1
Chapter 21
Opera and Vocal Music in the Early Classic Period
p.483
PREFACE
*
The new musical idiom and the Enlightenment writers
*
Roots in vocal music
*
Direct and musical expression
*
Traits from Italian opera
*
1720s~1730s
*
Separation of comic and serious opera
*
Tradition weighed less on comic opera
*
(Comic opera) more hospitable to innovation
*
more unexpected and naturalistic ways in comic opera
*
Beauty of melody and ability of music to portray complex characters and rapidly changing
emotions
I.
Italian Comic Opera
A.
Stylistic features
1. Acceptability of new styles
2. Emphasis on beautiful melodies
B.
Opera buffa
1. dramma giocossa, dramma comico, and commedia per musica
C.
2.
General characteristics
a. A full-length work
b. 6 or more characters
c. Plots
d. Commedia dell’arte
e. Recitative with continuo
3.
Arias
a. Short tuneful phrases accompanied by simple harmonies
b. Da capo forms
c. Example 21.1
Intermezzo
1. A short, comic, musical interlude
2. Plots
3. 2 main characters + bass
4. Recitative and aria
5. La serva padronna by Giovanno Battista Pergolesi
p.484
p. 485
2
3
D.
II.
La serva padronna, excerpt ( see NAWM 101 and Example 21.2 )
1. Recitative section
a. Opening: simple recitative
b. Later dramatic moment: accompanied recitative
c. Modulation
2. Aria
a. Da capo form
b. Ritornello opening
c. A section with 2 stanzas
d. B section with contrasts
e. Presenting contrasting emotions
E. Later comic opera
1. Serious and sentimental elements
2. Ensemble finale
p. 486
p. 489
Opera Seria
A. Simple melodic style from opera buffa
B.
Pietro Metastasio (1698-1782)
1. Librettos
2. To promote morality
3. Stories
4
3 acts
C.
Alternations of recitatives and arias
1. Recitatives
a. Simple recitative
b. Accompanied recitative
2. Arias
3. Little vocal ensemble
4. Role of the orchestra
D.
Da capo aria
1. 2-stanza standard
2. 1st A section
a. Opening ritornello
b. The 1st vocal statement
c. A short ritornello follows
d. The 2nd vocal statement
p. 490
4
5
3.
E.
III.
The B section
a. Use the 2nd stanza
b. Syllabic text-setting
c. Different tempo, meter, or key
4. The return of the A section
a. Repeated with embellishments
b. Abbreviated da capo
5. New features
a. Contrasting moods
b. 4-measure antecedent and consequent phrases
Johann Adolf Hasse (1699-1783)
NAWM 102
1. Da capo aria
2. A1 and A2
3. B
4. return of A
Opera in Other Languages
A. Opera outside of Italy
1. Opera seria
2. Comic opera
a. libretto
b. music
3. Historical significance of comic opera
a. reflect
b. encourage
B.
France
1.
Querelle des bouffons ( Quarrel of the Comic Actors )
2.
Jean-Jacques Rousseau (1712-1778)
3.
Opéra comique
a. vaudevilles
b. Airs or ariettes in Italian style
c. Spoken dialogue
d. Serious plots based on social issues
e. Richard Coeur-de-Lion (Richard the Lion-Hearted, 1784) by Grétry
P. 493
C.
p. 496
England
1. Ballad opera
a. Spoken dialogue in English
b. Borrowed popular tunes and newly composed songs
c. Influential in Britain and America
p. 494
p. 495
6
7
2.
D.
E.
IV.
A.
The Beggar's Opera (1728) by John Gay and Johann Pepusch
a. Enormous popularity
b. Plot (HWM Figure 21.5)
c. Orchestration
The Beggar's Opera, excerpt from Scene 13 (NAWM103)
1. Macheath fleeing from the law and hiding in Polly's room
2. Borrowed melodies present Melancholy
3. My heart was so free
a. Simile to aria of Baroque operas
b. Courting song
c. Binary form.
