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Chapters 27, 28, & 32 Mozart
1.
CHAPTER 27, 28,
& 32 Wolfgang Amadeus Mozart Copyright © 2020 W. W. Norton & Co., Inc.
2.
Copyright © 2020,
W. W. Norton & Company, Inc. Mozart at the Keyboard with Sister, Nannerl, as Father, Leopold, Looks On
3.
Copyright © 2020,
W. W. Norton & Company, Inc. Wolfgang Amadeus Mozart (1756-1791) 1720 1730 1740 1750 1760 1770 1780 1790 1800 1810 Classical Era 1725–1825 Wolfgang Amadeus Mozart 1756–1791 • Born in Salzburg, Austria, child prodigy on piano • Composed 1st symphony by age 8, 1st opera at 12. • Father was a composer--Leopold Mozart; recognized his son’s musical genius early. • Toured Europe to meet composers, perform, and learn about styles of composition and performance.
4.
Copyright © 2020,
W. W. Norton & Company, Inc. Wolfgang Amadeus Mozart (1756-1791) Wrote every genre, mostly opera In London-performed concerti of J.C. Bach Archbishop Hieronymus Colloredo-refused him a more suitable position in court orchestra Had no success acquiring decent job Reputation as brat All works catalogued by Ludwig von Kochel Went to Vienna in 1781 without steady employment, hoping to support himself by performing on the piano, selling his compositions, and giving piano lessons. Died at age 35.
5.
Copyright © 2020,
W. W. Norton & Company, Inc. Mozart—Other Famous Compositions Mass in C Minor Requiem--a Mass for the Dead--his last, unfinished work Eine kleine Nachtmusik Symphonies—no. 25 (“Little”), no. 38 (“Prague”), no. 41 (“Jupiter”) Operas--Don Giovanni, The Magic Flute, The Marriage of Figaro, Cosi fan Tutte Piano Concertos Piano Sonatas
6.
Copyright © 2020,
W. W. Norton & Company, Inc. Mozart’s Eine kleine Nachtmusik, Part 2
7.
Copyright © 2020,
W. W. Norton & Company, Inc. Mozart’s Eine kleine Nachtmusik, Part 3 2. Mozart’s music: a. elegant, songful melodies b. contrasts of mood, drama c. peak of career, three comic operas: The Marriage of Figaro, Don Giovanni, Così fan tutte d. prolific composer of all genres: chamber music, keyboard works, symphonies, concertos, operas B. Mozart’s chamber music and Eine kleine Nachtmusik 1. divertimento and serenade a. popular, lighter genres b. performed at social functions
8.
Copyright © 2020,
W. W. Norton & Company, Inc. Mozart’s Eine kleine Nachtmusik, Part 4 2. Eine kleine Nachtmusik (A Little Night Music) a. serenade: string quartet and double bass b. public entertainment; outdoor performance c. four movements d. compact, intimate, beautifully proportioned C. Structural conventions: forms provide framework 1. use of sonata-allegro form a. more complex, intricate b. supple framework: infinite variety
9.
Copyright © 2020,
W. W. Norton & Company, Inc. Mozart’s Eine kleine Nachtmusik, Part 5 c. more profound musical conversation d. favorite of instrumental composers D. The first movement: sonata-allegro form 1. first movement usually in a fast tempo 2. longest in multimovement cycle 3. sonata-allegro (sonata) form: drama between two contrasting key areas a. exposition: first section i. statement of themes: two opposing keys and themes ii. theme 1: home key (tonic) iii. bridge: transitional passage, leads to second theme
10.
Copyright © 2020,
W. W. Norton & Company, Inc. Mozart’s Eine kleine Nachtmusik, Part 6 iv. theme 2: contrasting key v. closing section; often a closing theme vi. exposition repeats b. development: second section i. conflict and action: building of tension ii. themes varied, expanded, contracted iii. foreign keys, frequent modulations iv. activity and restlessness v. bridge leads back to tonic
11.
Copyright © 2020,
W. W. Norton & Company, Inc. Mozart’s Eine kleine Nachtmusik, Part 7 c. recapitulation: third section i. psychological climax: return to first theme ii. restatement of themes in tonic iii. coda: extension of closing idea E. The third movement: minuet-and-trio form 1. Baroque-era origins: court dance a. stately triple (3/4) meter 2. (A–B–A), pair of dances a. B section: originally three instruments (trio) b. da capo (“from the beginning”): first dance repeated
12.
