Joseph Haydn (1732–1809) and Wolfgang Amadeus Mozart (1756–91) can be regarded as two of the key figures in the development of Western music. The composers set standards and defined the direction of further development of music in the eighteenth century. These geniuses were acquainted and affected each other in many ways. Haydn was a mentor for Mozart, while the young prodigy had an influence on the experienced and famous composer (Botstein 114).
It is noteworthy that Haydn and Mozart created music that bore similar traits, although they had very different lives and legacy (Gibson 107). Haydn lived up to his mid-70s while Mozart died when he was 35, but they left distinct traces in the history of music. In this paper, I will compare the life and legacy of Haydn and Mozart with the focus on ways their talent evolved and gained recognition in the society of the eighteenth century.
It is possible to draw various parallels between the early development of the two composers who started playing music at an early age, which was supported by their families. Interestingly, Mozart had far more opportunities due to his family status, but Haydn managed to become a less reckless person, which had an impact on his music and his recognition. Mozart and Haydn created countless pieces of music, including dozens of symphonies and operas (Proksch 158).
The end of life (although at different ages) was also similar since both composers’ health deteriorated, making them unable to write music although they were eager to accomplish various ideas. In order to understand the might of the music of Haydn and Mozart, it is possible to draw the parallels between the development of the two prodigies’ talents during their lives.
Works Cited
Botstein, Leon. “The Consequences of Presumed Innocence: The Nineteenth-Cebtury Reception of Joseph Haydn.” Haydn, edited by David Wyn Jones, Routledge, 2017, pp. 93-128.
Gibson, Kirsten. Masculinity and Western Musical Practice. Routledge, 2017.
Proksch, Bryan. Reviving Haydn: New Appreciations in the Twentieth Century. Boydell & Brewer, 2015.
The lied or the Baroque continuo song is a genre of secular song that emerged in German music around 1630 and remained very popular until ca. 1680 (Frandsen, p. 264). These songs were mainly strophic settings of stanzaic poetry in which the voice or voices are accompanied by an instrumental bass part, normally played on a keyboard instrument (the basso continuo part). Most typically the settings display syllabic declamation of the poetry. Most of the poetry came from contemporary poets, such as Martin Opitz, August Buchner, Johann Rist, Philipp von Zen, and several others including a few composers (Frandsen, p. 264).
Popularity of Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart (1756-1791) is one of the most popular composers belonging to the Baroque period. His memorable melodies were excellent in their expressiveness and belonged to the Italian Opera genre. His orchestrations, however, were more Austrian in nature, rich in texture and harmony (Stein and Spillman, p. 250). Mozart displayed a sense of humor and a sense of drama in most of his masterpieces – from the very elaborate compositions to the smaller ones. Both of these features are present in a simple lied titled Das Veilchen. In this composition, Mozart took Goethe’s poem about the shy little violet and tells the story as if it were an opera in and of itself. The melody and accompaniment follow the tumult the Veilchen feels upon seeing the lovely young shepherdess to the moment she steps on him (Stein and Spillman, p. 250).
In the lieder, the vocal line and the piano accompaniment are of equal musical significance and these songs are considered to be among the finest of all art songs. The lied style was articulated by Schubert and developed further by Schumann, Brahms, and Hugo Wolf. Mozart’s lieder were not much recognized as they were not very different from his arias. The poets whose works were widely used in the lieder are Goethe, Chamisso, Eichendorff, Rückert, Wilhelm Müller, Heine, and Mörike (Stein and Spillman, p. 253). Among modern composers, the German songs of Hindemith and Schoenberg are outstanding.
The Romantic period
Most of Mozart’s lieder are not art songs by the strict definition of the Romantic period. Art songs were defined as poetry set to through-composed music. However, this definition did not exist during the times of Mozart. This definition was formalized in 1798, seven years after Mozart’s death (Keefe, p. 275). Mozart’s had been a composer of songs, albeit casually and at intervals, from boyhood onwards and his early songs are youthful essays in the current styles: minute songs like “‘Daphne, Deine Rosenwangen’” ( 1768) and “‘An die Freundschaft’” ( 1772), studies in the north German manner such as “‘Geheime Liebe’” and “‘Die grossmütige Gelassenheit’” ( 1772), and the two French ariettes, “‘Oiseaux, si tous les ans’” and “‘Dans un bois solitaire’”, written on his way to Paris in 1777-8. A further batch of three songs, composed in 1780 to texts from a sentimental novel of the day indicates North German influence, especially of Emanuel Bach. However, he published only four of his songs; these appeared in 1789 in two books, the first containing ‘Abendempfindung’ and ‘An Chloe’, the second ‘Das Veilchen’ and ‘Das Lied der Trennung’. Mozart’s most famous song, ‘Das Veilchen’, K. 476, sets a ballad from Goethe’s first Singspiel, Erwin und Elmire.
Influence on Future Composers
When Mozart returned to songwriting, in 1785, he had become completely Viennese in the richness and variety of his accompaniments using three staves. He was completely personal in his rhythmic freedom and the range of his modulations, and inveterately operatic in his approach. As a result, his songs had a compressed explosive quality that demanded a larger space to unfold. If this applies even to the lighter songs, ‘Der Zauberer’, ‘Die betrogene Welt’ and the canzonetta-like ‘An Chloe’, it is still more strongly felt in the two tragic love-songs of 1787, ‘Das Lied der Trennung’ and ‘Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte’, which are so dramatic that they appear to be striving to convey a whole operatic scena within the compass of a song (Wellesz and Sternfeld, p. 359); ‘Das Lied der Trennung’ opens as a strophic song, but breaks away, in the last three verses, into what is in effect the middle section and free repetition of a da capo aria (Wellesz and Sternfeld, p. 359). Paradoxically, it is the smaller and less powerful songs that are most truly song-like: such songs as the graceful ‘Die Verschweigung’ and the two ‘naïve’ songs, ‘Das Kinderspiel’ and ‘Sehnsucht nach dem Frühling’, written on the same January day in 1791. In his bigger compositions such as ‘Abendempfindung’ and ‘Das Veilchen’ (Wellesz and Sternfeld, p. 149). ‘Abendempfindung’, in Mozart, transcends the sentimentality of the text, creates at the outset an atmosphere of serene tranquility, intensified by the recurring echoes in the accompaniment, throughout the song, of a vocal cadence in the opening verse. In ‘Das Veilchen’. by contrast, Mozart is at grips with a true poem, and, with unerring perception, subordinates everything, verse-structure, declamation, descriptive and dramatic expression, to the unity of the narrative, to which he molds his music with the sensitive economy. The result is, in its delicate and reticent way, a model of what the durchkomponiertes Lied can achieve.