4. Were I laid on Greenland's coast
a. Tune
b. The duet
c. In C Dorian mode
Germany and Austria
1. Serious German opera
2. Singspiel
a. Spoken dialogue, musical numbers, and comic plot
b. Influence from English ballad opera
c. Johann Adam Hiller (1728-1804)
d. In northern Germany
e. Funny subjects with lively music
Opera Reform
Beginnings
1. Wanted opera to be more natural
a. Want more flexibility in recitatives and arias
b. Orchestra and choruses
c. Less demands of singers
d. An Essay on the Opera (1755)
2. Jommelli (1714- 1774) and Traetta (1727-1779)
a. Common:
b. Jommelli: model for later opera seria
c. Traetta: combine French tragédie en musique and Italian opera
p. 497
p. 498
8
9
B.
C.
Christoph Willibald Gluck (1714-1787)
1. Born
2. Purge Italian opera
a. NO singers' wishes and da capo form
b. Overture
c. Lessened contrast between recitative and aria
d. "a beautiful simplicity"
3. Orfeo ed Euridice (1762)
a. Libretto
b. Music molded to the drama
4. French opera
a. Iphigénie en Aulide
b. Orfeo and Alceste
Orfeo ed Euridice, Act II, Scene I opening (NAWM 104 )
1. Two orchestras
2.
3.
4.
V.
A.
B.
p. 499
Dissonances
The ballet
a. Modulation
b. Dance as central to the story
Orfeo's song to the Furies
a. Melody
b. Phrases
c. Role of Orfeo
Song and Church Music
Songs in many nations
1. Strophic
2. Melodies
3. The accompaniment
4. France: romance
5. Britain: ballad
6. Scottish and Irish folksongs
The Lied
1. Collections:
2. Characteristics:
3. Composers:
4. Erlkönig
p. 500
10
11
C.
D.
Church music
1. Catholic music
a. Stile antico and polychoral style
b. Composers
c. Italian oratorios
2. Lutheran music
a. Galant style
b. Oratorio
3. England
a. Baroque style
b. Composers
p. 502
p. 503
Sacred music in the New World
1. European settlements
2. New England
3.
4.
5.
6.
Singing schools
William Billings (1746-1800)
a. Unaccompanied four-part plain tunes
b. Fuging tunes
c. Two collections:
d. Two milestones:
Creation (NAWM 105)
a. Fuging tune from Continental Harmony.
b. First half:
c. Second half:
d. End:
e. Tenor as principal melody
f. Parallel fifths and octaves
Moravians
a. Concerted arias and motets
b. Composers:
c. Moravians collected both sacred and secular music
VI. Opera and the New Language
1. sources in vocal music
2. “naturalistic” expression
3. impact on instrumental music
4. new melody and form
5. mid-18th century as transition
p. 504
12
13
Chapter 22
Instrumental Music: Sonata, Symphony, and Concerto at Midcentury
p. 506
INTRODUCTION
＊ Qualities of new idiom:
＊ Instrumental music gained new independence
＊ Important developments:
1、piano
2、string quartet
3、sonata
4、concerto and symphony
5、sonata form
I.
Instrumentals and Ensembles
A.
B.
Roles of instrumental music
1. social activity
2. dinner and party music
3. in concerts
4. for dancing
The piano
1. harpsichord and clavichord
2.
Bortolomeo Cristofori
a. action
b. dynamics
3.
2 types of piano:
a. grand piano
b. square piano
4.
the “fortepiano”
p. 507
14
15
C.
D.
II.
Chamber ensembles
1. keyboard as melody instrument
a. melody instruments and the continuos
b. fully written-out part
c. female keyboard player
2.
Music for string ensemble without keyboard
a. 2-5 strings
b. string quartet
c. for enjoyment
d. concertante
3.
Wind instrument and ensembles
a.
b.
c.
clarinet
wind ensemble
2 oboes＋2 clarinets＋2 horns＋2 bassoons（Figure 22.4）
d.
amateurs as flutists
Orchestra
1. concert orchestra in the 18th
2. clarinet
3. the basso continuo
4. principle violin as conductor
5. string and wind instruments
Genres and Forms
A.
Genres of the Classic era
1. genres from Baroque era are out of fashion
2. sonata in 3 or 4 movements
3. chamber ensemble
4.
