment was apparent. He adapted to style of the moment like in symphony number 25 that was inspired by storm and stress of that time (Zaslaw 38). Mozart moved and stayed in Paris for a short period. He composed 3 symphonies including symphony no. 31 while at this place.
These works portrayed Mozart’s ability to adapt to the likes and dislikes of his new hosts and consumers of his music. The three symphonies had distinct Parisian qualities different from his other works. Urgency did not deter Mozart. He was a musical genius and was able to compose, rehearse, and perform symphony no. 36 ‘Linz’ in only four days! Despite the breakneck speed of writing this symphony, he was able to open a work with a slow introduction.
He demonstrated his prowess by going the way of his loyalists in writing symphony no. 38 ‘prague’. He was widely accepted in Prague, and he wrote this symphony for Prague people (Deutsch 87). Mozart slightly deviated from his norm when he left out the third movement in this symphony but was able to make it profound and quite provocative.
To recap it all, Mozart was undoubtedly great and a model to those who came after him. This was proven by the mid 19th century composer, Johannes Brahms. Mozart’s last symphony Jupiter was so popular, and Brahms knew its structure so well. The fugue finale of Jupiter begins with notes C-D-F-E-A-A. In this respect, Brahms had his first symphony in C minor; second in D major; third in F major; and forth in E minor – the first four notes of the Jupiter (Laitz and Bartlette 91).
Different music experts in composition and performance interpreted symphonies by Mozart differently. Some viewed majority of his works as possessing lightness, passion, and grace while others considered them “works of violence and grief” (Downs 52). Despite these interpretations, the symphonies are unquestionably admired and are frequently performed and recorded.
Works Cited
Deutsch, Otto. Mozart: A Documentary Biography. Stanford, CA: Stanford University Press, 1965. Print.
Downs, Philip. Classical Music: The Era of Haydn, Mozart, and Beethoven; Introduction to Music History. New York, NY: Norton & Company, 1992.Print.
Laitz, Steven and Christopher, Bartlette. Student Workbook to Accompany Graduate Review of Tonal Theory: A Recasting of Common Practice Harmony, Form, and Counterpoint. Oxford: Oxford University Press, 2009. Print.
Prout, Ebenezer. Applied Forms: A Sequel to ‘Musical Form’ (3rd. ed.). Augener: London, 1971. Print.
Zaslaw, Neal. Contemporary and Secondary Literature of Music. New York: Cornell University Press, 1991. Print.
The world of music has always been alluring for creative people. Music is one of not many art forms that are possible to specialize in even if one does not have a genius for it. Of course, in this case, becoming an extraordinary musician is impossible, but a person who has an utmost desire to play music will realize at least some of his/her dreams.
Music is the same indulgent for those who have been hurt by nature; the history of music abounds with examples of talented composers who either were deaf from birth or have gone deaf in the course of their music career. The greatest peculiarity of music is that it uses terms that may be unknown to those who are not involved into the world of music.
A person who does not have musical education will never be able to duly appreciate operas composed by Wolfgang Amadeus Mozart or any other prominent musician. Mozart’s operas are especially interesting to view from this perspective because every single character in this composer’s works has a meaning for the entire opera and the part that he/she sings was given to this character not for nothing.
A number of Mozart’s operas, such as Le Nozze di Figaro, Don Giovanni, Cosi fan Tutte, Die Zauberflote and their characters, such as Count Almaviva, Don Giovanni, Gugliemo, Papageno, and others are united by the presence of baritone voice as primo uomo. Hence, the aim of this paper is to consider these operas in more detail and to define how important these characters are for these operas and why namely baritone voice was chosen by Mozart as primo uomo.
Baritone Voice
Definition. Baritone is the most common type of male voice “usually written for within the compass A to f, which may be extended at either end” (Sadie & Tyrell, 2001, p. 730). If compared with other types of male voice, baritone is somewhere in the middle between bass and tenor because it is lower than tenor, but higher than bass. Baritone is also believed to be one of the most pleasant male voices when it comes to operas, which is why, as suggested, the operas having it as primo uomo, enjoy special popularity.
Meaning. The word ‘baritone’ has originated from the Greek word barytonos, the meaning of which is ‘deep sounding’ (Sadie & Tyrell, 2001). Indeed, baritone singers strike the listeners with the deepness of their voice which is not as heavy as in case with bass.
History. The use of the term ‘baritone’ and the voice type as such has a rich and long history. This term originated in the 15th century French sacred polyphony as baritonans and was first used to denote a voice that was of lower pitch than bassus. This is why, during the 15th and even 16th centuries this term was specifically used to refer to the lowest voices.
