Wolfgang Amadeus Mozart 17561791

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Wolfgang Amadeus Mozart1756-1791
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Wolfgang Amadeus Mozart1756-1791

• Born in Salzburg
• 7th child of Leopola and Anna Maria
• only he and sister Nannerl survived infancy

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Leopold Mozart Very respected composer and
violinist
Leopold Mozart, 1765.
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First composition age 5 transcribed by Leopold
Later composition age 6
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Mozart played for kings and queens. This
portrait of him was painted in 1762, when he was
six years old.
Children during Mozarts time dressed just like
adults. He just finished playing for Empress
Maria Theresa of Austria.
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The Mozart Family
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As Mozart grew older, his reputation spread. Not
only was he a gifted musician, but he could also
compose his own music.
Mozart at 14, 1770.
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Mozart

• Able to hear complete pieces in his head
• Capability for output
• 10 years
• 8 Symphonies
• 17 Piano Concertos
• 6 Operas
• Clarinet quartet and quintet
• Requiem Mass
• 11 String Quartets
• 5 String Quintets
• Many Individual Works

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• Though it be long, the work is complete and
  finished in my mind. I take out of the bag of my
  memory what has previously been collected into
  it. For this reason the committing to paper is
  done quickly enough.
• Mozart

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• What a delight this is I cannot tell all this
  producing takes place in a pleasing, lively
  dream.
• Mozart

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• People make a mistake who think that my art has
  come easily to me. Nobody has devoted so much
  time and thought to composition as I. There is
  not a famous master whose work I have not studied
  over and over.
• Mozart

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• My pay is too much for what I do, too little
  for what I could do.
• Mozart

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Mozarts Music

• Simple melodies
• Contrasting moods
• Rich orchestration
• Perfected the serenade

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Mozarts Music

• Favored the piano
• Concertos written for his performance
• Later symphonies considered his best
• Operas

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Mozarts music was meant to be fun and
entertaining.
Mozart 2 years before his death in 1777.
Rondo alla Turka
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Piano Concerto in A MajorK.488First movement,
Allegro 1786

• sold to Prince von Furstenburg
• combined elements of sonata and ritornello form

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Mozart Opera

• Opera problems Mozarts solutions

1. stockcharacters
characters have real, believable personalities
2. plots about mythology, gods, aristocracy
plots about real-life middle class characters
continuous flowarias and recitatives blended
together
3. stop go (aria) (recit.)
4. not cohesive (e.g.,
sinfonia)
style, orchestration, harmony, melody--all
contribute to setting mood adding depth to
characters
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Don Giovanni

• "The Best Opera Ever Written"
• - Richard Wagner

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Libretto

• By Court poet Lorenzo Da Ponte (like Cosi and
  Figaro)
• Based on a very well known existing story.
• Don Juan is a stock character.
• Da Ponte and Mozart worked closely together on
  the opera right up to the performance.

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• used contemporary characters, not mythological
  figures or ancient history from Rome or Greece
  (although he did a few of those, too)
• biting social commentary the decadent
  aristocracy is compared to the normal, happy,
  healthy lust and love of the common folk
• recitative still used
• some in German with spoken dialogue

Da Ponte
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• -- all voice ranges used (instead of the
  Baroques treble bass preference)
• -- ensembles (groups of solo voices) now
  contrasted with arias and recitative

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Don Giovanni Italian comic opera Don Juan as
anti-hero critique of aristocracy Rarely
performed in the 1800s now regarded as one of
Mozarts finest operas 1787
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Don Giovanni 1787

• A comic opera (opera buffa) in 2 acts.
• Commissioned by the Prague Opera company after
  the success in Prague of Marriage of Figaro.
• Planned as entertainment for visit of newlywed
  niece of Emperor the archduchess Maria Theresia
  and Prince Anton Clemens of Saxony 14 October
  1787.

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The Cast

• As always the singers determined the nature of
  the music Mozart had to write to their
  capabilities. He knew them all except one as he
  had conducted them in Figaro.
• Don Giovanni Luigi Bassi had been Count
  Almaviva a fiery Italian very handsome and
  very stupid 22 years old, an excellent mimic
  and a very good actor.
• The cast requires 3 females (all sopranos), 5
  males (3 basses, baritone and tenor), plus
  chorus. This small cast reflects the Prague
  company exactly.