Mozart’s lieder inspired many composers to compose songs. Beethoven created the Romantic lied and Schubert’s setting of Goethe’s Gretchen am Spinnrade (1814) and Erlkönig (1815) was the finest 19th-century lieder. Loewe composed 375 songs in which his best settings are of narrative ballads such as Edward and Erlkönig. Mendelssohn aimed at formal perfection, in strophic songs with a varied last verse or coda (Sadie, p. 1). Schumann was another composer who elevated the role of the piano in his 260 lieder Franz, Wagner, Liszt, Cornelius, and others who followed Schumann’s style. Two composers who represented opposite ends of the spectrum of lied composition were Brahms and Wolf. Brahms was a traditionalist and most of his 200 songs are carefully unified strophic or ternary structures, with often complex but rarely independent accompaniments. They reach heights of nostalgia and longing scaled by no other songwriter. Wolf’s lieder, in contrast, were poetry-orientated; he published songbooks devoted to particular poets (Sadie, p. 1). However, Wolf’s 300 songs encompass a wider emotional range than any other composer’s since Schubert (Sadie, p. 1). Others who wrote lieder included Beethoven, Cornelius, Franz, Jensen, Liszt, Loewe, Mendelssohn, and Weber (Morgan and Stein, p. 344). Schubert’s U¨ber allen Gipfeln ist Ruh, is a classic lied (Parsons, p. 3). The lieder also became the inspiration for Richard Wagner. On the eve of World War I, song settings of German poetry were to be encountered almost everywhere. In Berlin alone, between 1900 and 1914, according to a recent tally, public song recitals, or Liederabende, averaged some twenty a weekend invariably were sold out (Parsons, p. 3). The Lied was also used in social and private gatherings. In 1948, the eighty-four-year-old Richard Strauss completed his Vier letzte Lieder (Parsons, p. 3). The lied is today looked upon as a cultural symbol that represents Germany.
Mozart is one of the most significant figures in the world of music. He is one of the brightest representatives of the so-called Classical era. Mozart’s works are light and grand at the same time. The future legend started creating marvelous works in his childhood. One of the most remarkable peculiarities of the process of creation was Mozart’s ability to create music in his head without using dozens of drafts and sketches (Kinderman 17).
This may be the reason why many people call the composer a prodigy and the man who got his inspiration directly from heaven.1 Many people call Mozart as one of the most religious composers as Mozart was a devout Roman Catholic. It is possible to analyze one of his works to understand the way the man and his works were affected by Catholicism. One of the most remarkable works associated with Mozart’s religious beliefs is, of course, Requiem, that was not finished as the composer died.
It is possible to state that religion accompanied the music prodigy since the first days of his life. The music prodigy was born to a family of the future music genius, music teacher, and Kapellmeister Leopold Mozart (Keefe 9). Leopold Mozart was a devout Roman Catholic and, hence, he baptized his seventh child on the next day after he was born. It is also a well-known fact that, as a small boy, Mozart could play the music he heard at the church only once.
It is important to add that the composer’s father paid a lot of attention to the boy’s religious education, fasting, and so on. Due to the father’s job, the family traveled a lot and visited major European capitals and cities. Rome was one of these capitals. Mozart was acquainted with Pope Clement XIV who invited him and gave him the Chivalric Order of the Golden Spur when the boy was only fourteen (“The Vatican Reveals Wolfgang Mozart’s Papal Honour” par. 7).2
It is also important to add that religion played one of the most important roles in all people’s lives (Mozart was not an exception). People attended churches each week, and they sought for guidance and help. The church was a center of the spiritual life of people in the 18th century.
It is important to add that Catholicism still felt the consequences of Reformation, and it always needed something that would glorify the church. Popes paid a lot of attention to people of art and encouraged them to create beautiful pieces devoted to God and the church. Of course, Mozart became one of the artists encouraged and inspired by the Roman Catholic Church.
Prior to the analysis of the factors that influenced the work, it is important to focus on details concerning Requiem Mass in D Minor. The piece is written for violins, viola, cello, organ, double bass, timpani, three trombones, two bassoons, two basset horns, and two trumpets. There is also a vocal part. It includes soprano, tenor, bass, and contralto, as well as a mixed choir. The piece contains fourteen movements divided into seven major parts. They are as follows Introitus, Kyrie Eleison, Sequentia, Offertorium, Sanctus, Agnus Dei, Communio.
The composer died before he could complete the work. There was only one complete movement (“Requiem aeternam”). The rest lacked for some vocal or orchestral parts. However, even the incomplete piece astounded people. The work was finished by other composers, but Requiem is still one of the most remarkable works by Mozart as his genius managed to provide the frame that could not be spoiled. It is necessary to add that the piece was ordered by an anonymous client (Keefe 17).
The communication was held through a messenger, and the name of the client is still questioned by many researchers. It is also known that the messenger addressed the composer before the latter went to Prague, where one of his operas premiered. Some of his friends stated that Mozart was already quite weak, and he even fainted several times. He got ill in Prague, and his health conditions became worse when he got back to Vienna. He was quite ill and weak when he was working on Requiem.
Wolfgang Mozart wrote about 60 works for the church. However, Requiem Mass in D Minor is still one of the most significant and marvelous works related to religion and spirituality. The work is full of dramatic emphases, grandness, sadness, hope, and despair (Mozart). The composition starts with very smooth and gentle sounds that soon grow into grand accords. It is possible to assume that the composer reveals his understanding of religion and the heavenly in his work.
For him, God is a great soother and an all-forgiving and ever-loving father who is grand and wise. Mozart also reveals the grandness of the church that is the temple of God. The music genius reveals his respect and love. At the same time, it is possible to hear some traces of sadness and despair, as human life is not long. The composer expresses his remorse, as he knows that he will have to leave this world soon. He was dying when he was creating the piece.3
It is possible to trace numerous influences in the artwork. In the first place, this is, of course, religion and the composer’s experiences. Young Mozart visited Rome, the center of Catholicism. He was personally acquainted with the pope, who was God’s vicar. He was raised by a devout Catholic who lived in the Catholic environment. Of course, his childhood and adolescence experiences also made Wolfgang Mozart a devout Catholic. He created music for the royal family and nobility, who were also Catholics.
As has been mentioned above, the piece is also affected by his personal tragedy, his illness that caused his death. Mozart’s wife took Requiem score from him as she felt that the work on the piece was taking too much energy and “was getting on his over-sensitive nerves” (qt. in Keefe 15). The great composer sensed that he was going to die soon, and he revealed his sadness and despair in his music work.
Apart from that, it is also possible to trace another factor that influenced the work. Social class (Mozart pertained to and had certain access to) had a significant impact on all his works, including Requiem. He worked for the court of the royal family and nobility. His life was more similar to the life of nobility than it was to the life of peasants, merchants, and so on.
This made his works exquisite, light, and, of course, sophisticated. Remarkably, even though Requiem is grand and quite dark, it remains exquisite and quite light (compared to other composers’ works).
Notably, when listening to the piece without knowing the background information about it, quite different ideas may come to one’s head. Of course, the listener would feel something that relates to his/her life experiences. Every work of art appeals to a person’s experiences and knowledge, emotions, and feelings.
However, it is likely that these will be ideas concerning the person’s spirituality and self-identity. At the same time, when the listener knows about the composer’s life and knows the circumstances under which the work was created, he/she will focus on such issues as religion, life, and death, god and man, love, and despair.
In conclusion, it is possible to state that Requiem Mass in D Minor is one of the most remarkable pieces ever created. The music piece is surrounded by many secrets and untold stories. At the same time, the piece is majestic as it speaks to people’s hearts. It is one of the most renowned religious musical pieces. Mozart managed to reveal his understanding of Catholicism, and this vision still coincides with the way people see the Catholic Church as well as any other church in the world.
