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Mozart Flashcards

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1
Q

What is a singspiel?

A

Form of German opera - with both singing and spoken dialogue

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2
Q

What happens in No.4?

A

The grief-striken queen addresses Tamino - He must rescue Pamina. If successful Pamina will be his

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3
Q

What happens in No.5?

A

Tamino is unable to free Papageno from padlocks that the 3 ladies had put on his mouth
They release him
Give Tamino the magic flute
Papageno will accompany Tamino - given silver bells
Three boys guide them on their journey

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4
Q

What is the tonic of No.4 and No.5?

A

Bb major

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5
Q

What key is the aria in?

A

Gm, ends in Bb major

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6
Q

How does the piece modulate to Gm?

A

Via F

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7
Q

How does the recitative end?

A

Tonic to dominant (G-D) followed by a perfect cadence - A typical conclusion

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8
Q

Name all the keys in No.4

A

Gm, Bb, Cm, Eb

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9
Q

What key does No.5 end in?

A

Bb

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10
Q

Why is No.5 an ensemble?

A

It is a piece for more than two soloists

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11
Q

Name all the keys in No.5

A

Bb, F, Gm, Dm, Eb

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12
Q

How many singers are there?

A

5

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13
Q

What is the form of No.4?

A

Binary

Intro - Larghetto - Allegro

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14
Q

What is the form of No.5?

A

There is no overall form, through composed with 5 main sections

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15
Q

Briefly describe the vocal lines in No.5

A

Simple and mostly diatonic with limited ranges and stepwise movement. There are a lot of repeated notes and small leaps

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16
Q

Is there any chromaticism?

A

Yes - expressing farewell

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17
Q

What is the singer doubled by?

A

The orchestra

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18
Q

How are No.4 melody lines different?

A

They are far more adventurous in range and style and rhythmic diversity

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19
Q

What happens during the virtuosic solo?

A

A lot of leaps (wide/difficult)

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20
Q

Give an exampled of a leap

A

Top F to the C

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21
Q

What establishes the key change in No.4?

A

Triadic shape

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22
Q

What provides rhythmic motion?

A

Repeated accompaniment

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23
Q

What type of harmony does Mozart use?

A

Functional harmony

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24
Q

What cadences does Mozart use?

A

Frequent perfect and some imperfect

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25
Q

What delaying tactic does Mozart use?

A

Interrupted cadences instead of perfect

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26
Q

What interesting chords does Mozart use?

A

The Neapolitan 6th

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27
Q

How does Mozart create harmonic tension?

A

Diminished 7ths and appoggiaturas

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28
Q

What happens at the end of the aria?

A

Series of perfect cadences

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29
Q

What is special about the Soprano in No.4?

A

Coloratura soprano - very high range, extended melismatic display

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30
Q

Why is Tamino a tenor?

A

It is the conventional voice of a hero

31
Q

What is No.4 scored for?

A 
Two bassoons
Two oboes
Two Bb horns
Strings
No flutes, clarinets, trumpets, trombones or timpanis
32
Q

What is the scoring for No.5?

A

Same as No.4 until the Andante where the clarinets enter

33
Q

What is the irony in the name ‘the magic flute?’

A

Flute is never played

34
Q

What is the texture?

A

Mainly homophonic, as the melody stands out from the rest of the accompaniment

35
Q

How does Mozart get clear projection of the text?

A

Same rhythm against an independent orchestral part

36
Q

Why are contrapuntal textures avoided in No.5?

A

It is unsuitable for the light comic nature of the piece

37
Q

Does Mozart use Heterophony?

A

yes

38
Q

How does Mozart create Heterophony?

A

Chromatic melody under the solo line. First violas double the vocals with semiquavers providing additional movement in a slowish tempo

39
Q

What are the mos common dynamic markings in No.4and5?

A

F or P or Cresc

Also find Fp and Sf

40
Q

What dynamics aren’t indicated?

A

Extremes e.g ff/pp

41
Q

How else can dynamics be created?

A

By the addition or subtraction of orchestral forces

42
Q

What was expected of the singer?

A

To choose appropriate dynamics

43
Q

What does sotto voice mean?

A

Under the voice

44
Q

What is the tempo marking at the start of No.4?

A

Allegro Maestoso

45
Q

What is the recitative marked?

A

Free tempo made by the singer

46
Q

What is the metre of No.4?

A

3/4 then 4/4 in Larghetto

47
Q

What is the time sig. of No.5?

A

cut common time, 2 minim beats per bar

48
Q

What is the time sig of the Andante in No.5?

A

4/4

49
Q

How does Mozart add tension?

A

offbeat quavers against onbeat crotchets

50
Q

Give three examples of rhythmic diversity

A

semiquavers in melisma
Minims to emphasise ‘helft’ (help)
Tied note to emphasise first syllables

51
Q

Is there any syncopation?

A

Yes, in No.5

52
Q

What chord is prominent during sotto voce No.5?

A

C7 chord

Dominant 7th second inversion

53
Q

What chord sequence defines the Andante No.5?

A

I, Vb, VI, IIIb, IV, Ib, Viib, I, V

54
Q

Che faro sensa euridice composer

A

Gluck
opera reformer
simpler with text more important

55
Q

Che faro melody

A

regular - 4 bar phrases
very syllabic - grief
not as virtuosic
recitative like

56
Q

Che faro Sonority

A

just strings - grief
no extreme pitches
mf

57
Q

Che faro key

A

C major

G major

58
Q

Che faro harmony

A 
Functional
Dissonance - 5,7-1 over tonic
chromatic word painting
Dim 7ths
4-3 suspension
59
Q

Che faro structure

A

A-B-A

with intro and coda

60
Q

Che faro texture

A

melody doubled in violins

Mel-dom-hom

61
Q

Che faro tempo/metre/rhythm

A

2/2
constant quavers in strings
Slow Andante

62
Q

Something’s coming

A 
1957
West Side Story
Tenor
fast
syncopation and cross-rhythms
tremolo and harmonics
emphasis on clarinets
homophonic
syllabic
tritones
accented notes
short phrases
63
Q

Che faro sensa euridice composer

A

Gluck
opera reformer
simpler with text more important

64
Q

Che faro melody

A

regular - 4 bar phrases
very syllabic - grief
not as virtuosic
recitative like

65
Q

Che faro Sonority

A

just strings - grief
no extreme pitches
mf

66
Q

Che faro key

A

C major

G major

67
Q

Che faro harmony

A 
Functional
Dissonance - 5,7-1 over tonic
chromatic word painting
Dim 7ths
4-3 suspension
68
Q

Che faro structure

A

A-B-A

with intro and coda

69
Q

Che faro texture

A

melody doubled in violins

Mel-dom-hom

70
Q

Che faro tempo/metre/rhythm

A

2/2
constant quavers in strings
Slow Andante

71
Q

Something’s coming

A 
1957
West Side Story
Tenor
fast
syncopation and cross-rhythms
tremolo and harmonics
emphasis on clarinets
homophonic
syllabic
tritones
accented notes
short phrases
72
Q

comparisons

A 
Queen of the night aria
Fidelio
Carmen
Figaro
Ride of the Valkyries
Orfeo e le Furie
La donna e mobile
Purcell
73
Q

context

A

September 30th 1791
Year of his death (5th December)
Vienna
Singspiel
Breaks traditions of operas for the rich which were in Italian and told stories of Greek mythology
Freemasons = number 3
Mozart was a genius at portraying human characterisations and real emotions as seen in the musical elements

Music (19 decks)

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