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Characters - Male

• Don Giovanni a cavalier and seducer of women.
  An ambivalent role that can be played a number of
  ways. Needs a great voice.
• Leporello servant of Don his assistant in
  crime who unlike Don has some reservations about
  their activities.
• Don Ottavio fiance of Donna Anna.
• Masetto country peasant lover of Zerlina
• Commendatore elderly knight and man of honour.

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Characters Female

• Donna Anna daughter of Commendatore and
  betrothed to Ottavio.
• Donna Elvira a highborn lady from Burgos used
  and abandoned by Don.
• Zerlino a country girl who Don attempts to
  seduce.

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Synopsis

• ACT I
• Scene 1. The garden of the Commendatore's house
• A disgruntled Leporello keeps watch while Don
  Giovanni tries to add Donna Anna to his list of
  conquests. Don Giovanni runs from the house,
  followed by Donna Anna, who is trying to unmask
  him and calling for help. Her father, coming to
  her aid, challenges Don Giovanni and is killed by
  him. Don Giovanni and Leporello make their escape
  before Donna Anna reappears with her betrothed,
  Don Ottavio, whom she calls on to avenge her dead
  father.
• Scene 2. A street near an inn
• Don Giovanni and Leporello come upon Donna
  Elvira, who has been seduced and abandoned by Don
  Giovanni and who is pursuing him. Don Giovanni
  slips away, leaving Leporello to explain to her
  that she is but one of many.
• Scene 3. The countryside near Don Giovanni's
  house
• Don Giovanni and Leporello come upon a peasant
  wedding. Don Giovanni orders Leporello to
  distract Masetto, the bridegroom, while he
  attempts to seduce the bride, Zerlina. He is
  interrupted by Donna Elvira, who warns Zerlina
  and persuades her to come away.
• Donna Anna and Don Ottavio, not realising that
  Don Giovanni is the villain they are looking for,
  ask for his help. Elvira appears again and
  accuses Giovanni of faithlessness, and he tries
  to convince the others that she is mad. As he
  leaves, something in his voice and manner
  convinces Anna that he is her attacker and the
  murderer of her father.
• Leporello reports to his master that he has all
  the peasants feasting and drinking, and Giovanni
  orders him to ply them wine, as he intends to add
  to his list of conquests.
• Scene 4. The garden of Don Giovanni's house
• Zerlina manages to convince the reproachful
  Masetto that she has done nothing wrong, but he
  is again suspicious when she is alarmed by Don
  Giovanni's voice. Another attempt on Zerlina
  foiled by Masetto's presence, Don Giovanni leads
  the couple into the house.
• Donna Elvira, Donna Anna and Don Ottavio return
  wearing masks. Accepting Leporello's invitation
  to join the party, they hope this will make their
  revenge easier.
• Scene 5. A ballroom in Don Giovanni's house
• As the guests feast, dance and sing, Leporello
  distracts Masetto again and Don Giovanni lures
  Zerlina into another room. When she screams for
  help Giovanni accuses Leporello. But Elvira, Anna
  and Ottavio reveal themselves and confront him
  with their knowledge of his villainy. He makes
  his escape in the confusion.

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• ACT II
• Scene 1. A street near an inn
• Don Giovanni soothes Leporello's indignation with
  money. He has his eyes on Donna Elvira's maid and
  changes clothes with Leporello so he will look
  like one of her class. Elvira appears at a window
  and laments her continuing love for Don Giovanni.
  He answers from the shadows that he still loves
  her, while Leporello, dressed in his clothes,
  mimes in the street. Elvira comes down and Don
  Giovanni instructs the disguised Leporello to
  lead her away while he serenades the maid.
• Masetto and his friends appear, armed and in
  search of Don Giovanni, who, pretending to be
  Leporello, sends the villagers off in different
  directions, then catches Masetto off guard and
  beats him. Zerlina finds Masetto and comforts
  him.
• Scene 2. A courtyard near Donna Anna's house
• Leporello has not managed to free himself from
  Donna Elvira, who still takes him for his master.
  Donna Anna, Don Ottavio, Zerlina and Masetto find
  them and accuse Leporello of Don Giovanni's
  crimes. Elvira tries in vain to intercede for her
  "husband" but Leporello reveals his identity,
  pleads innocence and succeeds in making a
  getaway. Don Ottavio's promises to avenge his
  beloved's wrongs.
• Scene 3. A cemetery, where the Commendatore is
  buried
• Don Giovanni and Leporello have escaped from
  their pursuers. Giovanni's narrative of a girl
  who took him for Leporello is interrupted by the
  voice of the statue of the Commendatore reproving
  him for his levity and libertinism. Undeterred,
  he orders the terrified Leporello to invite the
  Commendatore to dinner. The statue accepts.
• Scene 4. A room in Donna Anna's house
• Don Ottavio tries to calm Donna's Anna's grief by
  reminding her that they will soon be married, but
  she begs to him to delay their wedding.
• Scene 5. A banquet hall in Don Giovanni's villa
• Don Giovanni is interrupted at supper by Donna
  Elvira, who wants him to change his ways. He
  laughs at her and she leaves, but runs back
  screaming. Investigating, Leporello returns in
  terror the statue has come. The Commendatore
  enters and, refusing to touch earthly food,
  invites Don Giovanni to dine with him. Don
  Giovanni accepts and is engulfed by the flames of
  hell, steadfastly refusing to repent.
• The other characters sing an epilogue about how
  the wicked receive their just deserts.