It is easy to prove that as Requiem is still listened to and people still find something important for them. Of course, it is clear that apart from the religious element, the composer also expressed his emotions on life and death. He knew that he was dying, and he was making Requiem for himself. When listening to the piece, people feel the emotions the composer shared. This may be the reason why the composition is still used by people in the 21st century.
Works Cited
Brown, Frank Burch. The Oxford Handbook of Religion and the Arts. New York, NY: Oxford University Press, 2014. Print.
Keefe, Simon P. Mozart’s Requiem: Reception, Work, Completion. New York, NY: Cambridge University Press, 2012. Print.
Kinderman, William. The Creative Process in Music from Mozart to Kurtag. Urbana, IL: University of Illinois Press, 2012. Print.
Mozart, Wolfgang Amadeus. Requiem Mass in D Minor. K. 626.
Vatican Reveals Wolfgang Mozart’s Papal Honour. 2011. Web.
Many people consider Mozart’s music like a mosaic that consists of a series of influences that he encountered in his life. Abert’s book on, “Mozart’s Personality showcases the life of Mozart, its social relevance, commerce, and industry. (Abert). More than any other kind of artist, Mozart had a special place in the history of musical prodigies. He was born in Salzburg, on January 27, 1756, as Johannes Chrysostomus Wolfgang Theophilus although he just wanted to be known as Wolfgang Amade. His father, Leopold Mozart mastered the violin and played for the Prince-Archbishop of Salzburg. Leopold (Sacheverell, 1932). Leopold composed musical compositions yet his son beat him well.
Mozart’s mother was Anna Maria Pertl, or Bertlin, daughter of another official of the Archbishop’s Court. His mother nearly died when he was born. Mozart had a light spirit with him and he began to love music as he watched his elder sister who also had a good musical ability. He was able to compose music at the same time that he learned how to play them. It was not long after that when he learned how to play with precision and in exact time. For instance, a music book in the Mozarteum at Salzburg had minuets and air with twelve variations with a note in Leopold’s handwriting to the effect that Wolfgangerl learned these pieces in his fourth year. Soon after he learned in the same music book with the minuet and the trio in just half an hour before his fifth year. (Sacheverell, 1932). His father also began to teach him in fun although this time he knew his son was indeed talented. Another subject area where he was most talented was in the area of Mathematics. He loved the subject so much that chairs and tables would be full of chalk markings as he wrote tables and stools and even the floor was chalked over with his markings and computations. His father made him go on tours with him so he can perform before an audience. (Sacheverell, 1932). During their tours, they met Count Franz von Walsegg of Ruppach who had a penchant for commissioning works from composers who were not so well-known. He made them perform in his own house and he bragged this to his friends saying that this was his own craft. It was also during the years 1763-1766 when he toured Europe with his father and sister as they were commissioned to play for Louis XV at Versailles and George III in London (Wolfgang Amadeus Mozart – 1756-1791). Leopold had a strangely unique attitude with his son. His letters were filled with all nationalities so that he could control his son’s mind. The discussions and debates centered more often on money. It seemed that he was not a good steward of money (Krantz). Mozart was passionate about a lot of things including making relationships and friendships. He gave his all to everything and this was an area where father and son often argued about. (Krantz).
Studies tried to trace intelligence to various sources. Heredity, environment, sex, culture, social conditions, race, and geographical location have offered a factual basis for such intellectual differences. The normal Curve which is a mathematical concept marking the limits of distribution has signified information regarding the distribution of traits along a continuum. The extremes which are apparently few, are represented by the mentally retarded (moron, imbecile, idiots) and the mentally superior at the other end. (Understanding Psychology). Yet Mozart was an extreme on the intelligent side. He started playing the clavier and even at the tender age of six, he was already on tour with his father. He was also a genius at using the keyboard and everyone looked at this child as a musical prodigy to reckon with. He had a great time enjoying what he was doing and even playing before George III and his Queen. He played his own compositions to the Queen. His ability was tested as people gave him pieces to play and from there he was able to extemporize his own compositions. (The Life of Wolfgang Amadeus Mozart), Thus, at fourteen, he was already playing before Italians. He was so gifted that even the ring on his finger was seen as his magic charm. No one believed he could do it and he astonished everyone. So, when people asked him to remove the ring, he played even better as he showed them that was they heard was pure talent. He was most inspired when challenged although this is not so much the case with his father whom he did not yearn to see after he wrote him for the last time in April 1787 (Chronology: 1786-1791).
His father, Leopold Mozart, was quite successful as the vice-kapellmeister at Salzburg. He knew his son was gifted and so he exposed him to as many piano exhibitions as he could. However, his relationship with his father was most of the time a love-hate relationship. His father was overbearing and Mozart was denied the normal kind of childhood that any child ought to have. Thus, because of this early tumultuous relationship with his father, he had a difficult time establishing an adult relationship with other people as he grew. (Krantz).
Understandably, Mozart’s relationship with his father was ambivalent. His father was always in control of his tours and schedules, much to the chagrin of young Mozart. He wanted his own way and thus he never knew how to relate with his father. (Brown) His father monitored his moves during tours by having spies relate his whereabouts. His father did not approve of his womanizing ways at times and this spurred more rift between the two. Add to this was his spending habits which made him very vulnerable to have no money left at all. (Brown). What triggered the ultimate gap between the two was the death of Mozart’s mother. Leopold blamed his son for this and they slowly parted ways (Brown).
Gifted students like Mozart are no longer that queer, unadjusted, emotionally unstable, and are physical weaklings. Like the normal population, they have their share of failures, in the sense that they have not fully realized their potentialities – although their IQs have remained high. Like the normal population, they have their share of failures, in the sense that they have not fully realized their potentialities – although their IQs have remained high. Mozart, for instance, was not a weakling when it comes to aggressiveness. This passion for his craft was the result of the realized potentials as seen first by his father and the environment he was born to at that time. (Keys, 1980).
Intelligence is one area where Mozart excelled at a very young age. The different factors in his childhood made him most suitable to be inclined to music. Mozart set expectations for himself. He eventually married and more than ever, he became very serious with his craft as a composer. He had to work overtime and make his home in Vienna. He tried other jobs in the creative industry but this did not pay off well. He worked well and it was during these years that he made his best compositions such as the operas of “Don Giovanni,” “Figaro,” and “The Magic Flute,” a noble trio. ( Halliwell, 1998).
Works Cited
Abert, Hermann. Mozart’s Personality. Yale University Press.
Brown, A. Peter. Amadeus and Mozart: Setting the Record Straight. 2008. Web.
Chronology: 1786-1791. 2008. Web.
Krantz, Allen. Wolfgang Amadeus Mozart. 2008. Web.