Orchestral music
a. concerto
b. symphony
5.
6.
3 movements
4 movements
p. 508
p. 509
p. 510
16
17
B.
Continuity and change
1. Concerto, sinfonia, sonata are old
2.
C.
The Galant style is new
a. melody
b. accompaniment
c. now forms
Preference for the major mode
1. Baroque: prefer minor
2.
Classical: prefer major
3.
minor keys as contrast
a.
b.
D.
minor modes divert from stability
the return to Tonic
Binary forms
1. Classic-era forms are harmonic
a. Tonic→Dominant→Tonic
b. in minor key: Tonic→relative major→Tonic
2.
Binary in 2 sections
a. 1st: away from Tonic
b. 2nd: returns to Tonic
3.
Simply binary form
a. almost same length
b. musical materials are related in both parts
c. NAWM 84 & 85
4.
Balanced binary form
a. emphasizes both ends
b. 1st in V, 2nd in I
c. NAWM 94b and 106
5.
Rounded binary form
a. material from opening returns in 2nd half
b. Haydn Symphony No. 92, NAWM 112c
p. 511
18
19
E.
Sonata form
1. the first movement of a sonata
2. 18th and 19th century views（22.5）
3.
Koch’s view as Binary Form
a. 1st section
* phrase 1 & 2
* phrase 3
* phrase 4
c.
2nd section
* period 1
* period 2
Koch’s description of sonata form
d.
pieces by 1780
b.
4.
Sonata form 1780s～1830s
a.
b.
c.
d.
5.
F.
p. 511-3
p. 514
exposition
* 1st section
* 2nd section
* 3rd section
* 4th section
development
recapitulation
introduction and coda
Omission of the repetition of the 2nd half
Other forms：
1.
Slow movement
2.
Variation
3.
Minuet + Trio form
4.
Rondo form
a. main theme ( part A)
b. episode（transition and retransition）
c.
ABACA or ABACABA
p. 515
20
21
III. Keyboard Music
A. Large numbers of keyboard works in 18th
1. Sonatas
2. Other works
B.
C.
Domenico Scarlatti（1685- 1757）
*
*
*
Son of Alessandro Scarlatti
1719
1729
1.
Scarlatti’s sonatas
a. Over 555 sonatas
b. Rounded Binary Form
c. Striking features
2.
Sonata in D major, K. 119（NAWM 106, Example 22.1）
a.
Balanced continuous binary form
b.
Tonic section: 22.1a ~ d
c.
Modulation and new key: 22.1e，mm 36
d.
Dissonance and trill: 22.1f
e.
Guitar effect
f.
Other typical features
Carl Philipp Emanuel Bach（1714-88）
*
*
*
Son of J. S. Bach
At the court
At the 5 principle churches
1.
2.
3.
Keyboard works
Essay on the True Art of Playing Keyboard Instrument, 1753-62
Keyboard sonatas
a. Preference for clavichord
b. 8 sets of 6 sonatas for keyboard
c. Prussian & Württemberg sonatas
d. Empfindsam style in slow movements
p. 515
p. 515-6
p. 518-9
22
23
4.
Empfindsam characteristics─Six Clavier Sonatas for Connoisseurs and Amateurs，
No.4, 2nd movement（NAWM 107）
a.
b.
c.
Expressive melody in short phrases
Sonata form without development
Restless quality（22.2）
d.
e.
Turn
Recitative style
IV. Orchestral Music
A.
Origin of Symphony
1. Name of Symphony
2. Early sinfonia in 3 movements
a. 1st movement- Allegro
b.
c.
3.
B.
2nd movement- short lyrical Andante
3rd movement- Finale in dance rhythm（minuet or gigue）
Other influence on symphony
a. Torelli’s orchestral concerto
b. Church sonata
c. Orchestral suite
Giovanno Battista Sammartini（ca. 1700-1775）
*
*
C.
p. 520
Northern Italy
Symphony in F major, No.32, I, ca 1740（NAWM 108, Example 22.3）
a.
b.
c.
4-part strings + keyboard
3 movements：fast- slow- fast
1st movement：in Binary form
d.