Closer to the 17th century, however, its meaning has changed significantly. Italy was the first to start using the term to denote medium male voice. This was when baritone started developing its own features and characteristics and started to be recognized as a separate type of voice.
Nevertheless, it was not always that baritone was distinguished from bass in some of the operas. There is a wide range of works that belong to the beginning of the 18th and even 19th centuries and that have numerous baritone roles which, however, are marked as bass roles in majority of the cases. A bright example of this is Mozart’s creative work. The operas of this composer did not make much distinction between bass and baritone.
Thus, for instance, “the first Count Almaviva (Le nozze di Figaro), Stefano Mandini, described as a “primo buffo mezzo carattere’ had a voice that would now be considered a baritone” (Sadie & Tyrell, 2001, p. 731).
Besides, Don Giovanni also had several bass roles and the principal part was also performed by a singer with bass voice type, or what then was believed to be bass. The meaning of namely baritone for these particular operas will be discussed in this paper later in more detail.
Finally, the pick of the recognition of baritone as a separate voice type in operas was in the 19th century. Back then, florid singing dominated in the opera houses and low male voices were not very suiting for this type of singing. However, it took much time before baritone singers started to be selected for principal roles in operas.
Principal male roles were predominantly basses, especially in case with German operas. Eventually, quite soon baritone voice was accepted by the operas. This has “widened the range of male character types beyond those traditionally associated with the castrato or the tenor (the hero and the lover) and the bass (the king, the soldier, the high priest, the aged man)” (Sadie & Tyrell, 2001, p. 731).
This is how the development of baritone took place throughout the centuries; all these events contributed into its being prevalent in the 20th century operas and into the emergence of a number of famous baritone singers.
Primo Uomo: Definition and Significance
Among the variety of opera elements in Mozart’s works, it is necessary to underline the significance of “primo uomo” that is translated as the “first man” or the “leading castrato” (Kuster & Whittall, 1996; Sadie, 2006).
In almost each Mozart’s works, the primo uomo is considered to be the most significant and the most highly-paid singer in regards to other participants of the opera. To clear up why this singer deserves so much attention and recognition in particular Mozart’s works, it turns out to be necessary to define the meaning of this term and to analyze the ways of how Mozart used this singer in his operas.
Definition of the meaning. According to the online Glossary (2010), primo uomo is defined as “the principle male singer in an opera or on the roster of an opera company. Just like a leading lady had been given the title ‘prima donna’, so a famous Castrato would claim the title ‘primo uomo’.” A castrato is a type of male singing voice that is similar to soprano or, to be more exact, to mezzo-soprano that is between A and C octaves.
During a considerable period of time, this term has been applied to different types of voice, and the baritone was one of such types. However, such operas like Le Nozze di Figaro, Cosi fan Tutte, or Don Giovanni may serve as the best example of primo uomo applied to castrato. Though Mozart made numerous attempts to elaborate the roles of other singers to the leading role of the primo uomo, for instance, to the seconda donna or secondo uomo with tenors, the identification of primo uomo was clear and comprehensible.
In spite of all changes and additions by famous musicians to the role and the definition of the term primo uomo, the 18th century introduces primo uomo as the only worthwhile male leading singer of castrato or soprano part in an opera.
Mozart and his use of the primo uomo. Such sophisticated and magnificent composer of the Classical era of opera and ballet as Mozart certainly knew how to make use of ht primo uomo and what aspects were better to touch upon at first. Though it was not very difficult to define what singer had to perform the leading role and the second role, another task could create a number of problems.
This task was all about choosing the most appropriate voice type to the primo uomo, and Mozart demonstrated how it was possible to achieve the best results in such activity. His success is possible to observe in all his operas where the leading role is performed by the primo uomo applied to castrato and the baritone that has been described above.
Mozart
Short biography. Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was an eminent composer of the Classical era (Sadie, 2006). His genius was essential since the childhood. It was no secret to anyone who surrounded this would-be outstanding composer that his work would leave deep traces in the world of music and opera, in particular.
In fact, leaning toward music, Mozart wanted to reach out the perfection of sounding and singing as referred to classical themes in music art at the time. When in Salzburg, he showed his prodigious capability of playing the piano and violin as a court musician (Sadie, 2006). His father, Leopold Mozart helped young Mozart to gain momentum in personal careers.