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First Performance

• 29 October 1787 beginning at 7pm and planned to
  end at 9.30.
• Mozart had composed the overture the night before
  it was to be rehearsed.
• Mozart greeted with great cheers on entering pit
  to conduct at the keyboard.
• A great success and a long run of performances.
• Mozart remained in Prague until 13th November.
• Boldini wanted Mozart to stay and write another
  but Mozart had to return to Vienna.
• Prague was always a great supporter of Mozart and
  Mozart remained very fond of the city to the end.

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Vienna

• The success of Don Giovanni became known in
  Vienna and helped Mozart get Glucks job as
  Kammermusikus to the Emperor.
• Command for Vienna performance by Emperor 7th
  May 1788 in Burgtheater.
• Joseph II already busy on battlefield of second
  Turkish War.
• Some alterations to arias and scenes to
  accommodate Viennese taste and singers available.
  
• Mozart conducted first three performances. Only
  gradually did Vienna warm to the work.
• Vienna and Prague versions exist the Prague is
  generally preferred.

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Terror and Effects.

• Don Giovanni is notable for the introduction of
  terror into opera. Naked fear.
• To do this he uses Trombones always associated
  with the underworld. They do not appear until
  Commendatore statue appears on stage to condemn
  Don Giovanni.
• At the end of Act I three orchestras play
  simultaneously on stage. First band plays Minuet
  in G in ¾ for oboes, horns and strings then
  orchestra II turn up and play Contradanse in G in
  2/4 time orchestra three tune up and play German
  Dance in 3/8.

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Keys

• As always the opera is carefully constructed in
  terms of key relationships.
• D is the opera key minor at first (overture and
  statue scene at end). Overture and opera end in
  D major.
• Second Act leads from G major to A major, D
  major, F major, E flat (sextet). Then to D major
  for trumpets and drums. Then to D minor
  punishment key for murder. Back to D major then
  D minor for end of sextet in E flat.

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Liberty

• Act I scene 20 Dons grant reception in the Hall.
  After introductory scene with Don, Leporello,
  Masetto and Zerlina key changes to C major for
  entry of Don Ottavio, Donna Anna and Donna Elvira
  (all masked).
• After greeting all Don sings E aperto tutti, a
  tutti quanti, viva, viva la liberta (it is open
  to everyone, long live liberty).
• Every one seizes the phrase and it turns into
  triumphal march with trumpets and drums
• IS this Da Pontes personal tribute to Joseph II
  and his ideas on personal freedom and
  enlightenment.

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Don Giovanni--Deep thots

• Describe Don Giovannis character behavior.
• How does the opera treat the Don or portray his
  behavior? Is he portrayed as evil or just
  mischievous?
• Does the Don repent? Why is this significant?
  How does this contrast with thinking in the
  Baroque era?
• How does Don Giovanni reflect the culture,
  spirit of the classical era?
• What elements of Don Giovanni conflict with
  enlightenment thinking?
• Do you think Don Giovanni would have been more
  popular or less popular with Baroque society than
  it was in the 18th century? Defend your answer.