Mozart is famous as one of the finest operatic musicians in olden times. There’s something in Mozart’s music that makes him eternal. This “something” can be clearly understood as the intellect of his characters, the melodic whole and melodramatic timing. The peculiarity of Mozart’s operas that sanctify them from all others is their plainness. They nearly guide you to think that you could note down an opera yourself. Though, under this simple arrangement is a sneakily planned arrangement of the opera intact. The Marriage of Figaro by Mozart is one of his initial and premium illustrations of this plan. Mozart, along with Da Ponte, the most well-known librettist of the time, produced cheerful, delightful humor that brought enthusiastic reviews from Vienna, where it was released afterward from Europe. The underground to this opera is its disparity. The scheme is exceptionally complex, and even Da Ponte and Mozart under no circumstances likely resolved all the gaps. A Count tries to lure his lady’s chambermaid, merely to be taken down by a deal between her and the complete cast, including a gardener, a cunning contact, and many ladies of the courtyard. Though the entire opera is a comedy, quite a few solo vocals bring listeners to tears frequently, including the well-known Dove sono, which is sung by the Countess. The way Mozart has handled the characters is amazing, and we’ll find that he has a skilled stroke with the scheme from the changes that he makes himself in the lines. His orchestration reflects his swift mood swings, to create an opera that strikes every feeling and determines almost flawlessly (Mozart’s famous operas).
Cosi fan Tutte
Così fan Tutte is a humorous opera with a strange name. Così means like this or in this fashion, fan stands for do and Tutte means the Italian female adaptation for everyone. So the title can be translated as Like this do all (women) or In this fashion do all (women) or Women are all the same. It’s an embarrassingly entertaining opera, yet, had some of the greatest of the mastermind Mozart’s musical compositions. This opera was specially made to Mozart, in 1790, by Emperor Josef II subtitled The School for Lovers. The story was written by Mozart along with Da Ponte upon special assignment by Emperor Joseph II since Mozart’s earlier comedy Le Nozze di Figaro was a very big success. The basic plot of the opera is about an old philosopher and pessimist, Don Alfonso, who is dogged to show to his two young friends, Ferrando and Guglielmo, that their fiancées, Dorabella and Fiordiligi, are not faithful like any other woman. Alfonso, with the aid of the ladies maid, Despina, sets his scheme. He tells the ladies that their lovers, being officers, have been called on duty and introduces them to two Albanians who are Guglielmo and Ferrando in disguise. After some pressure, the ladies give in to the Albanian’s movements, and this forces Ferrando and Guglielmo to admit their defeat. Don Alfonso later reveals the plot to the tricked ladies and finally, they are prepared to accept their original lovers (Mozart Opera Cosi fan Tutte 2007). The entire plot’s origin is not actually known but many such comedies with the lady love’s faithfulness had come earlier and had been successful also. The best part about such a comedy was the possibility of such an incident happening. Otherwise, it would have become mere mockery. A convincing plot made the opera successful. Yet De Ponte’s satirical language was not so well received by the contemporary audience. Since the play involved 24 hours, a conspiracy between lunch and dinner time, the sexuality, scenes involving physical contact, the eccentric masquerade, and its switching of partners all helped create a feeling of dishonor and meanness. The audience was in shock to see that the upper-class women could be disloyal to their lovers. The Germans especially could not accept the theme at all. Beethoven, who loved Mozart’s music, was also no strange to such reaction. Due to all these issues, Così fan Tutte soon disappeared from the stages but it was revived in the early 1910s and highly acclaimed for Mozart’s sublime music (Fisher 2007 p. 251-252).
Le Nozze di Figaro
Beaumarchais’ play Le Mariage de Figaro, which was first acted upon in France, was prohibited in Vienna considered rebellious and contributing to revolution. Mozart’s opera Le Nozze di Figaro was based on Le Mariage de Figaro which he composed along with the Libretto Lorenzo da Ponte. This was their first collaborative effort. While Beaumarchais’ work concentrated on the political aspect, Mozart and da Ponte concentrated on the human aspects. da Ponte managed to influence Emperor Joseph II to remove the ban and let the opera be released in Vienna. The plot revolves around Figaro, steward of the Count who begins to neglect the Countess, Rosina, and trying to get other women one of whom is Figaro’s fiancée, Susanna. The entire plot unfolds in the Count’s house while the characters are very sophisticated. The most appealing fact about this opera is that it is completely based on human relations only. No divine influence or the sort is present and hence it is more simple and realistic which people can easily relate to (Mozart, Pack, Lelash, Ponte 1993).
Don Giovanni
Don Giovanni is less enjoyable when compared to Le Nozze di Figaro. It has some loose ends in the second act and is not as perfect as the first opera. Anyhow, the extravagant music and emotions give the opera irresistible energy. The music is fairly superior when compared to that of Le Nozze di Figaro. The story unfolds in a 24-hour time span in which Don Giovanni’s efforts to seduce is fought back with interference from retaliating victims of his offenses. They ask for revenge and a penalty for the immoral scrape. Don Giovanni slyly enters the building of Donna Anna where in a fight between her father, the Commandant, and Don Giovanni, the father is killed. Donna Anna swears retribution for her father’s murder. He then tries to seduce a young girl Zerlina which is upset by the unexpected interference of Donna Elvira who was seduced and promptly dumped by Don previously. Donna Elvira is unwavering to induce Don to restore their past love. His repeated attempts turn futile and finally he is given a chance to apologize which he turns down adamantly. Upon this, Don Giovanni is grasped by the Statute, and surrounded by fire he falls into Hell (Abert, Spencer, Eisen 2007 p.1107-1108).
Historical & Social Background
Vienna, while Mozart stayed there, was a big and happening city though not a beautiful one. After the Turkish attacks little was left undamaged and little was done to build up new buildings, shops, roads, and pavements. This left a very shabby image on travelers from whose comments we get to know whatever little we know about Vienna of the early 19th century. The city was crowded and very expensive and the suburbs were developing with factories and traders. The well-to-do would live in the city and would visit their own rest houses often for vacation. Mozart had to live in the city area due to his compulsion to work. He had to change his address quite a few times owing to a lack of money to support himself in the city. He would often move out of the city when he did not have enough money to spend. Mozart was working as a tutor to the high-class family’s pupils. Yet Vienna was the most important city of the Empire. The neighboring cities faced various natural and human threats and this attracted more people to Vienna. With a changing culture people were confused about whether to stick to the old style or to grasp the upcoming fashion. Many people started to think that clothes or attire describes a person’s status and personality. So they started going by a person’s appearance. Mozart has shown this in his opera Cosi fan Tutte where the ladies believe the disguised lovers are actually “Albanians”. Similarly, the well-to-do ladies were thought of as being faithful to their loves which they turned out not to be. So Mozart wanted to tell the public not to go by the appearance.