However, his talent needed more appreciation. Since 1781 Mozart moved o Vienna where he gains fame and more capacities to involve his talent in creating operas (Sadie, 2006). It was he who adored the charms of opera buffo while staying in Vienna. He was surely dedicated to the opera as such that he produces his first two buffo operas L’oca del Cairo and Lo sposo deluso (Rushton, 1981).
During his relevantly short years of life Mozart represented a scope of works which illuminate the magnificence and virtuous implementation of opera. To say more, the most noteworthy operas created by Mozart are Don Giovanni, Le nozze di Figaro, Cosi fan tutte, Die Zauberflotte. All of them and many other consider the precious legacy of Mozart’s art in opera.
History of opera. The art of opera takes its roots from the late 16th century in Italy (Grout & Williams, 2003). It was the time when separate cities like Florence, Napoli, Venice, etc. were known to be so-called “cradles of genuine arts” and their implementation at large. The term “opera” is a Latin interpretation of “work” (Sadie, 2006).
Thus, the main idea of opera is to compose proficient singing along with typical dramatic musical score. Dafne by Jacopo Peri and L’Orfeo by Claudio Monteverdi were the earliest works as related to mastership of opera (Grout & Williams, 2003). Thereafter, Italian classical tradition in performing opera spread over the rest of Europe.
Along with initially dramatic colouring of classical opera appear comic variations of this kind of art settled down first in Florence in the late 17th century (Grout & Williams, 2003). That was a “day-spring” of the versatility of themes and somehow genres in opera which stimulated further cultivation of genius ideas in music.
The next stage of opera development falls into the Baroque era in arts. The implementation of primo uomo and baritone in opera was felt in works of German and French composers. Hence, Handel and Mozart are considered to be the most viable composers who contributed greatly into the further growth of opera art throughout Europe.
In the late 18th century the art of opera experienced the apogee of opera buffo followed by the early 19th century highpoint of bel canto style (Grout & Williams, 2003). All in all, opera magnified the uniqueness of text (libretto), sceneries, orchestral music in a wonderful ensemble which still follows the classical form of execution in contemporary opera.
Operas by Mozart
Le nozze di Figaro. This opera is a result of fruitful work of Mozart with well-known at the time librettist Lorenzo da Ponte in 1986 (Carter, 1987). It is known to be the first opera buffa created by Mozart in his Viennese period of life. In fact, it is an adaptation of Jean Paul-Augustine Beaumarchais’s play turned into opera (Carter, 1987).
The place of count Almaviva is the main as referred to primo uomo baritone. His party in the whole opera symbolizes the gist of the main expression of this opera buffa. The key in which the majority of parties are executed is represented in allegro or allegretto. Meanwhile, the parties of baritone vary between A and F major key (Carter, 1987). Full F octave is implemented in the party of count Almaviva in the dominant key (V).
Don Giovanni. This play performed for the first time in Vienna in 1788 continued the Maozart’s tradition for opera buffa (Rushton, 1981). Nevertheless, it provides a scope of the main idea through manly allegro-andante parties of the main heroes. Don Giovanni as baritone primo uomo is more felt in F major in duet with Leporello in Act II Scene 1(Rushton, 1981). It is here that Mozart takes advantage of opera buffa along with the Italian tradition for incanto (Sadie, 2006).
To say more, this opera impresses by richness in recitativo obligato in the parties patterned by the variation from D major to F major (Rushton, 1981). Programmatic overtures which are in most points patterned by female parties (soprano) emphasized by Don Giovanni’s baritone promote different transitions of mood among the main characters.
At this point the abandonment of Donna Elvira and betrothing to Donna Anna provide a csope of variations in sounding between recitativo obligato and recitativo secco (Rushton, 1981). Hence, the whole outlook of Don Giovanni executed by Mozart provides a peculiarity of coda in the beginning of each act followed by longer sounding in D major afterwards. Thus the parties of Don Giovanni are highly pitched by prior position.
Cosi fan tutte. This play created by Mozart again in collaboration with Da Ponte provides more intimate themes in relationships of the main characters. Cosi fan tutte was first performed in 1790 and received gratitude from the audience (Brown, 1995). This opera buffa, however, encountered several reason for initial lack of expected appreciation on the part of the Austrian emperor, for he died at the time.
Nonetheless, the characterization of the opera provides a dramatic story of love between Guglielmo and Fiordiligi and Ferrando and Dorrabella. Da Ponte wanted to maximize the audience’s impression by making more intimate libretti for the soprano parties. Bass party of Don Alfonso are maintained mainly in recitativo in F major octave (Brown, 1995).