Each half repeated
Mannheim
1. “An army of generals”
2.
Johann Stamitz
a. 4-movememt structure
b. Contrasting themes
p. 521
24
25
3.
4.
Sinfonia in E-flat major（1750s, NAWM 109）
a.
b.
4 movements
4-part strings＋2 oboes + 2 horns
c.
d.
e.
f.
Koch’s model
The “Mannheim crescendo”
After modulation
Recapitulation
Vienna and Paris
D.
Symphonie Concertante
1. 1770
2. Orchestra + solos
3. 2 or more soloists form the orchestra
E.
Concerto
1. J. C. Bach（1735-82）
*
*
Son of J. S. Bach
The “London Bach”
a.
b.
Galant style
Influence on young Mozart
2.
3.
3-movement structure
Ritornello + Sonata form
4.
Concerto for Harpsichord or Piano in E-flat major, I（NAWM 110）（22.10）
a.
b.
c.
5.
F.
p. 522
Framed by ritornellos
1st ritornello
3 episodes
Cadenza
a. Orchestral I 6/4 chord
b. Trill over V chord
Entertainment Music
1. Divertimento
2. Cassation
3. Serenade
p. 524
26
27
Chapter 23 Classis Music in the Late Eighteenth Century
INTRODUCTION
1. Musicians worked mainly for…
2. Compose to please…
3.
4.
5.
6.
7.
p. 526
Haydn and Mozart are the most successful 2
Synthesis of styles and traditions
Haydn: work for patron
Mozart: a freelance
Both: produced music that has be loved for over 2 centuries
PART 1 HAYDN
I. Joseph Haydn（1732-1809）
A.
p. 527
Historical position
1. The most celebrated
2.
Symphonies and string quartets
B.
Early life
1. Born near Vienna
2. At St. Stephen’s Cathedral
3. Freelance at Vienna
4. Count Morzin
C.
The Esterházy years
1. Most of Haydn’s career
2. Prince Paul Anton hired Haydn in 1761
3. Nikolaus succeeded in 1762
4. Haydn’s duties for the Esterházy：
5.
6.
7.
8.
9.
a. Compose music
b. Conduct performance
c. Train and supervise musical personnel
d. Keep musical instruments in good condition
Esterháza
p. 529
a. Moved from Austria to Hungary
b. A splendor estate with 2 theatres and 2 music rooms
c. 25 performers in orchestra which gives weekly concerts and regular performances
Nikolaus and baryton
Haydn kept updated by regular trips to European centers
New contract in 1779
Moved to Vienna in 1790
28
29
D.
II.
The London years
1. John Peter Salomon
2. For London concerts
3. Received great acclaim
Haydn’s Style
A. Unexpectedness within convention
B. Sources of Haydn’s style
1. The galant style
2. The expressiveness of the Empfindsam style
3. Baroque counterpoint
4. Generic clichés
C.
D.
p. 530
p. 531-5
String Quartet in E-flat Major, Op. 3, No. 2（The Joke）, finale（NAWM 111）
1.
The rondo form is ABACA
2.
3.
4.
5.
6.
Binary opening
2 episodes B and C have no new materials
Sense of economy and novelty
Heightened drama with harmonic extensions and delay
Humorous and witty effect（Example 23.2）
7.
8.
“The Joke” as the nickname
Endearing to players, connoisseurs and listeners
Haydn’s compositional process
1. First improvised at keyboard
2. Then wrote out melody and harmony on paper（Figure 23.4）
3.
Finally wrote full score
III. Symphonic form
A. General
1. Approximately 106 symphonies
2. Identified by numbers, ending with No. 104
3. Many have nicknames but few were named by Haydn
4. Generally 4 movements
a. 1st：fast sonata-form movement with a slow introduction
b. 2nd：slow movement
c. 3rd：Minuet + Trio
d. 4th：fast finale in sonata or rondo form
5.
6.
All in the same key, except the slow movement
Haydn’s format became standard for later composers
p. 536
30
31
B.