If we analyze the main male characters in the above 3 operas, Cosi fan tutte’s Don Alfonso, the Figaro of Le Nozze di Figaro and Don Giovanni, we find that the three men are very human. Don Alfonso, though a pessimist, tries to show his young friends that his point is correct by tricking the ladies into his act. But finally, he succeeds in re-joining them with their lovers. Figaro is more realistic with his inability to counter the Count directly. Again true love wins in this play also. Don Giovanni is a negative character who is a womanizer and gets punished eventually by God himself. In all the plays love and sex are given much importance considering the time the operas were initially released. Satire is the important characteristic of both Cosi fan Tutte and Le Nozze di Figaro. Physical contacts and sex were taboo or taken with much disgrace while Mozart and Da Ponte attempted to show the shameful face of the emerging man-woman relationships at the time. It was very realistic and very much happening though nobody wanted to discuss it. In Le Nozze di Figaro, while women control the activities and indicate the ultimate right, the men understand their farce and try to recover their solemnity. The characters are more human. Though Figaro is a comedy, it has very emotional and serious moments too. Da Ponte has shown the female characters to be very bold and beautiful. The Count, though selfish, gets some sympathy too (Mozart, Pack, Lelash, Ponte 1993). The immoral male characters, Leporello the Count in Le Nozze di Figaro and the Don Giovanni in Don Giovanni, whose repeated attempts to seduce women end them up in serious trouble (Abert, Spencer, Eisen 2007 p.1107-1108).
Musical Background
The combination of music with theatrical significance in Mozart’s ‘opera buffa’ is based on the theory of ‘form’. The basic factor underlying form in the traditional style is tonality since the anxiety and the energy of the music develop in large part from vocal differences. Mozart’s style is perfectly appropriate for theatrical demonstrations. This is due to the tonal or vocal contrasts rather than the melody or rhythm prevailing in 19th-century romanticism (Steptoe 1988 p.185-186). Mozart has composed his operas in a musical-based style rather than a dialogue-based style. The transitions from one plot to another are accompanied by long and sophisticated bands to advance the plot. All main characters are well emphasized through great music (Mozart, Pack, Lelash, Ponte 1993). Mozart has given ‘serious’ music to his positive male characters and has treated the music for the negative male characters as parodies. Comic situations are treated aptly by the great musician without failing to support the scenes. Mozart has tried a variety of music giving more importance to the tonal and harmonic contrasts. This is just the opposite of the then prevailing trend for melody. But serious music gave the impact required to support the characters and the pauses when the act was to change. Mozart’s music was applauded by one and all despite the grudges many had against the moral part of it.
Conclusion
Mozart is considered a genius musician who could compose music not just for the sake of melody but for the theatre too. His operas reflect a satirical approach to the changing relations and confusion regarding the appearance and personality of people that prevailed in his time. His music supported his operas to become a success even though they were considered disgraceful by the intellectual community due to the element of sex and immorality shown in the operas.
References
Abert,H. Spencer,S. Eisen,C. Translated by: Spencer,S. 2007. W. A. Mozart. London: Yale University Press
Fisher,B.D. 2007. Mozart’s Da Ponte Operas: The Marriage of Figaro, Don Giovanni, Cosi Fan Tutte.Boca Raton:Opera Journeys Publishing.
Mozart, W.A. Pack.R., Lelash. M., Ponte. L.D. Translated by Pack,R. Lelash,M. 1993. Three Mozart Libretti: The Marriage of Figaro, Don Giovanni and Cosi Fan Tutte. New York: Courier Dover Publications.
Steptoe. A. 1988. The Mozart-Da Ponte Operas: The Cultural and Musical Background to Le Nozze Di Figaro, Don Giovanni, and Così Fan Tutte New York: Oxford University Press
Classical-period symphonies, such as The overture to Die Zauberflöte, K. 620, known as The magic flute, play an essential role in the realm of music, enriching history with pieces filled with talent and revolutionary approaches. The magic flute was created by Wolfgang Amadeus Mozart, a prolific German composer, and represented a symphony that lasted for several minutes. Nowadays, Mozart and his works are not only admired by musical connoisseurs but set as points of reference for countless aspiring composers. Therefore, it is necessary to analyze the given symphony in order to gain insights into its meaning, process, and history, since several movements influenced the composition.
Definition
The piece The magic flute is usually referred to as a singspiel. It is generally seen as a thinly-veiled exaltation of the values of Freemasonry, toward which Mozart adhered, and it is noteworthy that it is equally profound and amusing (Utah Opera, 2019). However, the composer never considered it to be a singspiel; instead, he named it an opera despite the fact that it had spoken dialogue and predetermined musical performances (Utah Opera, 2019). As a result, while having features of a singspiel, it remains to be an opera, as accentuated by the author.
Process
The symphony is arranged in opposite realms, dividing the piece into several parts. The first is the Kingdom of Night, which is headed by the Queen of the Night and represented by the moon as well as the color silver (Opera Grand Rapids, 2018). In turn, the sun and the color gold are symbols of another realm, the Kingdom of the Temple of the Wisdom, which is ruled by the High Priest Sarastro (Opera Grand Rapids, 2018). The composer emphasizes how only one union, one force, can bring the rivals together, such as the union of a prince and princess (Opera Grand Rapids, 2018). Moreover, the symphony uses several instruments, among which are flutes, which are the main object, clarinets, trumpets, and trombones, as well as several others (Counts, n.d.). Thus, the opera works by illuminating the plot events with several instruments.
Meaning
The overall plot and the presence of characters lead to a specific message, which Mozart desired to share. The plot of the opera revolves around two kingdoms that are enemies and are used as symbols to illuminate the main theme of love and fairness. The main idea is that only a harmonious marriage between a man and a woman, marked by justice and attained by unadulterated love, moral fortitude, and Freemasonry rites, can bring about peace in the world (Opera Grand Rapids, 2018). In this situation, Freemasonry implies victory over evil and unfairness. Consequently, the author agrees that love is the most potent force on the planet and it is capable of overturning the darkness.
Opera’s History
The last element worth mentioning is the history of the opera. The magic flute, known as Die Zauberflöte, was written by Mozart in 1791, at the zenith of his life, and is undoubtedly one of his more intriguing compositions (Howard, 2019). It is known that Italian opera was the style in which Mozart made the most of his operatic advances (Howard, 2019). However, Mozart additionally occasionally experimented with the German Singspiel style, which combines spoken dialogue with pre-recorded musical parts. Compared to Italian opera, the Singspiel style, which was applied in The magic flute, was less conventional, rigid, and consequently less obviously in dire need of innovation and transformation (Howard, 2019). Therefore, Mozart followed an unconventional path when composing the given piece.
The Following Steps
Finally, it is critical to see the analyzed symphony as the enthusiastic message of a brilliant artist at the peak of his career instead of as Mozart’s gift or resignation from the field of music. This does not represent the funeral rituals of a person who sensed the passing of the years and thought he had spoken all. Rather, it is the uplifting melody of a man with ambitions for tomorrow. The overture to Die Zauberflöte could be the most satisfying minutes of music within that viewpoint. Therefore, when analyzing symphonies, it is vital to look beyond the genre or instruments and search for the meaning and intention.
Conclusion
Hence, considering that the given symphony was affected by several movements, analysis is important to understand its content, compositional method, and historical context. Die Zauberflöte, sometimes referred to as the magic flute, was written by Mozart in 1791. Typically, a singspiel is used to describe The magic flute. While it has elements of speech and music, Mozart still contends that his work is an opera, rather than a singspiel. The symphony is divided into many sections by its arrangement in opposing worlds. The basic meaning is that the only successful unions are those between men and women, distinguished by fairness and gained by pure love. Lastly, it is crucial to view the studied symphony as the passionate message of a talented artist at the pinnacle of his career rather than as Mozart’s gift or departure from the world of music.
