Mozart 1791

Question 1

Context

Answer 1

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

Question 2

Melody

Answer 2

Balanced phrases, shaped by regular cadences
Word painting
Word setting

Question 3

Balanced phrases, shaped by regular cadences

Answer 3

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

Question 4

Word painting

Answer 4

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)

Question 5

Word setting

Answer 5

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

Question 6

Texture

Answer 6

Predominantly mel dom hom
Occasional homophony
Little use of contrapuntal devices
Pedals

Question 7

Predominantly mel dom hom

Answer 7

No 4, melody always in coloratura sop part, heighten text (After, Pirates of Penzance, I am a Pirate King)

Question 8

Occasional homophony

Answer 8

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)

Question 9

Little use of contrapuntal devices

Answer 9

2 part counterpoint, T and P after increasingly short phrases
No polyphony, too serious, too Baroque, does not match mood of singspiel

Question 10

Pedal

Answer 10

Bb tonic in intro, emphasizes importance of Queen, instruments could now handle a greater range of keys

Question 11

Harmony

Answer 11

Functional harmony, shaped by cadences
Predominantly diatonic
Some chromaticism
Pedal

Question 12

Functional harmony, shaped by cadences

Answer 12

No 5, flute presents Classical femenine cadences, many V I with dom 7th
Strong sense of balance, characteristic of Classical music

Question 13

Predominantly diatonic

Answer 13

Coloratura section, to express power and hope, form of word painting
(After, A wondrous feeling fills me, Fidelio)

Question 14

Chromaticism

Answer 14

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)

Question 15

Pedal

Answer 15

Bb tonic in intro, emphasis entrance of Queen Reinforce the tonality, drive towards cadence points

Question 16

Tonality

Answer 16

Functional tonality

Use of keys help with word painting

Question 17

Functional tonality

Answer 17

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)

Question 18

Use of keys, hero with word painting

Answer 18

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

Question 19

Rhythm, tempo and metre

Answer 19

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

Question 20

Metre used to mark sections

Answer 20

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)

Question 21

Tempo changes mark sections

Answer 21

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

Question 22

Rhythms, a form of word painting

Answer 22

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)

Question 23

Use of rests

Answer 23

No 5, Andante, semiquaver rests within melody

Breathlessness, excitement (Before, When I am laid in Earth, sighs)

Question 24

Structure

Answer 24

Recit, aria with short intro

Throughcomposed

Question 25

Recit, aria with short intro

Answer 25

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)

Question 26

Through composed

Answer 26

Clearly differentiated sections, little reflection of material (Just before, Ah chi mi dice mai, Mozart, Don Giovanni), reflect meaning of words

Question 27

Sonority

Answer 27

Singers

Orchestra

Question 28

Singers

Answer 28

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,

Question 29

Orchestra

Answer 29

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)