Mozart 1791 Flashcards
Context
First composer to write in the vernacular of the people (most were in Italian)
Singspiel, stories with comedy and magic, for middle classes
Not an opera, aimed towards nobility and upper classes
Strongly connected with Freemason and Enlightenment movement
An intellectual and philosophical movement in the 18th cent, focused on reason being the primary source of authority
Melody
Balanced phrases, shaped by regular cadences
Word painting
Word setting
Balanced phrases, shaped by regular cadences
No 5, between P and T, very characteristic of Classical music
(Just before, Voi Che Sapete, Marriage of Figaro)
No 4, recit, 3, 3, 2, 2, unusual phrasing, express the Queen’s emotional imbalance
Word painting
No 4, loud high F in aria, anger, heighten text
(Same, Der Holle Rache, even more virtuosic, repeated high Fs)
No 5, CHROMATIC APPOGGIATURAS!!!, heighten text, pathos
(Before, Lascia ch’io pianga, emphasis her pain)
Word setting
Recitative, more syllabic, move through text as quickly as possible
(Before, Handel, Messiah, secco recit, very limited pitch range)
Aria, more melismatic and slurred pairs, some syllabic, allows for word painting, expressively (Just before, Voi Che Sapete, Marriage of Figaro
Texture
Predominantly mel dom hom
Occasional homophony
Little use of contrapuntal devices
Pedals
Predominantly mel dom hom
No 4, melody always in coloratura sop part, heighten text (After, Pirates of Penzance, I am a Pirate King)
Occasional homophony
No 5, 3 part and 5 part homophony, express unity of thoughts
(After, Fidelio, A Wondrous Feeling Fills me, Joacino does not join in with 3 homophonic singers, disagreements of thought)
Little use of contrapuntal devices
2 part counterpoint, T and P after increasingly short phrases
No polyphony, too serious, too Baroque, does not match mood of singspiel
Pedal
Bb tonic in intro, emphasizes importance of Queen, instruments could now handle a greater range of keys
Harmony
Functional harmony, shaped by cadences
Predominantly diatonic
Some chromaticism
Pedal
Functional harmony, shaped by cadences
No 5, flute presents Classical femenine cadences, many V I with dom 7th
Strong sense of balance, characteristic of Classical music
Predominantly diatonic
Coloratura section, to express power and hope, form of word painting
(After, A wondrous feeling fills me, Fidelio)
Chromaticism
Use of N6, It aug6th, unease but quell P’s fear with dom 7th, Dim 7th on Help!
Chromatic appoggiaturas, Characteristic of Classical music, form of word painting (Before, When I am laid in Earth, Dido and Aeneas)
Pedal
Bb tonic in intro, emphasis entrance of Queen Reinforce the tonality, drive towards cadence points
Tonality
Functional tonality
Use of keys help with word painting
Functional tonality
Both start and end w Bb maj, instruments could now handle a larger variety of keys
Shaped by cadences, marks ends of sections, strengthens tonal argument
(Just before, Ah chi mi dice mai, Don Giovanni)
Use of keys, hero with word painting
Eb maj, regal, heroic key, often used in this way
(Just before, Marriage of Figaro, Finale Act II, status of Count)
G min, Mozart’s grief key (Before, Mozart, The abduction from the Seraglio)
Secondary dominant, used to explore a larger range of keys, reflect mood and meaning of words
Rhythm, tempo and metre
RTM used to support and convey text Metre mark section changes Tempo changes mark section changes Rhythm, a form of word painting Use of rests
Metre used to mark sections
No 4, 3/4, 4/4 in virtuosic section
No 5 Cut common time, 4/4 Charcteristic of classical music, changes mark section changes (After, Nous avons en tete en en affaire, changes frequently as smuggelers try to change Carmen’s mind)
Tempo changes mark sections
No 5, Allegro, Andante, mark entrance of 3 boys, Masonic
No 4, Allegro maestoso, Larghetto, Allegro, emphasise Queen’s presence, used to support the plot, changes mark changes in mood
Rhythms, a form of word painting
No 4, syncopation in vln against straight crotchets in bass, agitation, anticipation (After, Abuschleicher, Fidelio, fast semis and allegro agitato, same result)
No 5, dotted rhythms, add movement and pace
(Before, When I am laid in Earth, moves her towards her suicide)
No 4, continuous semis in virtuosic coloratura passage, hope
No 4, HDSquaver, anger (After, D’Amore al dolce Impero, Armida)
Use of rests
No 5, Andante, semiquaver rests within melody
Breathlessness, excitement (Before, When I am laid in Earth, sighs)
Structure
Recit, aria with short intro
Throughcomposed
Recit, aria with short intro
Instrumental intro,
Accompanied recit, (different to Lascia ch’io pianga, secco recit, continuo chords)
Aria, Allegro moderato, virtuosic coloratura
Ends with perfect 4th, V I
18th century format
(Before, Fidelio, Beethoven, accompanied recitative, aria, slow, steady emotions, coloratura passage, more energy)
Through composed
Clearly differentiated sections, little reflection of material (Just before, Ah chi mi dice mai, Mozart, Don Giovanni), reflect meaning of words
Sonority
Singers
Orchestra
Singers
Queen, coloratura soprano, tessitura widens in trembling and hopeful passages to heighten text
(Same, Der Holle Rache, even wider tessitura, highest notes ever written for coloratura sop)
T Tamino, B Papageno, 3 Ladies Masonic no, sing sotto voce, secretive word painting,
Orchestra
Strings, wind and brass, Classical era led to development of stronger instruments like horns
Double voices, accompany or add playful instrumental responses, keep mood light and entertaining
(Same, Ach Ich Fuhls, Magic Flute, orchestra swells when Panama tells Tamino his heart is cold and loveless)