Symphony, No. 92 in G Major (Oxford , NAWM 112)
p. 537
1. Composed in 1789 while Haydn received an honorary doctorate form Oxford
university
2. The 1st movement is in a sonata form
a. The slow introduction makes contract
b. Alternation of tonally stable thematic ideas
c. Exposition
1) the 1st theme group has 3 distinct ideas（Example 23.3, NAWM 112, 21～39）
2)
3)
d.
e.
3.
4.
Development
1) Modulations through relative keys
2) Full with sequences, counterpoint, and motivic developmemt
Recapitulation
1) theme in flute with new counterpoint（imitation in m.125）
p. 538
2) ST and CT in tonic and the tran. is extended and intensified
The slow movement is in ABA form
p. 539
a. tend to provide a calm and gentle melody in contrast
b. other form in slow movement: sonata form w/o repeats, theme+variation
c. songlike theme（A）+ dramatic middle section（B）in tonic minor + abbreviated
reprise（A’ , m. 72-87）+ coda
d. coda: woodwinds and chromaticism
Minuet and trio
a. Ternary form（ABA）in overall; A and B are in Binary form
b. Trio（B）: often in the same key are the Minuet but may change mode or keys
c.
d.
e.
5.
Opening idea in the 2nd thematic group but focused on winds
Closing theme（mm. 72）is repetitive and cadential
lighter orchestration in the Trio
Minuet+Trio is shorter and more popular
unexpected harmonies, syncopations, pauses, and changes of dynamics to show
humor
The finale is in sonata form
a. generally faster and shorter
b. Exposition:
c. Development:
d. Rondo form in Final movements after 1770s
e. some rondos are sonata-rondo
1) A and B as sonata-form exposition
2) C as development
3) return of B’ is in tonic
32
33
IV The Symphonies
A.
Early symphonies, 1757-67
1. Composed for Count Morzin（1757-61）
a. typical orchestration：2 oboes, 2 horns, and strings
2.
B.
p. 540
b. 3 movements
c. themes in the sonata-form movement
About 30 symphonies composed for the Esterházy in 1761-67
a. orchestration: added flute, bassoon
b. novelty and variety
c. 3 symphonies with common titles:
1) Symphony No. 6, Le Matin（Morning）
2) Symphony No. 7, Le Midi（Noon）
3) Symphony No. 8, Le Soir（Evening）
Symphonies of 1768-72
1. Symphonies performed in concert room in Esterháza（Figure 23.5）
2.
12 symphonies are longer, more rhythmic complex, contrapuntal, and challenging
3.
associated with Strum and Drang
a. 6 are in minor
b. startling effects: dynamic extremes, sudden contrasts, crescendos, sofrzantos
c. harmonies: richer and more varied
d. emotional and agitated
C.
Symphonies of 1773-81
1. mixed popular elements with serious, stirring, and impressive qualities
2. Symphony No. 56 in C Major（1774）
D.
Symphonies of 1781-91
1. for published abroad
2. standard orchestration：1 flute, 2 oboes, 2 bassoons, 2 horns, strings, and sometimes
trumpets and timpani
3.
The Paris Symphony（No. 82-87, 1785-6）
4.
5.
Symphonies No. 88-92 were also composed for commission
Combine popular and learned elements
34
35
E.
Symphonies of 1791-1794, the London Symphonies
1. 12 London Symphonies, commissioned by Salomon
2. Distinctive qualities
a. More daring harmonies
b. Intensified rhythmic drive
c. Memorable thematic inventions
d. Expanded orchestra: trumpets and timpani are standard, + clarinets
e. The woodwinds and string bass are more independent
f. The effect is spacious and brilliant
3.
V.
Haydn’s novel ideas：
a.
b.
A fortissimo in Symphony No. 94
folk-like tune（Example 23.5）
c.
d.
“Turkish” effects in No. 100, the Military Symphony
A ticking sound in Symphony No. 101, the Clock Symphony
Other Instrumental Music
A.
p. 541
p. 542
String quartets
1. A great master of the genre
2. for amateurs
3. conversations between 4 strings
4. Early quartets：Op. 1＆2 resemble divertimentos
5.
Op. 9, 17, 20：18 quartets in 4 movements
a.
b.
c.