Copyright © 2020,
W. W. Norton & Company, Inc. Mozart’s Eine kleine Nachtmusik, Part 8
13.
Copyright © 2020,
W. W. Norton & Company, Inc. Mozart’s Eine kleine Nachtmusik, Part 9
14.
Copyright © 2020,
W. W. Norton & Company, Inc. Mozart’s Eine kleine Nachtmusik, Part 10 3. internal structure a. binary (a–b), or rounded binary (a–ba) b. symmetrical: four- and eight-measure phrases F. Listening Guide 16: Mozart: Eine kleine Nachtmusik (A Little Night Music), K. 525, I and III (1787) 1. movement 1: Allegro; sonata-allegro form a. theme 1: disjunct, ascending “rocket” theme b. theme 2: graceful, descending c. closing theme: high energy level
15.
Copyright © 2020,
W. W. Norton & Company, Inc. Mozart’s Eine kleine Nachtmusik, Part 11 d. short development e. vigorous coda 2. movement 3: Allegretto; minuet-and-trio form a. strong, triple meter b. regular four-bar phrases, rounded binary c. minuet: bright, decisive d. trio: lyrical contrast
16.
Copyright © 2020,
W. W. Norton & Company, Inc. Mozart’s Eine kleine Nachtmusik, Part 12
17.
Copyright © 2020,
W. W. Norton & Company, Inc. Mozart’s Eine kleine Nachtmusik, Part 13
18.
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W. W. Norton & Company, Inc. Thirty to forty players Centered around string section Interchange among instrument groups like lively conversation The Classical Orchestra
19.
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W. W. Norton & Company, Inc. The Classical Orchestra Also called “chamber orchestra” Strings--8-10 first violins, 6-8 second violins, 4-6 violas, 3-4 cellos, 2 double basses Winds--2 flutes, 2 oboes, 2 bassoons, 2 trumpets, 2 French horns Trombones used-only in church music & opera(Haydn, Mozart) Percussion--timpani (kettle drums) Each section played a more special role-orchestra worked more as a whole
20.
Copyright © 2020,
W. W. Norton & Company, Inc. The Classical Symphony Symphony-extended composition typically lasting between 20 & 40 minutes, exploiting range of tone color and dynamics of orchestra 4 movements. Mozart and Haydn used minuet and trio form for the 3rd movement. Beethoven introduced the faster scherzo and trio as the dance movement.
21.
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W. W. Norton & Company, Inc. The Classical Symphony Great contribution to orchestral music Haydn-104, mostly composed for employers Mozart over 40, may not have heard them performed Beethoven-9, wrote only when inspired, longer than previous composers, conceived for performance in large concert halls
22.
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W. W. Norton & Company, Inc. The Classical Symphony Key-important, provided with title of work, may be only reference to piece, not necessarily important to listener Each movement self-contained composition with own set of themes, theme in one movement rarely appears in another Unified by use of same key in 3 movements, movements balance & complement each other Importance of symphony lasted through 20th century
23.
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W. W. Norton & Company, Inc. Detailed Forms of the Classical Period Sonata allegro Theme and Variations Minuet and Trio (song form and trio) Rondo
24.
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W. W. Norton & Company, Inc. Movements I. Fast, vigorous movement, always in sonata-form II. Lyrical slow movement-songlike melodies, can be in sonata-form, ABA form, theme & variations, NOT in tonic key III. Dancelike movement-minuet & trio, moderate or quick tempo(Haydn, Mozart) IV. Heroic fast movement-lively, brilliant, lighter in mood than opening movement, in rondo, sonata-form, sonata- rondo
25.
Copyright © 2020,
W. W. Norton & Company, Inc. Expanding Musical Ideas Theme: musical idea, building block Thematic development melodic outline, rhythm, or harmony varied extension, contraction, repetition larger forms: provides clarity, coherence, and logic motive: melodic or rhythmic fragment of a theme sequence: repeated at higher or lower level
26.
Copyright © 2020,
W. W. Norton & Company, Inc. The Sonata-Allegro Form Sonata-Allegro Form Became expected form for first movements of symphonies, concertos, chamber works Still used today Also found in other movements of multimovement works Sonata form different from sonata
27.
