1
Q
Wolfgang Amadeus Mozart
A
- 1756 - 1791
- One of the world’s best-loved composers
- Helped establish the classical style at the end of the 18th century
- Friends with Haydn and might have also taught Beethoven in Vienna
- Worked for the archbishop in Salzburg and later moved to Vienna and became known as a solo pianist, especially in the performance of his own concertos
2
Q
Name typical features of the Classical period
A
- Development of the symphony, piano sonata and piano concerto
- New structures such as sonata form were used in compositions
3
Q
What was significant about his opera works?
A
- one of the first to write in the vernacular (language of the people)
- Most operas at the time had Italian words
- Opera was invented in Italy at the beginning of the 17th century
- In Germany and England the audience of had booklets containing the libretto (in Italian and the local language)
- Mozart wrote one of the first Classical operas in German (Die Entfuhrung aus dem Serail)
however his later ones such as The marriage of Figaro
4
Q
Describe features of the Baroque opera
A
- Static with a series of solo recitatives and da capo arias and very few ensembles
- Classical opera used more variation of mood within arias
- Duets and larger ensembles became essential
5
Q
Key facts about Die Zauberflote
A
- Written in 1791 (last year of Mozart’s life)
- Very popular after it has premiered and was played in opera houses all around Europe
- The work is a singspiel (sing-play or play with singing)
- The singspiel included comedy and magic but also included very moving, passionate music
- The work is strongly connected with the Freemason movement. (secret society with moral aims)
- Tamino is the hero and has to undergo a series of tests to prove is he worthy of marrying Pamina. His magic flute allows him to survive the ordeal.
- The Queen of the night is Pamina’s mother (sorceress)
- Papageno (bird-catcher) played by the author of the libretto, Emanuel Schikaneder
6
Q
Context of No.4 “O zittre nicht”
A
- Queen of the night’s first words are an attempt to encourage Tamino to rescue her daughter, Pamina who is is supposedly in the evil clutches of Sarastro, the high priest.
- Tamino falls in love with the portrait of Pamina
7
Q
Describe the structure in No.4 Recit. and aria (Queen of the Night)
A
- After the orchestral introduction there is a short passage of accompanied recitative. In Bb Major.
- Next section begins in G minor and is a moderately paced legato ARIA. Here the queen is complaining about her suffering. Word painting is used here as she describes the “trembling fear”. The violins have “shivering” repeated semiquavers
- Final allegro moderato section in Bb Major, the Queen starts to display her power. The music is now loud and forceful (she orders Tamino to save Pamina) The soprano part uses virtuoso coloratura at the highest tessitura, rising to a top F! Melisma is used throughout this section
8
Q
Describe the vocal/melodic style of No.4
A
- Written for coloratura soprano
- The opening recitative is syllabic and like all recitative has elements of free tempo
- The larghetto is legato and begins in a lyrical conjunct manner. The tessitura becomes wider ranging, especially in the ‘trembling’ passage (bar 37-40)
- There are now passages of descending chromatic music and occasional ornamentation with grace notes (bear 51)
- The allegro moderato begins with an emphatic statement of the notes of the tonic chord of Bb Major.
- The famous coloratura passage is largely conjunct to start with though the highest notes contain triadic passages (bars 84-92)
9
Q
Describe Rhythm and metre in No.4
A
- The recitative begins with syncopated quavers in the violins and continuous repeated tonic notes in the bass
- Simple triple time second section contains dotted rhythm
- Anger is represented by demisemiquaver scalic passages in the strings (bars 32 and 34)
- Virtuoso, showpiece section has many passages of continuous semiquavers (bars 98-99)
- As the music builds to a climax, the upper strings have tremolo-like passages of fast repeated semiquavers
10
Q
Describe the Tonality and Harmony in No.4
A
- Key is Bb major and most of the music is diatonic in that key
- The key is shaped and strengthened by perfect cadences
- As in all Mozart, chromaticism is used. The bassoons and violas descend by chromatic steps at the beginning of the first section
- For contrast, the larghetto middle section is in G minor (relative minor)
- The final section returns to the tonic Bb major
- The aria ends with repeated, emphatic perfect cadences
11
Q
Texture in No.4
A
- Melody-dominated homophony
- Little use of contrapuntal devices
12
Q
Context of No.5 “Hm! Hm! Hm! Hm!”
A
The comic character Papageno has lied about his part in saving the prince from the serpent. As a punishment he has a padlock fitted to his mouth. All he can manage is the humming noises
13
Q
Beginning of No.5 information
A
- Opening complaining music has simple diatonic phrases in Bb Major with repeated notes and leaps.
- He has a dialogue with Tamino to ask him to help him but he says he can’t.
- The Queen’s three ladies then take pity on him and release the padlock as the music modulates to the dominant of F major
- To start with the ladies have separate phrases answered by Papageno before changing to a three-part homophonic texture
- Eventually the texture increases to five part in a simple homophonic style.
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