Chapters 27, 28, & 32 Mozart

CHAPTER 27, 28, & 32
Wolfgang Amadeus Mozart
Copyright © 2020 W. W. Norton & Co., Inc.

Copyright © 2020, W. W. Norton & Company, Inc.
Mozart at the Keyboard with Sister, Nannerl, as Father, Leopold,
Looks On

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.

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.

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

Mozart’s Eine kleine Nachtmusik, Part 2

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

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

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

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

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

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

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

Thirty to forty
players
Centered around
string section
Interchange among
instrument
groups like lively
conversation
The Classical Orchestra

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

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.

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

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

Detailed Forms of the Classical Period
Sonata allegro
Theme and Variations
Minuet and Trio (song form and trio)
Rondo

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

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

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

More than just plan or
scheme
Features development of
themes
Zucchini analogy(old text)
The Sonata-Allegro Form

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.

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).

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

Sonata Form Diagram

• 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

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.

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)

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)

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

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

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)

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

Symphony No. 40, Movement I
No. 40, Movement I

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

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.

Opera types
– Opera buffa and
opera seria
– Opéra comique,
Singspiel, ballad opera
– Castrato vs. buffo
Mozart and the Classical Opera

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

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

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

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

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

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

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

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

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

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

Chapters 27, 28, & 32 Mozart

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