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Mozart was 36 years old when he died in 1791. In
his short life he wrote over 600 compositions.
This portrait, painted after Mozarts death, is
said to look the most like him. It was painted
in 1819.
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Mozart died penniless despite his enormous
talent. One of the greatest composers the world
has ever known is buried in an unmarked grave.
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Know about Mozart

• his problems w/ patronage
• unusual method of composing
• his development of opera

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Mozarts Symphonies

• His first symphony was written in 1788.
• Rameau had died, Beethoven was 18.
• During this quarter century many changes came to
  the symphony.

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Changes in the Classical Symphony

• Shift in the function and valuation of the
  symphony.
• Move from introductions to theatre, plays,
  operas, civic events.
• Move to a piece intrinsic in itself. Symphony
  for Symphonys sake.

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K. 550 Symphony in G minor, No. 40

• July 25, 1788
• One of the last and most beautiful of the master.
• Labeled Romantic by the people of the time for
• Intensity
• Chromaticism
• Unconventionality
• Thematic development
• Abundance of Ideas
• Ambiguity.

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A Roadmap for Form The First Movement

• Sonata allegro.
• Exposition.
• Theme for violins in Gminor.
• Three note motive that is prime for development,
  sequence.
• Transition coupled with crescendo to go into the
  second theme in Bflat major.
• Build up of tension.
• Codetta keeps the listener in the contrasting key.

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Development

• Develops the three note motive from the
  beginning.
• Changes melody.
• Combines motives.
• Sequences downward.
• Inversion of motives.
• Build up of tension.

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Recapitulation

• Follows the exposition.
• G-minor remains the home key.
• Tender this is a change from convention. Most
  composers would go to G major just to end the
  work in a triumphant sound.

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The Classical Concerto

• Solo Concerto a concerto which displays the
  opposition of a solo and the tutti orchestra.

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Three Movements

• Fast
• Slow
• Fast
• ABA
• Cadenza a solo passage found in solo concerti.
  This passage is either written out or improvised.
  It occurs toward the end of a movement and
  displays themes from the movement presented in a
  fantasy of improvisation.

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The First Movement

• Transforms the ritornello form of the Baroque
  period to a Sonata Allegro in the Classical
  Period.
• Theme I is usually orchestral
• Theme II uses Theme I and new material by the
  soloist.
• Development is the tension building area.
• Recapitulation in the home key symmetry!

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The Second Movement

• Slow and Lyrical
• Key near the tonic but not the tonic.
• Not so much distance from the tonic.
• Hymn-like character by the soloist.

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Third Movement

• Allegro Molto (very fast) Presto (even faster)
• Grand Finale
• Rondo form probably shorter than the first
  movement.
• Cadenza is usually found here also.

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Mozart Piano Concerto in G Major, K. 453

• 1784 Mozart wrote 6 piano concertos. This one
  is written for a 19 year old student, Barbara von
  Ployer.
• Mozarts concerti are considered the watershed of
  classical concerti. Grand flourishes as well as
  intimate conversations make up this style in
  Mozarts mind.
• Notice elements present from chamber music as
  well as symphony.
• Intimate conversation.
• Laughing strings.

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Mozart Piano Concerto in G Major, K. 453

• March-like character.
• Grand contrasts.
• Notice the similarities to the symphony.
• Use of the woodwinds for coloration.
• Use of classical forms ritornello sonata
  allegro rondo.
• Dazzling writing for the piano as well as for the
  orchestra.

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Other Forms Minuet and Trio
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The Sonata Cycle

• Movement I Long Dramatic, Sonata Form Allegro
  fast
• Movement II Slow and lyrical, Theme and
  Variations or ABA. Andante, Adagio, or Largo
• Movement III Minuet and Trio (18thC.) Minuet and
  Scherzo (19thC.), Allegretto or Allegro
• Movement IV 18th C lively and happy ending,
  Sonata Allegro, Sonata Rondo, Theme and
  Variations. Very Fast. Allegro, Vivace, Presto.
  Grand Finale 19th C. Triumph

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The Marriage of Figaro
- celebration of common people v. the decadent
aristocracy
Bourgeois (Genre)
Chardin The Prayer before Meal1744
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Mozart viewing example
Cosi fan Tutte (they all do it) 3 pairs of voices
symmetry of design appeals to the Classical
mind
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Mozart listening example
-- finale from Act II of The Marriage of
Figaro -- an ensemble scene (six voices) --
contrasting emotions presented simultaneously
(compare that to the Baroque ideal aesthetic of
Affect, one mood or emotion per piece)