Copyright © 2020,
W. W. Norton & Company, Inc. More than just plan or scheme Features development of themes Zucchini analogy(old text) The Sonata-Allegro Form
28.
Copyright © 2020,
W. W. Norton & Company, Inc. The Zucchini Analogy Several years ago people in small town in Ohio realized that zucchini grew abundantly in their gardens and farms. In fact, conditions one summer were so good that they could never use all of it, and a lot of zucchini would rot unused on the vine. What to do? They decided to hold a “Zucchini Festival,” complete with crafts, dancing, music, and, of course, zucchini. Sure enough, it was chopped, sliced, and ground up and incorporated in all sorts of vegetable dishes, made into preserves and pickles, and blended in bread and muffins. Even the arts were included as many fine pieces of zucchini sculpture were carved It’s a bit like that with the development of themes in sonata-form. Composers take a theme and work it in all sorts of ways. The themes, or at least parts of them, are still there, but they have been given a variety of treatments.
29.
Copyright © 2020,
W. W. Norton & Company, Inc. Sonata Form, Continued Expansion of a rounded binary form Exposition takes up first part of the binary form; it is repeated--AA. Development and Recapitulation take up the second part of rounded binary form--BB (sometimes written as BA). Exposition lays out at least 2 main themes in contrasting, but related keys; the themes are usually dissimilar in character (e.g., one fast, one slower).
30.
Copyright © 2020,
W. W. Norton & Company, Inc. Sonata Form, Continued Development--moves through various keys (modulates), rarely staying in one key for long. Recapitulation--returns to tonic key and stays in that key throughout; themes of the exposition are heard again, but ALL are in the tonic key. Coda or Codetta--an ending section in the tonic key; not part of the actual sonata form
31.
Copyright © 2020,
W. W. Norton & Company, Inc. Sonata Form Diagram
32.
Copyright © 2020,
W. W. Norton & Company, Inc. • One of the most famous chamber music works of the era • Title literally means “a little night music” • Serenade for strings (written for a string quartet with an added double bass) • Written for outdoor public performance • Four movements (originally five) A Little Night Music Mozart: Eine kleine Nachtmusik, K. 525
33.
Copyright © 2020,
W. W. Norton & Company, Inc. Mozart’s Eine kleine Nachtmusik, Part 4 2. Eine kleine Nachtmusik (A Little Night Music) a. serenade: string quartet and double bass b. public entertainment; outdoor performance c. four movements d. compact, intimate, beautifully proportioned C. Structural conventions: forms provide framework 1. use of sonata-allegro form a. more complex, intricate b. supple framework: infinite variety
34.
Copyright © 2020,
W. W. Norton & Company, Inc. Mozart’s Eine kleine Nachtmusik, Part 5 c. more profound musical conversation d. favorite of instrumental composers D. The first movement: sonata-allegro form 1. first movement usually in a fast tempo 2. longest in multimovement cycle 3. sonata-allegro (sonata) form: drama between two contrasting key areas a. exposition: first section i. statement of themes: two opposing keys and themes ii. theme 1: home key (tonic) iii. bridge: transitional passage, leads to second theme
35.
Copyright © 2020,
W. W. Norton & Company, Inc. Mozart’s Eine kleine Nachtmusik, Part 6 iv. theme 2: contrasting key v. closing section; often a closing theme vi. exposition repeats b. development: second section i. conflict and action: building of tension ii. themes varied, expanded, contracted iii. foreign keys, frequent modulations iv. activity and restlessness v. bridge leads back to tonic
36.
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W. W. Norton & Company, Inc. Mozart’s Eine kleine Nachtmusik, Part 7 c. recapitulation: third section i. psychological climax: return to first theme ii. restatement of themes in tonic iii. coda: extension of closing idea E. The third movement: minuet-and-trio form 1. Baroque-era origins: court dance a. stately triple (3/4) meter 2. (A–B–A), pair of dances a. B section: originally three instruments (trio) b. da capo (“from the beginning”): first dance repeated
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W. W. Norton & Company, Inc. Mozart’s Eine kleine Nachtmusik, Part 10 3. internal structure a. binary (a–b), or rounded binary (a–ba) b. symmetrical: four- and eight-measure phrases F. Listening Guide 16: Mozart: Eine kleine Nachtmusik (A Little Night Music), K. 525, I and III (1787) 1. movement 1: Allegro; sonata-allegro form a. theme 1: disjunct, ascending “rocket” theme b. theme 2: graceful, descending c. closing theme: high energy level
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W. W. Norton & Company, Inc. Mozart’s Eine kleine Nachtmusik, Part 11 d. short development e. vigorous coda 2. movement 3: Allegretto; minuet-and-trio form a. strong, triple meter b. regular four-bar phrases, rounded binary c. minuet: bright, decisive d. trio: lyrical contrast
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W. W. Norton & Company, Inc. Mozart’s Eine kleine Nachtmusik, Part 12
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W. W. Norton & Company, Inc. Minuet and Trio: A Three-Part Large Form Often used as third movement of symphony, quartets, etc. Originated as dance-stately, dignified Triple meter(3/4), moderate tempo Each part also divided into 3 parts Minuet Section = A (a b a) repeated Trio Section = B (c d c) repeated Minuet Section = A (a b a) not repeated Trio section is often in another key and is more lively in tempo.
