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Flashcards in Mozart 1791 Deck (29)
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1
Q

Context

A

First composer to write in the vernacular of the people (most were in Italian)
Singspiel, stories with comedy and magic, for middle classes
Not an opera, aimed towards nobility and upper classes
Strongly connected with Freemason and Enlightenment movement
An intellectual and philosophical movement in the 18th cent, focused on reason being the primary source of authority

2
Q

Melody

A

Balanced phrases, shaped by regular cadences
Word painting
Word setting

3
Q

Balanced phrases, shaped by regular cadences

A

No 5, between P and T, very characteristic of Classical music
(Just before, Voi Che Sapete, Marriage of Figaro)

No 4, recit, 3, 3, 2, 2, unusual phrasing, express the Queen’s emotional imbalance

4
Q

Word painting

A

No 4, loud high F in aria, anger, heighten text
(Same, Der Holle Rache, even more virtuosic, repeated high Fs)

No 5, CHROMATIC APPOGGIATURAS!!!, heighten text, pathos
(Before, Lascia ch’io pianga, emphasis her pain)

5
Q

Word setting

A

Recitative, more syllabic, move through text as quickly as possible
(Before, Handel, Messiah, secco recit, very limited pitch range)

Aria, more melismatic and slurred pairs, some syllabic, allows for word painting, expressively (Just before, Voi Che Sapete, Marriage of Figaro

6
Q

Texture

A

Predominantly mel dom hom
Occasional homophony
Little use of contrapuntal devices
Pedals

7
Q

Predominantly mel dom hom

A

No 4, melody always in coloratura sop part, heighten text (After, Pirates of Penzance, I am a Pirate King)

8
Q

Occasional homophony

A

No 5, 3 part and 5 part homophony, express unity of thoughts
(After, Fidelio, A Wondrous Feeling Fills me, Joacino does not join in with 3 homophonic singers, disagreements of thought)

9
Q

Little use of contrapuntal devices

A

2 part counterpoint, T and P after increasingly short phrases
No polyphony, too serious, too Baroque, does not match mood of singspiel

10
Q

Pedal

A

Bb tonic in intro, emphasizes importance of Queen, instruments could now handle a greater range of keys

11
Q

Harmony

A

Functional harmony, shaped by cadences
Predominantly diatonic
Some chromaticism
Pedal

12
Q

Functional harmony, shaped by cadences

A

No 5, flute presents Classical femenine cadences, many V I with dom 7th
Strong sense of balance, characteristic of Classical music

13
Q

Predominantly diatonic

A

Coloratura section, to express power and hope, form of word painting
(After, A wondrous feeling fills me, Fidelio)

14
Q

Chromaticism

A

Use of N6, It aug6th, unease but quell P’s fear with dom 7th, Dim 7th on Help!
Chromatic appoggiaturas, Characteristic of Classical music, form of word painting (Before, When I am laid in Earth, Dido and Aeneas)

15
Q

Pedal

A

Bb tonic in intro, emphasis entrance of Queen Reinforce the tonality, drive towards cadence points

16
Q

Tonality

A

Functional tonality

Use of keys help with word painting

17
Q

Functional tonality

A

Both start and end w Bb maj, instruments could now handle a larger variety of keys
Shaped by cadences, marks ends of sections, strengthens tonal argument
(Just before, Ah chi mi dice mai, Don Giovanni)

18
Q

Use of keys, hero with word painting

A

Eb maj, regal, heroic key, often used in this way
(Just before, Marriage of Figaro, Finale Act II, status of Count)
G min, Mozart’s grief key (Before, Mozart, The abduction from the Seraglio)
Secondary dominant, used to explore a larger range of keys, reflect mood and meaning of words

19
Q

Rhythm, tempo and metre

A
RTM used to support and convey text
Metre mark section changes
Tempo changes mark section changes
Rhythm, a form of word painting
Use of rests
20
Q

Metre used to mark sections

A

No 4, 3/4, 4/4 in virtuosic section

No 5 Cut common time, 4/4 Charcteristic of classical music, changes mark section changes (After, Nous avons en tete en en affaire, changes frequently as smuggelers try to change Carmen’s mind)

21
Q

Tempo changes mark sections

A

No 5, Allegro, Andante, mark entrance of 3 boys, Masonic

No 4, Allegro maestoso, Larghetto, Allegro, emphasise Queen’s presence, used to support the plot, changes mark changes in mood

22
Q

Rhythms, a form of word painting

A

No 4, syncopation in vln against straight crotchets in bass, agitation, anticipation (After, Abuschleicher, Fidelio, fast semis and allegro agitato, same result)

No 5, dotted rhythms, add movement and pace
(Before, When I am laid in Earth, moves her towards her suicide)

No 4, continuous semis in virtuosic coloratura passage, hope

No 4, HDSquaver, anger (After, D’Amore al dolce Impero, Armida)

23
Q

Use of rests

A

No 5, Andante, semiquaver rests within melody

Breathlessness, excitement (Before, When I am laid in Earth, sighs)

24
Q

Structure

A

Recit, aria with short intro

Throughcomposed

25
Q

Recit, aria with short intro

A

Instrumental intro,
Accompanied recit, (different to Lascia ch’io pianga, secco recit, continuo chords)
Aria, Allegro moderato, virtuosic coloratura
Ends with perfect 4th, V I
18th century format
(Before, Fidelio, Beethoven, accompanied recitative, aria, slow, steady emotions, coloratura passage, more energy)

26
Q

Through composed

A

Clearly differentiated sections, little reflection of material (Just before, Ah chi mi dice mai, Mozart, Don Giovanni), reflect meaning of words

27
Q

Sonority

A

Singers

Orchestra

28
Q

Singers

A

Queen, coloratura soprano, tessitura widens in trembling and hopeful passages to heighten text
(Same, Der Holle Rache, even wider tessitura, highest notes ever written for coloratura sop)

T Tamino, B Papageno, 3 Ladies Masonic no, sing sotto voce, secretive word painting,

29
Q

Orchestra

A

Strings, wind and brass, Classical era led to development of stronger instruments like horns

Double voices, accompany or add playful instrumental responses, keep mood light and entertaining
(Same, Ach Ich Fuhls, Magic Flute, orchestra swells when Panama tells Tamino his heart is cold and loveless)