References
Counts, J. (n.d.) Mozart – Overture to Die Zauberflöte, K. 620 (The Magic Flute). Utah Symphony. Web.
In this paper, I will discuss a movement of Eline kleine Nachtmusik by Wolfgang Amadeus Mozart that was performed during a concert at Central Michigan University by euphonium and tuba ensemble on November 20, 2016. The ensemble was comprised of tuba family instruments: baritones, euphoniums, counter-tenors, and tubas. The performance was presented by junior and senior CMU tuba and euphonium studio ensembles. The ensembles performed a collection of some of the most recognizable orchestral arrangements. I was hard-pressed to recognize a piece from the program that I enjoy the most because the ensembles were able to convey an extremely wide range of articulations striking in their phrasing and musicality.
The performance started with Achieved is the Glorious Work by George Frideric Handel that was arranged by Michael Forbes. The piece was lively and contained a lot of interesting lines for performers to play. The arrangement was excellent and set the tone for the whole concert. The following pieces were performed after the opening: March of a Marionette by Charles Gounod, And Can it Be? by Charles Wesley, Allegro from Eine kleine Nachtmusik by Wolfgang Amadeus Mozart, Earl of Oxford’s March by William Byrd, Little Russian March by Peter Ilyich Tchaikovsky, Vaudeville, Op. 128 by David Uber, Bridge by Michael Forbes, Rondeau by Jean Joseph Mouret, Take Me Out to the Ballgame by Albert von Tilzer, and Malaguena by Ernesto Lecuona.
The piece that I particularly enjoyed was Allegro from Eine kleine Nachtmusik by Wolfgang Amadeus Mozart. Eine kleine Nachtmusik is a serenade in G major that was composed in 1787. It is an extremely graceful piece for a string quartet with double bass or chamber orchestra (“Listening Guide” par. 1). The musicians performed the first movement to Eine kleine Nachtmusik that is associated with a unique mix of unity and variety that helps a listener to feel the transition from seemingly simplistic exposition development to recapitulation recap. I enjoyed the simplicity of the opening that was underscored by the use of arpeggios and a melody that was generally monophonic (“Eine Kleine Nachtmusik” par. 2).
The theme was extended by a musical section that introduced a slight tension. It grew louder with the simultaneous increase in the syncopation of interval leaps thereby surprising a listener and making them feel the dynamic of rhythmical movement. I immensely enjoyed the moment when the tension created by repeated motive was suddenly stopped. Exposition development was followed by a rather lyrical transition that created a feeling of calmness (“Allegro” par. 3). The change of piece’s texture helped me to appreciate the complexity of its interval leaps and ever-changing dynamics. I understood that a wide variety of themes in the development helped to emphasize a seemingly simple exposition of the piece. I was able to recognize that asymmetrical sections signaled the re-transitioning phase of the movement because it introduced the feeling of tension that I had during the opening of the piece.
I immensely enjoyed the concert from beginning to end. I expected that music would be well performed; however, it was a surprise to discover that the whole musical journey was accompanied by an extraordinary expertise in the application of musical forms. I liked all musical pieces that were performed during the concert; however, Allegro from Eine kleine Nachtmusik by Wolfgang Amadeus Mozart was the one that I enjoyed the most. I will never forget the dramatic changes of tempo and texture that left me breathless at the end of the piece.
This concert was not chosen by chance because it presents well-known arias by Mozart, Verdi, Rossini, and other prominent composers. The event took place in May 2016 in Bonn, attended by such stars as Roberto de Biasio, Ingeborg Gillebo, Robin Johannes and Simone Kermes. Their voices sang famous arias at the 5th gala concert of the opera. This concert is a delight in the high art of opera singing accompanied by the Bonn Beethoven Orchestra conducted by Stefan Blunier.
Music Description
Overture – Le nozze die Figaro – Mozart
The concert opens with Mozart’s overture Le nozze die Figaro, a rapidly sweeping masterpiece as harmonious as the opera itself. The overture is extremely lively and intense, which cannot but attract the eyes of the audience. Relationships and collisions of sound characters determined many features of the Le nozze die Figaro musical drama, giving flexibility and variety to its operatic forms. Especially significant is the role of ensembles associated with the stage action, which gave the sound of the instrumental intro features (DW Classical Music, 2020). The carelessness of movements and intoxicating fun permeates the opera’s overture, bringing a cheerful atmosphere to the events taking place.
“O wär ich schon mit Dir vereint” – Fidelio – Beethoven
Fidelio is a heroic opera, one of the greatest creations in musical theatre. Her music is distinguished by a loftily pathetic warehouse, intense drama. A significant role is played in it by oratorical scenes alternating with everyday ones, often comically colored (DW Classical Music, 2020). Robin Johansen performs Marceline’s aria; his soprano is refined and reveals the dreams of a girl in love and the sincerity of her simple and naive feelings through melodic sound.
“O don fatale” – Don Carlos – Verdi
In Don Carlos, the composer, with remarkable skill, revealed the complex, contradictory experiences of the actors, their sharp clashes. The mournful melodies of the orchestra are replaced by an expressive recitative, gradually turning into broad melodious phrases. The presented aria of Eboli, O don fatale, characterizes her passionate, indomitable nature and completes act IV of Don Carlos. Eboli sings about the fatal “gift” – her beauty. Eboli’s aria begins with an explosion of despair. It is a beautiful but extremely difficult aria; if performed well, it can bring the singer a huge success (DW Classical Music, 2020). Here comes the ordeal for the mezzo-soprano, but she also receives a great benefit since the finale of this picture belongs entirely to her. Marina Prudenskaya remains one-on-one with the audience and owns the immediate reaction of the audience and their applause.
Writers Opinion
Mozart’s performance was at a high level and received deservedly loud applause. Being a genius, he knew that his operas would be better appreciated if performed in Italian rather than in German. His Marriage of Figaro became an immortal classic due to such a maneuver with execution. Marina Prudenskaya is a bright performer, which is nice to look at; her costume and voice control cause a stir. Her aria is magnificent and penetrates to the depths of the soul; it is noticeable that she worked for a long time before the performance. I liked the smiles of the people in the orchestra who were struggling to keep from laughing – the audience seemed to love the performers and communicated. The concert turned out to be quite spectacular from all points of view; I am glad that I watched it on YouTube and experienced the feelings and emotions that the audience had in 2016.
Symphony is a type of music invented during the classical era that encompasses music composition aspects outlined in the sonata principle (Sadie 76). It is usually a long and very complex sonata composition that qualifies to be referred to as orchestra. It is composed of a minimum of a single movement.
Most symphonies are composed of four movements, with the first one derived from the sonata principle. That is the basis for referring to symphonies as a form of classical composition. Wolfgang Amadeus Mozart was a prominent music composer from the classical music era (Sadie 89). His works were much diverse and comprise of operas, symphonies, concentrate and choral music. He is one of the greatest music composers of the classical era and of all time.
General overview of the genre
The symphony genre of music refers to musical pieces of the western classical music developed for orchestra and that is comprised of four movements. These movements include allegro (executed in the sonata-allegro form), a slow movement, a scherzo movement or the minuet and the finale, that is characteristic of allegro or rondo (Dearling 24).