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W. W. Norton & Company, Inc. The Third Movement: Minuet and Trio Form Minuet/Trio A B A ||: a :||: b :||: c :||: d :|| a | b | Minuet Trio Minuet Dance I Dance II (3 instruments) Dance I (no repeats)
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W. W. Norton & Company, Inc. Unlikely heard them performed Score calls for typical orchestra: violins, violas, cellos, flute, 2 each oboe, bassoon, Fr. Horn; revised to include clarinets Symphony No. 40 in G Minor, K.555 (1788)
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W. W. Norton & Company, Inc. Mozart’s Symphony No. 40 in G Minor, Part 1 II. Mozart’s Symphony No. 40 in G Minor A. Mozart’s Symphony No. 40 1. mingling of Classical and Romantic elements 2. known in Vienna as the Romantic symphony 3. original orchestration featured flute, oboes, bassoons, French horns 4. revised orchestration includes clarinets
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W. W. Norton & Company, Inc. Mozart’s Symphony No. 40 in G Minor, Part 3 B. First movement, extended sonata-allegro form 1. longer sections, repetitions spread out 2. exposition: a. theme 1: home key established i. dark rustling in lower strings, theme in violins ii. theme built out of three-note motive, descending half steps (short-short- long) b. theme 2: lyrical, major key, comparative relaxation c. closing of exposition: opening motive returns
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W. W. Norton & Company, Inc. Mozart’s Symphony No. 40 in G Minor, Part 4 3. development: stormy a. melody in bass, countermelody above b. combines and expands motives through descending sequence 4. recapitulation: second theme in home key, tender tone 5. coda: confirms home key C. Listening Guide 17: Mozart: Symphony No. 40 in G minor, I (1788; rev. 1791) 1. Allegro molto; sonata-allegro form 2. Exposition: minor key, dramatic and dark, melancholy color 3. pervading rhythmic motive (short-short-long)
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W. W. Norton & Company, Inc. Mozart’s Symphony No. 40 in G Minor, Part 5 4. theme 1: three-note motive with upward leap 5. theme 2: lyrical, descending, in major 6. short development a. focus on three-note motive b. polyphonic texture 7. 7. Recapitulation: altered repetition of exposition a. both themes now in minor b. coda, extension of closing theme
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W. W. Norton & Company, Inc. Symphony No. 40, Movement I No. 40, Movement I
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W. W. Norton & Company, Inc. Mozart’s Symphony No. 40 in G Minor, Part 6
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W. W. Norton & Company, Inc. Mozart’s Symphony No. 40 in G Minor, Part 7
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W. W. Norton & Company, Inc. Difference between developing a theme vs. varying a theme Development Involves fragmenting and remolding a theme Variation Places the entire theme in new settings or gives it a new harmonic, rhythmic, or melodic costume
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W. W. Norton & Company, Inc. Opera of the Classical Period Enjoyed by middle class and aristocracy. Public opera houses were very popular. Both Haydn and Mozart composed many operas, thought most of Haydn’s are lost. Although Haydn’s operas were in traditional Italian, Mozart wrote some in German. Mozart produced some in folk theaters, called singspiel, rather than in opera houses. Plots often attacked aristocracy or made fun of current figures of the day.
