Chapter 7 Flashcards
Classical Period
Roughly 1750-1825
The capital “C” distinguishes it from “classical” music in general.
An era in which instrumental music became as important as vocal music.
Classical music has balance, composure, breadth, and was created alongside a growing awareness of the kinship of humanity, the worth of the individual, and the power of reason.
Classical Music
Music of poetry (from a technical point of view)
Enlightenment music
Music of the Age of Reason
Mozart, Beethoven, Schubert (examples of composers of the Classical Period)
Age of Enlightenment
The late 18th and early 19th centuries encompassed the American Revolution, the French Revolution, conquest and defeat of Napoleon. Reading material became more readily available to the common man. Human reasoning became valued as a source of power and knowledge.
Encyclopedie (french)
An illustrated, 35-volume publication of articles on every possible subject. 1751-1785
Benjamin Franklin (1706-1790)
A publisher, inventor, scientist, musician, statesman. He signed the Declaration of Independence and the Constitution. An ambassador to France from 1778-1785.
Voltaire (1694-1778)
Witty essayist, outspoken philosopher, satirical playwright. “Candide” was mockery of the optimist philosophy of Leibniz. Substantial contributor to the Encyclopedie.
Jean-Jacques Rousseau (1712-1778)
Was a music copyist in Switzerland before fame. “Emile” or “Our Education” is about responsible citizenship. “Social Contract” is book of political philosophy. Wrote a light opera “Le Devin” or “The Village Sage.”
Antonio Canova
1757-1822. Italian sculptor.
Antoine Houdon
1741-1828. French sculptor. Sculptor of Voltaire, Washington, Napoleon, and Franklin.
Joshua Reynolds
1723-1792. English painter. “Study of a Black Man.”
Jacques-Louis David
1748-1825. Neoclassical (order, symmetry, simplicity) painter. Painted historical scenes.
Angelica Kauffman
1741-1807. Swiss-born Austrian who worked in England and Rome. Painted many historical scenes as well as imaginary portraits of Shakespeare.
Francisco Goya
1746-1828. Painter to the Kings of Spain. “Caprichos” a set of prints and etchings representing the weaknesses of human society, lead us into the inwardness of Romanticism.
Neoclassic Architechture
Thomas Jefferson’s Monticello and George Washington’s Mount Vernon reflect classical architecture.
Samuel Johnson
1709-1784. Single-handedly created the first important dictionary of the English language. “Lives of Poets” and annotated edition of Shakespeare are lasting contributions to criticism.
Jane Austen
1775-1817. Her novels gave us realistic social commentary. “Sense and Sensibility,” “Pride and Prejudice,” “Mansfield Park,” and “Emma” are just a few examples.
Johann Wolfgang Goethe
1749-1832. German poet and playwright. “Faust” was enormously influential in literature and the arts.
Johann Friedrich Schiller
1759-1805. German dramatist, poet. His works inspired numerous operas. Parts of his poem “Ode to Joy” were incorporated into the last movement of Beethoven’s 9th Symphony.
Congress of Vienna
- Leaders of European nations met to agree on the boundaries of post-Napoleonic Europe. Beethoven wrote a cantata for the Congress. It is also said the Congress of Vienna marked the switch to long-trousers instead of knee breeches with stockings. (For men)
Symphony
A composition made of a series (usually 4) of “movements” designed to be played in order and to provide a comprehensive experience.
Classical “movements” tended to have two “themes” to create tension and then resolve it.
Lorenzo Da Ponte
Librettists. Worked with Mozart on three different operas: “The Marraige of Figaro,” “Cosi Fan Tutte (Women Are Like That),” and “Don Giovanni.” Appointed poet at the court of Emperor Joseph II. After Emperor Joseph II’s death he moved around from Paris to London and finally to Pennsylvania and New York City. He eventually landed a job at Columbia College (Professor of Italian) and worked there until his death.
Don Giovanni PLOT
Based on the story of Don Juan. An insatiable lover who chases women, seduces them to add to his “collection,” and treats them as objects. The particular version of his story used in Don Giovanni ends with him being dragged down to Hell by a stone statue Judge who is actually a man whom Don Juan kills at the beginning of the opera.
Prague in 1787
Second to Vienna in “importance” in the Austro-Hungarian Empire. Capital of Bohemia. Residents spoke Czech and German (language of business). Architecture was mainly German and Italian. There was a great love for music among the locals. Prague houses the “Count Nositz’s Theater” in which “Don Giovanni” was premiered.