Symphonies composed in earlier years comprised of only three movements and were shorter than the present day symphonies. They run for a period of 10-20 minutes. This genre evolved largely during the classical era and by the dawn of the Romantic period, symphonies had incorporated an extra movement to make up a total of four and were a little longer (Dearling 31).
They went for a period of 30 minutes to one hour and a few of them lasted for more than an hour. Today, the symphony is a popular genre among music composers and the typical four-movement symphony is usually altered to accommodate other musical aspects.
Mozart bibliography
Mozart was born in the year 1756 and was a highly creative music composer who lived in the Classical era (Sadie 18). He composed many music pieces, over 600, and comprised of several genres: opera, chamber, concertante, choral and symphony. His success in the genre of symphony started early as he showed excellent abilities in playing the keyboard and the violin. This saw him start composing at the tender age of five.
Mozart wrote 41 symphonies all in the same key except symphony 25 and 40, which are in G minor key (Sadie 28). His music received criticisms because of its complexity. It was comprised of many notes that it was hard to comprehend. Mozart was famous for integrating pieces of music together to develop strong and complex pieces. He often took lines from a piece of music and inserted them in to another piece.
Mozart symphonies
Mozart wrote 41 symphonies that developed the emotional reach and sophistication of the symphony genre at the time (Zaslaw 43). The major aspects of classical music are present in Mozart’s symphonies. His symphonies are characterized by complexity, clarity and balance.
However, the simplicity of his compositions cover the finesse that is observed in some of his masterpieces such as the symphony number 40 that was written in the G minor key.
Mozart had a gift of recognizing good music pieces and adapting some of their aspects into his own compositions. He borrowed greatly from Baroque in composing his symphonies. For example, symphony number 29, composed in A major K.201 is comprised of a theme that is borrowed from other Baroque compositions.
All the symphonies composed by Mozart are in the period between 1764 and 1788 (Zaslaw 38). Reports by music researchers indicate that Mozart may have composed more than the 41 symphonies attributed to him. They approximate about 68 symphonies that Mozart may have composed.
However, the numbering of these symphonies is the same and therefore, the last symphony is number 41. Some symphonies were revised from their original versions. They are divided into three categories according to the time they were composed. The three categories include the childhood symphonies, Salzburg-era symphonies and the late symphonies.
Childhood symphonies
These were composed between 1764 and 1771 (Zaslaw 46). They include symphony number 1 to number 13. These symphonies were composed in different keys but some were similar. Symphony number 4, 7, 8 and 11 were composed in the D major key. Symphony number 1 and 3 were composed in the E-flat major while Symphony 10 and 12 were composed in the G major key.
Symphony 2 and 5 was composed in B-flat major, symphony 6 and 13 in F major key. In this category are other symphonies attributed to Mozart and were assigned umbers from 41.
Salzburg-era symphonies
These were composed between 1771 and 1777. They are sometimes grouped into early and late symphonies or German and Italian symphonies (Cliff and Stewart 39). This category composes of symphonies from number 14 to number 30.
Number of symphony
Key
14
A major
15
G major
16
C major
17
G major
18
F major
19
E-flat major
20
D major
21
A major
22
C major
23
D major
24
B-flat major
25
G minor
26
E-flat major
27
G major
28
C major
29
A major
Other symphonies in this category attributed to Mozart are assigned numbers from 41. They are thought to be Mozart’s own compositions because they incorporate several aspects of Mozart’s operas. In addition, three more symphonies are founded on three serenades composed by Mozart. They include symphony K.204, k.250 and k.320 and they are all in the D major key.
Late symphonies
Symphonies in this category were composed between 1778 and 1791 and numbered from 31 to 41(Cliff and Stewart 41).
Symphony number
key
31
D major
32
G major
33
B-flat major
34
C major
35
D major
36
C major
37
G major
38
D major
39
E-flat major
40
G minor
41
C major
The last three symphonies were published after his death and speculations suggest that he intended to publish them together a single opus before his death. Symphony 37 was thought to be Mozart’s own composition but was later established that he wrote the introduction only. Michael Haydn composed it with little help from Mozart.
Conclusion
The symphony genre of music refers to musical pieces of the western classical music that was developed for orchestra and that is comprised of four movements. These movements include allegro (executed in the sonata-allegro form), a slow movement, a scherzo movement or the minuet and the finale, that is characteristic of allegro or rondo.
Mozart wrote 41 symphonies that developed the emotional reach and sophistication of the symphony genre at the time (Cliff and Stewart 72). The major aspects of classical music are present in Mozart’s symphonies. His symphonies are characterized by complexity, clarity and balance. Mozart is recognized today as one of the greatest music composers of all time.
Works Cited
Cliff, Eisen and Stewart Spencer. Mozart: A Life in Letters. New York: Penguin Books, 2006. Print.
Dearling, Robert. The Music of Wolfgang Amadeus Mozart, the Symphonies. New Jersey: Farleigh Dickinson University Press, 1982. Print.
Sadie, Stanley. Mozart Symphonies. New York: Ariel Music, 1986. Print.
Sadie, Stanley. The New Grove Dictionary of Music and Musicians. London: Macmillan, 1998. Print.
Mozart sonata (iii) movement was invented in October 1777. In his letter, Mozart described the new improvisation of two distinct piano styles. He included details on how he combined Sonata and rondo. The combination brought out a magnificent sonata in C major with a rondo at the end, which later became sonata K.309 (Brown 43).
Publication of sonata-rondo was done in 1783, one year after the invention by Mozart (1756-1791). It has later been adapted in most music classes and taught in main piano classes. The abbreviation K.333 used in piano classes refers to the position of the piece in chronological catalogue prepared by Australian musicologist Kochel (Burkhart & Rothstein 207).
Transitions – Structural and Harmonic Analysis
In the music and jazz jargon rondo can be described as any movement or musical work containing numerous recurring refrain alternating episodes. In most cases, it will start and end with a refrain material. At the same time, it is not clear on the number of refrains required to make a rondo.
Some professionals state that they should be two while others insist that they must be at least three occurrences in a single rondo. Depending on how the episodes are treated, it emerges that the number of refrains is open. In classical music, rondo has been one of the most widely used movements within a larger work, mostly the finale. Rondos also show a tendency of favoring one variant of its form (Krumhansl 1995.)
PAC (Perfect Authentic Cadenza) – Explanation
Perfect Authentic Cadenza initiates movements. It is broken down to subsections that include first subject, transition, second subject, and finally codetta. At the first section of the exposition, it is split into eight bar phrases. In most cases, the beginning section will act as an introduction to the succeeding or second phase of the beginning section. Some cases in the first two parts will act as cadenzas with a sequence of I-VI, I.
Mini-cadenzas like pattern will follow, which will not organize any form of primary ideas. Mozart’s composition made use of these poems where he repeated the first two bars and put down an octave. He also brought in a new idea and set up a rhythmic obstinate to assist in the second phase. This has been adopted in different genres of music in the modern world.