6.
7.
many of Op. 20 are in minor key and exhibit Strum und Drang
3 of Op. 20 end with fugues
these quartets gained international reputation
Opus 33：composed in a “quite new and special way”
a. lighthearted and tuneful（Example 23.6）
b. Minuet becomes Scherzo（joke, trick）
c. rondos as finales for the 1st time in string quartets
d. filled with playful humor（Example 23.1, 23.2, NAWM 111）
Later quartets：After Op. 33, Haydn composed 34 quartets
a.
b.
c.
6 quartets suitable for concert hall performance
expanded harmonic vocabulary foreshadows Romantic harmony
serious and popular elements are juxtaposed
p. 543
36
37
B. Keyboard sonatas and trios
1. for amateur
2. 3 movements
3. focus on expression
4. the keyboard trio was essentially a keyboard sonata accompanied by strings
p. 544
VI. Vocal Music
A. Opera
1. Haydn had higher regard in his vocal music
2. at the Esterházy
3. Armida（1784）
4.
B.
Masses
1. Haydn’s last 6 masses are large-scale festive works：
2.
3.
C.
Haydn’s opera are now rarely performed
a. Missa in tempore belli (Mass in Time of War, 1796)
b. Lord Nelson Mass (1798)
c. Theresienmesse (1799)
d. Harmoniemesse (Windband Mass, 1802)
4 vocal soloists, chorus, and orchestra with trumpets and timpani
symphonic elements
Haydn’s Oratorios
p. 545
1. Inspired by Handel’s Messiah
2. Major works:
a. The Creation, 1789, based on Milton’s Paradise Lost
b. The Season, 1801
3. Both were published in German and English
4. Baron Gottfried van Swieten wrote the German texts
5. Depiction of Chaos is remarkable for its harmonies and drama (NAWM 113, m.22~30)
38
39
PART 2 MOZART
I. Wolfgang Amadeus Mozart (1756-1791)
A. Mozart and Haydn
1. Friendship
2. Were seen equal
3. Fundamental differences
a. younger with international reputation
b. Freelancer without permanent position
B. Early Life
1. Child prodigy
2. Leopold Mozart（1719-1787）
3.
C.
a. A performer and composer
b. Treatise on violin-playing
c. Promote the young Mozart’s talent
Touring
p. 547
p. 548
a. performed on keyboard and violin for aristocrat and public
b. a wonder of nature
c. composed minuets at 5, a symphony about 9, first oratorio at 11, first opera at 12
d. absorbed local music qualities
4. Absorbing influences
p. 549
a. Paris─Johann Schobert（ca. 1735-1767）
b. London─J. C. Bach
c. Italy─1769-1773（Italian influences）
Padre Martini：
Sammartini：
d. Vienna─1773（Viennese influences ）
The Salzburg Years（1774-1781）
p. 552
1.
2.
D.
p. 546
2 ways to make money at that time:
Position with the archbishop of Salzburg
a. Unhappy with the archbishop
b. A commission on Idomeneo
c. Leave for Vienna
The Vienna Years（1781-1791）
1. Sources of Mozart’s income：
a.
b.
c.
d.
e.
f.
Die Entführung dem Serial
piano and composition students
performed as the finest pianist in private and public concerts
organized his own concerts
composed on commission
1787 was pointed chamber-music composer to the emperor
40
41
2.
3.
II.
Financial problems in 1788
Later influences
a. became friend with Haydn
b. at the Swieten’s
1) J. S. Bach’s contrapuntal works
2) Handel’s composition
Instrumental Music
A. Piano Music
1. sonatas, fantasias, variations, rondos, and piano duets
2. for students, home music-making, and publication
3. 19 piano sonatas are the most popular
4. Sonata in F Major, K. 332, 1st movement（NAWM 114, Example 23.8）
B.