Sincere sounding and coherence of the main soloists is accompanied by Idomeneo which is why the intimate lyrics are that ostensive throughout Cosi fan tutte. Primo uomo is focused hereby on the figure of Guglielmo, for his rage and despair in love shapes cross-relational attitudes toward Ferrando (Brown, 1995). Hence, the tragic implementation and sounding in key major varying from C to F makes this opera different from other works created by Mozart and Da Ponte.
Conclusion
The role of music in our everyday life is great indeed: people are able to not only listen and enjoy the results of composers’ works but also to realize that music has many hidden functions and influences on people. This is why the importance of composers works increases considerably as one mistake in work’s creation may lead to many unpredictable results and disappointments.
In general, the achievements demonstrated by Wolfgang Amadeus Mozart play a significant role in many musical aspects. Almost all musicians and historians agree that he was a true genius with his own vision of music, details, and elements. He introduced a plenty of compositions, and almost each of them has become a popular classical music.
His idea to use the baritone voice as the primo uomo in his several operas is a unique opportunity to evaluate the role of voices in the general effect of music on people. It is not enough to say that this person introduced a new way according to which the primo uomo becomes an integral part of the work.
Mozart’s attempts have to be regarded as the most influential lessons on further development of the baritone as the primo uomo in operas. His Le Nozze di Figaro with bass baritone, Don Giovanni with its demonic elements, and Cosi fan tutte with a number of allusions and proverbs are the examples of how perfectly it is possible to use the baritone as the primo uomo and replace the functions performed by tenor or castrato.
Without any doubts, it was a novelty; to make it clearer and more comprehensible to the listeners, it becomes important to make some additions which help to explain the message. This is why all the above-mentioned elements and steps may be justified at least because of the necessity to introduce new ideas and prove their correctness. The introduction of the baritone as the leading voice in Mozart’s operas promotes the development of a new style, a new sound, and a new interpretation of music that has not been known before.
Mozart is an experimenter by his nature, and each his idea became one more success of his. This is why the use of the baritone as primo uomo in Mozart’s operas attracts the attention of many people for a long period of time and proves once again that this person had unbelievable skills to use ordinary things and create something really great.
Reference List
Brown, B. A. (1995). W. A. Mozart: Cosi fan tutte. Cambridge: Cambridge University Press.
Carter, T. (1987). W. A. Mozart: La nozze di Figaro. Cambridge: Cambridge University Press.
Doherty, M.J. (2010). Glossary. Web.
Grout, D. J., & Williams, H. W. (2003). A short history of opera (4 ed.). New York, NY: Columbia University Press.
Kuster, K. & Whittall, M. (1996). Mozart: A Musical Bibliography. New York: Oxford University Press.
Rushton, J. (1981). W. A. Mozart: Don Giovanni. Cambridge: Cambridge University Press.
Sadie, S. & Tyrell, J. (2001). The new Grove dictionary of music and musicians. Ann Arbor: Grove.
Sadie, S. (2006). Mozart: The Early Years 1756-1781. New York: Oxford University Press.
Sadie, S. (2006). Mozart: the early years 1756-1781. Oxford: Oxford University Press.
The article is titled Mozart: Don Giovanni. The concert took place in the Royal Opera House, Covent Garden, on 23 January 2012. The journal is referred to as The Royal Opera and has been written by Kory. The author has organized the paragraphs based on the subjects being discussed. She has started by describing the settings of the concert. In this regard, she describes the hall as well as organized with the performance stage set with a variety of instruments such as stage bands. She goes ahead to explain that the hall was fully packed with an audience who inquisitively waited for the play to be staged. She describes the stage as looking magical with sprinkles of colorful lights. In addition, the author has dedicated some paragraphs to the description of the looks of the performance. In this regard, she says that the performers who looked fabulous with black and white suits rounded up with a variety of musical attires rocked the hall and kept the audience anticipating the show (Kory par 2).
Objective description of the music
Undoubtedly, the article has given an excellent image of the overall surroundings and quality of the concert. This is evident in the way she gives a practical and detailed description of the events at the concert. As such, she demonstrates that the instruments comprised of a high pitched sounding consonance which was set at a peaceful mood in the introductory stage of the song. She adds that the instruments spiced up the melody of the song in a lovely manner. The authors’ perfect description of the concert environment is made more interesting by the manner in which she coherently demonstrated the real performance (Kory par 3).