Pasquale Bondini
Started an opera company “Bondini Opera Company.” Gets credit for developing the Prague audience’s appetite for opera. He was an Italian singer. Producer of Mozart’s “The Marraige of Figaro” before also producing “Don Giovanni” with him.
Bondini Opera Company
Founded by Pasquale Bondini. He was the impresario (manager). Performed a Winter season in Prague and a Spring season in Leipzig, Germany. Performed in the “bel canto” style or Italian opera.
Wolfgang Amade Mozart
1756-1791. Exploited by his father for his musical talent. He attempted to gain fame by writing operas (this was the primary method for achieving success in the industry, at the time). On the success of “Abduction from the Seraglio” he defied his father and broke free from the archbishop of Salburg’s employment and married the singer Constanze Weber. The success he hoped for evaded him. He had hits with “The Marraige of Figaro” and “Abduction from Seraglio” but his place in music history was secured after his death. In addition to his operas he is remembered for his symphonies, chamber music, and now, his piano concertos. Lived in Vienna. Died at 35 from an unknown disease.
“The Marraige of Figaro”
An opera by Mozart (produced by Bondini) and written by Lorenzo Da Ponte. Premiered in Vienna 1786, Spring.
libretto
“A little book.” The text of an opera. (Italian)
Giacomo Casanova
May have had a hand in revising the libretto for Don Giovanni after Da Ponte’s departure. His name is synonymous with womanizing as he wrote his own “kiss-and-tell” memoirs.
“Don Giovanni” CAST
Giovanni (baritone) was played by 21-year old Luigi Bassi.
Zerlina (leading lady, prima donna, soprano) was played by Caterina Bondini (the impresario’s wife). Her scream is perhaps the greatest scream in all of opera.
Teresa Saporiti played Donna Anna (soprano). Sister of Caterina Bondini.
Caterina Micelli played Donna Elvira (soprano).
Antonio Baglioni played Don Ottavio (tenor).
Felice Ponziani played Leporello (bass).
Giuseppe Lolli played the Commendatore and Masetto (bass).
Opera seria
Serious, or tragic, opera.
Opera buffa
Comic opera.
Recitatives
Passages where the singers are accompanied by harpsichord, or piano in later years. Characters advance the plot in dialogue, usually delivered at talking speed and with speech inflections.
Arias
When an aria is being sung, time generally slows down or stops. (Freeze-frame/reflective)
Ensembles
Where several characters not only sing beautiful music but advance the plot at the same time.
Stretta
Where things go faster, everybody sings, and all is in confusion. (Usually during the “finale”)
Orchestra for “Don Giovanni”
Prague musicians (not Italians and not part of the company). Woodwind players were famously competent and Mozart’s music plays to their strengths. “Don Giovanni” required extra players for different scenes of the opera.
“Don Giovanni” Act 1, Scene 1, “Notte e giorno faticar”
Genre: Aria
Melody: Simple balanced phrases
Texture: Disjunct, smooth, patter song
Sung with 3 distinctive voices:
1st, when Leporello is complaining (disjunct, angular, jumpy)
2nd, when imitating his master, smooth and melodious.
3rd when he is frightened by the approach of Giovanni and Donna Anna (patter song)
4/4 Meter
“Don Giovanni” Act 1, Scene 1: Ensemble
Genre: Operatic ensemble
Subgenre?: trio
Form: Dramatic pacing; plot is advanced
Texture: Shifts of musical style
There are several phrases that the characters sing that imitate/repeat each other.
Tempo: The end of this ensemble slows to Andante tempo (when Comm. dies, a walking speed.
“Don Giovanni” Act 1, Scene 5: Catalogue Aria
Genre: Aria
Form: AB (possibly ABB’ since the B section is repeated with variation). Quick section followed by a lyrical one.
A Section: Allegro tempo (4/4 meter)
B Section: Andante con moto tempo. 3/4 meter. Contains a DOTTED RHYTHM at the end of the section.
“Don Giovanni” Act, 1, Scene 9: “La Ci Darem La Mano”
Genre: Duet
Form: AB (Two-part form). Slow seduction followed by a lively, dancelike second section
A Section: 4/4 Meter.
B Section: Homophonic, 3/4 Meter.
other Mozart works
"Symphony No.40, I, opening" "Clarinet Quintet II" "Dies Irae, from Requiem" "Marraige of Figaro" "Abduction from the Seraglio" "Cosi fan tutte" "The Magic Flute" "Eine Kleine Machtmusik" "Masses and 1 Requiem"