C.
a.
b.
c.
d.
in sonata form with repeats for both halves
songlike theme at the beginning
contrasts in the FTA（m. 1-22）
Example 22.8, mm. 1-30：
1) galant style：mm. 1-4
2) learned stlye（countrapuntal）：mm. 5-1
3) hunting style：mm. 12.3-22
4) Sturm und Drang style：mm. 22.3（fast rhythm, full texture, chromaticism,
dissonances and diminished 7th chords）
e.
new melody in the Development
Chamber Music
1. Quartets
a. 16 string quartets in early 1770s
b. Haydn Quartets：1782-85
2.
p. 554
Quintets
a. 6 string quintets for 2 violin, 2 violas, and cello：
b. Quintet for Piano and Winds, K. 452：
c. other quintets：horn quintet, clarinet quintet
Serenade and Divertimentos
1. for garden party and outdoor performance
2. serious treatment
3. Eine Kleine Nachtmusik（A Little Night-Music, K. 525）
p. 556
42
43
D.
Piano Concertos
p. 557
1. Salzburg concertos：most notably- Piano Concerto in E-flat Major, K. 271（1777）
2. Vienna concertos：17 concertos are all masterpieces
3. all in 3 movements, followed J. C. Bach’s “ritornello and sonata form”（p. 523）
4. Piano Concerto in A, K. 488, 1st movement（1786）（NAWM 115）
5.
6.
7.
E.
a. 3 solo sections as Exposition, Development, Recapitulation
b. opening ritornello presents FT, tran., ST, and CT, all in Tonic
c. the last ritornello is shortened and in Tonic
d. orchestra punctuates the long solo sections
e. cadenza in the final ritornello section
f. orchestral transition contrasts the lyric themes
g. new idea at the beginning of Development
Second (slow) movement：lyric aria
a. key：
b. form：
Finale movement：
Balance of elements：
Symphonies
1. about 50 before moving to Vienna（1781）
2.
3.
6 in Vienna Years and all are masterpieces
a. Haffner Symphony in D Major, K. 385 (1782)
b. Linz Symphony in C Major, K. 425 (1783)
c. Prague Symphony in D Major, K. 504 (1786)
d. Symphony in E-flat Major, K. 543 (1788)
e. Symphony in G Minor, K. 550 (17880)
f. Jupiter Symphony in C Major, K. 551 (1788)
Example 23.10：finale of the Jupiter Symphony （NAWM 116）
III. Operas
A. Early Operas
1. first opera in 1768
a. La finta semplice (The Pretend Simpleton, opera buffa
b. Bastien und Bastienne, Singspiel
2. 2 Opere Serie in 1770s in Milan
3. 2 operas in commission for Munich
a. La finta giardiniera , (1775), opera buffa
b. Idomeneo, （1781），opera seria
p. 558
p. 559
p. 560
p. 561
44
45
B.
Die Entführung dem Serial（1782）
1.
2.
C.
D.
raised the Singspiel to the level of an artwork
the “oriental” setting: Turkish music
Da Ponte operas：
1.
all 3 were Italian comic operas
a. The Marriage of Figaro (1786)
b. Don Giovanni (Don Juan, 1787)
c. Cosí fan tutte （Thus Do All Women, 1790）
2.
3.
4.
they gave greater depth to the characters
ensembles：duet, trio, chorus…
orchestration：more winds
Don Giovanni
1.
2.
3.
4.
premiered in Prague in 1787
portrayed Don Juan more seriously
mixed opera seria and opera buffa charachters
3 levels of characters in different dances in the finale of Act I：
5.
a. minute for the nobles
b. contredanse for Don Giovanni
c. rustic waltz for Leporello
The opening scene of Don Giovanni in mixing styles（NAWM 117）
a.
b.
c.
E.
Leporello
Don Giovanni and Donna Anna
Donna Elvira（example 23.11）
The Magic Flute
1. composed in the last year of his life, along with the opera seria La clemenza
di Tito (The Mercy of Titus, 1791)
2.
3.
p. 563
story is symbolic, related with Freemasonry
wide variety of vocal styles
IV. Church Music
A. early sacred pieces are not his major works
B. Masses：symphonic-operatic idiom with fugal texture
C.
p. 562
The Requiem, K. 626
1. commissioned by Count Walsegg in 1791
2. unfinished at Mozart’s death and completed by his student, Süssmayr
p. 564
46