At some point, she says that, as the song advanced, the bands took the center stage, raising the texture as the other instrument accompanied it. She added that the steady rhythm seemed to start getting higher and higher till the peak of the song and that at that particular moment, the song dynamics started getting louder letting all the instruments to converge at the peak with a round pound, only to revert to a moderate level and finally into conclusion. Ideally, this makes the readers of the reviews feel like they were present during the performance. More importantly, the readers of the reviews cannot fail to acknowledge the superior quality in which the concert was staged. She makes it a perfectly interesting experience that lovers of concerts would not want to miss (Kory par 5).
Conclusion
If I were to review the concert, I would use a variety of techniques and ideas that makes the reader identify with the concert just like those who attended it. In this regard, I would not fail to mention the voice and tonal variations that rules the concert from the start to the end. Furthermore, I would mention whether the rhythm was flexible, or whether it had varied patterns. My reviews cannot be complete without mentioning notes and rhythmic variations. I would wish for instance to mention whether, at times, specific patterns of notes changed gradually, suddenly, or unexpectedly. I would also describe whether parts of the song were homophonic, but as the rhythm transcended, the instruments used transformed the song to a polyphonic texture. In other words, I will describe whether notes are started in a simpler and homophonic manner, only to turn into a complex and polyphonic texture, with a mixture of orchestration. Generally, I will try to make my reviews captivating enough to get the admiration of the readers.
Work Cited
Kory, Agnes. “The new source for concert and opera reviews, articles and interviews on the web” Mozart:Don Giovanni. Mozart: Don Giovanni, 2012. Web.
The concert Mozart: Truth Through Beauty included several pieces by Mozart that were composed in different periods of Mozart’s lifetime. The first performed piece was Ah, se il crudel periglio from Lucia Silla. To be precise, it is an aria from the second act of the Italian opera Lucio Silla. The voice part for this aria is Soprano, fach is dramatic coloratura.
The second piece was Cosi dunque tradisci …Aspri rimorsi! It is a separate classical aria performed in F minor key, written for bass voice part.
Andro ramingo e solo from Idomeneo was the third piece. It is a piece from the third act of the opera that includes four roles of Idomeneo, Idamante, Elettra, and Ilia for the voice parts of the Tenor, Tenor, Soprano, and Soprano respectively.
The fourth piece was Susanna, or via sortite. It is a piece from the second part of The Marriage of Figaro. It includes three roles of Count Almaviva, Rosina, Susanna that are performed by the Baritone, Soprano, and Soprano voice parts. Followed by this piece was the excerpt from the finale of the second act of the opera which was the fifth piece.
Non ti fidar, o misera came next. It is a piece from the first act of the Don Giovanni. It includes four roles: Donna Elvira, Donna Anna, Don Ottavio, and Don Giovanni. The roles are performed by the Soprano, Soprano, Tenor, and Baritone voices. After this came the aria Dalla sua pace from the same act of Don Giovanni. It includes only the role of Don Ottavio that was performed in the Tenor voice. The excerpt from the finale of the first act concluded this part of the concert.
Il core vi dono opened the following part of the performance. It was performed in duet by the Mezzo-Soprano and Baritone voices that represented Dorabella and Guglielmo. It is a piece from the second act of the Cosi Fan Tutte opera.
Next came the Bei Männern piece from The Magic Flute. It was also performed in duet, this time by the Soprano and Baritone. The roles performed in this part were of Pamina and Papageno. This piece was taken from the first act of the opera. The concert was concluded by the performance of Der welcher wandert diese Strasse… Tamino mein! It is taken from the second act of The Magic Flute. It was performed by the Tenor, Soprano, Tenor, and Bass.
Composer’s Background
Wolfgang Amadeus Mozart was a music artist that composed a significant number of musical pieces in the classical period of musical history. Mozart was born on January 27, 1756, and was taught to play different musical instruments since he was six years old. During his lifetime, Mozart performed and worked with various prominent musicians. This resulted in creating various musical pieces in many genres that are characterized by their bright emotional palette and lyrics of high complexity.
During his early life and tours, Mozart mostly referred to himself as Wolfgang Amadé or Wolfgang Gottlieb. He and his sister Maria Anna were the only two siblings of the wealthy and well-respected family that survived. Mozart spent most of his life composing and touring in different countries and cities where he was widely known and held in respect by the overwhelming part of the population and the musical community alike.
Mozart’s disease became apparent when he was in Paris in 1791. For a short period, Mozart was still able to perform and compose. However, the illness became critically acute on November 20. Shortly after, on December 5, Mozart passed away; Mozart was buried in a common grave outside Vienna.
Works Cited
“Biography of Mozart.” Wolfgang Amadeus, 2017. Web.