Examples of Harmonic Moves I-VI-IV and I-VI-II
Harmonic Moves I-VI-IV and I-VI-II are widely applied in the music industry since the 18th century. During the classical period, sonata form became one of the most popular ones as it was adopted in different compositions. Bach could be considered as one of the brightest examples. In case of multi movements, it is always applied as the first movement. Mozart (iii) works are not an exception. In such cases, the combination is referred to as sonata allegro. This is the result of tweaking Harmonic Moves I-VI-IV and I-VI-II.
The invention of sonata form was meant to organize musical ideas based on a specific key to create an appealing and easy way to follow the movement. From the moment the sonata form was invented it has not changed significantly. Although there are other forms, which originate from sonata, it still maintains a three steps formula of approach, which forms sonata rondo in the end.
Comparison with G Minor
G minor was Mozart’s best expression of melancholy. Mozart used minor keys often in symphonies but exclusively used G minor in numbered symphonies. The role of transitions is to help in moving from a rondo to an episode section. They are also important in moving from an episode (B or C) to rondo (A) section, processes called re-transition.
Most composers choose to use transitions in moving between the parts of sonata-rondo form because the keys used area is almost parallel to the tonic key. However, transitions form an influential part as they act as modulators between the forms used. This shows that there is connection between sonata rondo and G minor scales.
Mozart with an Enlarged Sixth
The harmonic progression will determine the development of chords, scales, and tonal systems. The table below demonstrates the most common harmonic function in rondo sonata (Krumhansl 1995).
A
B
A
C
A’
B’
A
I
VI
IV
I
I
II
Movements
Numerous combinations of myriad themes and keys characterize this movement. Different composers tend to come up with unique combinations such as K.311, K.333, and K.448. Most of the movements are 7 part rondos with coda in some parts, mostly coming at the end. In some cases, the return of the rondo (A) or episode (B) may be modified to give unique combinations such as A, A1, A2.
Episode combinations will form B, B1, and B2. Such combinations will vary in length, which requires analysis such as A, B, A1, A2. This is compulsory to B episodes when it recurs in order to fulfill the sonata part of the form because it will return as tonic rather than the dominant key (Bresin & Battel 220).
There are cases of coincidence of the parts of the sonata and rondo forms. In such a case, the opening rondo (A) will occur as tonic key and serve as the first theme (T1). The beginning episode will occur as dominant key and thus act as the second theme (T2). The next one will be the first recurrence of Rondo (A), which will return as tonic key similarly to all other recurrences.
The subsequent episodes such as episode (C) will occur as different closely related key such as supertonic, median, sub-median, or dominant. It could be mentioned that in most cases the (C) episode will serve as a development section of the form sonata-rondo.
The (C) episode either will be as single key such as in case of a rondo form, or will move through several keys developing thematic materials similar to the previous as it happens in the sonata form. The third occurrence of the first rondo (A) will form a start of recompilation form of sonata, which also includes the occurrence of the second episode (B1). In this case, (B1) will be in tonic form unlike the first case where it appears as the dominant key to fulfill the sonata forms recompilation.
The third and final appearance of rondo (A) will serve to complete the seven-part rondo form and will form the beginning of sonata forms coda. Once the rondo recurrence is complete, the consequent music will be the beginning of coda for rondo form and serve as part two of the sonata form’s coda. Just as codas and transitions, the closing sections may be divided into parts (Lester 199).
Tree-like Structural Analysis
While sonata rondo is unique, the exposition bars in sonata rondo can be classified into different subjects. The subjects result in a tree like structure. The subjects are described below.
First Subject
It includes bars from one to 105. In this category theme (A), the first half is introduced by solo piano after which orchestra repeats the complete eight bars.
Second Subject (E Major)
It includes bars from 106 to 201. Episode 3b, theme C, a three-beat rest is followed in theme b107, by theme C, introduced by flute and bassoon in octaves, accompanied by all strings. At b113, a new tonality of E minor is confirmed by the piano, and at b118, there is a hint, which tends to be towards C major.
This ends with confirmation of E major, by b129. At this whole passage, the piano continues while the orchestra accompanies, with various styles. At bar 176, theme D, it is played by piano over pedal note of twelve bars by a horn while strings play pizzicato crotchets. At bar 181, the woodwind repeats Theme D while the piano plays a countermelody. At bar 187, the piano concludes the section with fifteen bars of materials meant for transition with the first string followed by woodwind.
Bars Having a Refrain
They include bars from 202 to 229. At bar 202, episode 1a, Theme (A) is heard again as it is played at the beginning by a piano. At b210, the orchestra replies in a similar way to bar nine, but it modulates from b217 towards F sharp minnow and finally arrives at b229.
Development Bars
They include bars from 230 to 311. At bar 230, episode 6, theme E, n abrupt change of mood is noticed, almost character like jumping onto the stage, and finally the piano gets to F sharp minor.
At b238, the woodwind replies with their eight bars ending in a dominant. This is repeated to b246, where after woodwind takes turn again. At b254, the tonality immediately heads away from the sharp minor and later ends in D major by b262. At b294, 18 bars of dialogue between woodwind and piano replace the theme. This brings back the key to A major.
Recompilation Bars
This includes bar from 312 to 440. At b312, episode 3a, theme (b62) is started first by the piano in a major. Woodwind in the minor in b230 then repeats it. This leads to breaking into a dialogue using closing notes. B330 Episode 3b, theme C, is where the second subject is heard on a woodwind in the major, and then repeated by the piano in the minor b338. An extended bridge based on theme C is heard from b346. B363 episode 4, from here to b410.
There is a repeat of bars 129 to 74 with the piano striving forward above a variety of the orchestral accompaniment figures. Bar 411 episode 5, theme F is heard again in the piano with pizzicato strings. As before, it is repeated at b418 by woodwind with the piano playing a counter point and bridge section at b423.
Coda Bars
This includes bars from 441 to 524. At b441, episode 1a refrain played by a piano is accompanied after four bars by ww. At b449, the whole orchestra takes it up.
Episode 1b, a second half, is shared by strings and woodwind alone for eight bars, and then joined by piano on the repeat. This will briefly be followed by a bridge passage but lasts for only eight bars.
Unique Bars and Themes
Bars 90 to 91 are usually treated as perfect authentic cadenza because of their harmonic progression of one to five. The both chords appear to be in root position and the melody ends on a tonic pitch.
Works Cited
Bresin, Roberto and Giovanni Umberto Battel. “Articulation Strategies in Expressive Piano Performance Analysis of Legato, Staccato, and Repeated Notes in Performances of the Andante Movement of Mozart’s Sonata in G Major (K 545)”. Journal of New Music Research 29.3 (2000): 211-224. Print.
Brown, Judith C. “Determination of the meter of musical scores by autocorrelation”. The Journal of the Acoustical Society of America 94 (1993): 19-53. Print.
Burkhart, Charles and W. Rothstein. Anthology for musical analysis: postmodern update. Schirmer Books, 2007. Print.
Krumhansl, Carol L. “A perceptual analysis of Mozart’s Piano Sonata K. 282: Segmentation, tension, and musical ideas”. Music Perception (1996): 401-432. Print.
Lester, Joel. “Performance and analysis: interaction and interpretation”. The practice of performance: Studies in musical interpretation (1995): 197-216. Print.