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W. W. Norton & Company, Inc. Opera types – Opera buffa and opera seria – Opéra comique, Singspiel, ballad opera – Castrato vs. buffo Mozart and the Classical Opera
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W. W. Norton & Company, Inc. Master of Opera-wrote in both German & Italian Opera buffa-Italian, all composed to librettos by Lorenzo da Ponte The Marriage of Figaro- extremely successful Cosi fan tutte(They’re All Like That) Wolfgang Amadeus Mozart
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W. W. Norton & Company, Inc. Classical Opera, Part 1 I. Classical Opera A. Opera seria: “serious,” or tragic, Italian opera 1. inherited from Baroque tradition 2. aristocratic audience; “socially elevated” 3. recitatives and arias display virtuosity of star singers 4. stories from classical antiquity: kings and heroes B. Opera buffa: comic opera 1. simpler style, popular throughout Europe 2. reflected human emotions more realistically
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W. W. Norton & Company, Inc. Classical Opera, Part 3 3. supported by rising merchant class 4. sung in the vernacular a. lively, down-to-earth plots b. farcical situations, humorous dialogue, memorable tunes c. exciting ensembles at end of each act 5. important social force: satirized aristocracy 6. culminated in works of Mozart
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W. W. Norton & Company, Inc. Classical Opera, Part 4 C. Mozart’s Le nozze di Figaro (The Marriage of Figaro) 1. combines elements of opera buffa and opera seria 2. libretto by Lorenzo da Ponte a. based on French play banned in Vienna b. changed emphasis from political intrigue to love hijinks 3. main characters a. Figaro, bass: Count Almaviva’s servant b. Count Almaviva, baritone: aristocrat, notorious womanizer c. Susanna, soprano: the Countess’s maid and Figaro’s fiancée
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W. W. Norton & Company, Inc. Classical Opera, Part 5
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W. W. Norton & Company, Inc. Classical Opera, Part 6 d. Countess Almaviva, soprano e. Cherubino, mezzo-soprano: teenage boy, appealing figure (trouser role) f. Basilio, tenor: devious music master 4. plot summary a. Figaro and Susanna, soon to marry b. Count Almaviva pursues Susanna c. Figaro and the Countess are both jealous d. Susanna and Countess both enchanted by Cherubino e. couples’ woes all resolved at the end
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W. W. Norton & Company, Inc. Classical Opera, Part 7 D. Listening Guide 21: Mozart: The Marriage of Figaro, Act I, excerpts (1786) 1. Aria “Non so più cosa son, cosa faccio” (“I don’t know what I am, what I’m doing”): Cherubino a. mezzo-soprano, and small orchestra b. A–B–A–C–C′ c. A: quick rhythms, descending scale d. B: passionate and lyrical e. C: begins quietly, intense emotional build f. reflects passion of a lovestruck teenager
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W. W. Norton & Company, Inc. Classical Opera, Part 8 2. Recitative: Susanna, Count Almaviva, Basilio a. rapid, syllabic style, no distinct melodic shape b. advances the plot, focus on the text c. accompanied by fortepiano and cello, simple harmonies
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W. W. Norton & Company, Inc. Classical Opera, Part 9 3. Terzetto “Cosa sento”: Count Almaviva, Basilio, Susanna a. through-composed, various overlapping combinations b. Count: grandiose and pompous statements c. Susanna: anxious and angry d. Basilio: devious and mealy-mouthed e. mostly polyphonic, some homophony f. orchestra reinforces emotions
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W. W. Norton & Company, Inc. Classical Opera, Part 10
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W. W. Norton & Company, Inc. Classical Opera, Part 11
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W. W. Norton & Company, Inc. Classical Opera, Part 12
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W. W. Norton & Company, Inc. Classical Opera, Part 14
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W. W. Norton & Company, Inc. Classical Opera, Part 15
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W. W. Norton & Company, Inc. Requiem Mass in D Minor(1791) – The REAL Story Commissioned by anonymous nobleman through letter brought by a stranger Intended to pass off work as his own Composed 9 movements, part of 10th Tried to finish on deathbed four vocal soloists, 4-part chorus, and orchestra • expanded use of low brass; organ Baroque touches(double fugue in Kyrie) Completed by student-Franz Suessmeyer, who filled out orchestration, completed fragment, added four movements
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W. W. Norton & Company, Inc. Credits This concludes the Lecture PowerPoint presentation for “The Enjoyment of Music, 4th Edition, Chapter 27: Expanding the Conversation: Mozart, Chamber Music, and Larger Forms” For more resources, please visit https://digital.wwnorton.com/enjmusic4ess
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