M USIC A PPRECIATION Class #7: Mozart. T HE M OZART P ROJECT

MUSIC APPRECIATIONClass #7: Mozart

THE MOZART PROJECT

http://www.mozartproject.org/

WOLFGANG AMADEUS MOZART

1756-1791

GETREIDEGASSE NO.9

FAMILY: LEOPOLD, ANNA MARIA, MARIA ANNA (“NANNERL”)

PRODIGY*

FIRST COMPOSITION

"This piece was learnt by Wolfgangerl on 24 January 1761, 3 days

before his 5th birthday, between 9

and 9:30 in the evening."

PROOF

Witnesses Documentation Opinions

5 years old: Sight Read Compose

TOURING

1756The “circuit”

Small citiesParisVienna

Ages 5-17

CONCERTS

Harpsichord & ViolinImprovisations

Stunts!?2-3 hour concerts3-4 performances per day

SCHEDULE

Family friendsRoyal Court

SocietyChurchPrivate concerts

Musikabend*Invitations

PAYMENTS

CashGoldGiftsClothingJewels

EARLY REPORTS

"Everyone is amazed, especially at the boy, and everyone whom I have heard says that

his genius is incomprehensible."

FATIGUE

1st illness“Scarlet Fever”Tuberculosis

Later illnessRheumatoid arthritis

Constant

COMPOSING

Carriage ridesMusical memory

PARIS!

(Salzburg to Munich: 71 miles)

MARIE ANTOINETTE*

“Will you marry me, yes or no?!”

1764 (8 YEARS OLD)

LondonHandelJohann Christian BachHaydn (?!)Royal family

Buckingham palace

REBELLION

Children – pre-teen

Nan Health “Woman’s place”

Wolfgang Composing

Size Health

RETURN TO SALZBURG

Money Employment

Stability Composition

ITALY (14)

Without Nannerl Formal education

Accademia filarmonica of Bologna Expulsion

Vatican Order of the “Golden Spur”

PERFORMER VS. COMPOSER

Child star grows up

Leopold’s pressure vs. Wolfgang’s aspirations

EMPLOYMENT 1771-1781

Salzburg Konzertmeister Employer: Archbishop

Fired “…with a kick in the ass...”

THE LETTERS*

"My pen is coarse and I am not polite”

Daily+ Lifetime

Recipients Family Friends Colleagues

Over 400 preserved and translated

CONTEXT

Various moods and intentions

To family Respectful, obedient, loving

To colleagues Professional, frank, encouraging Tragically humbling

To friends (and cousin) Playful, witty, naughty

EXAMPLES

"I can only weep. I have far too sensitive a heart.“

"Perhaps if you were with me I might possibly take more pleasure in the kindness of those I meet here. But, as it is, everything seems so empty.“

“Dear cuzz-buzz, I miss-piss your heart-part!”

“I beg of you, not for me but for my child, a few coins, whatever you can spare…”

SIGNATURE

VARIETY

You can see now that I am able to write any way I want to,

beautifully and wild, straight and crooked. The other day, I was in a

bad humor, so my writing was beautiful, straight, and serious;

today I'm in a good mood, and my writing is wild, crooked and jolly."

“K” NUMBERS*

“Köchel-Verzeichnis”

Posthumous Non-chronological For organization and ease of sale

LUDWIG RITTER VON KÖCHEL

ANTONIO SALIERI (1750-1825)

SALIERI FACTS

Wealthy family Royal appointment from 1774-1824 Wildly popular

Vienna’s favorite composer Celebrated teacher

Mozart’s son, Franz Xaver Franz Liszt Franz Schubert Ludwig van Beethoven

Long, happy marriage with eight children Sabotaged performances of Mozart’s “The

Marriage of Figaro”

SALIERI MYTHS

Alone recognized Mozart’s geniusTherefore, insanely jealous

Secret patron Requiem

Mozart’s murdererWhen did it begin?

FUN AND GAMES

Truth or Myths with Salieri and Mozart

http://classyclassical.blogspot.com/2005/08/antonio-salieri-truth-or-fiction.html

AMADEUS*

Peter Schaffer 1979 London

Two Olivier Awards Broadway

Three Tony Awards

Milos Foreman 1984 8 Academy awards

Best Movie

MANUSCRIPT

MUSICAL COMPOSITIONS 600+

Age 6 - 1791 Composed in every major existing genre

Symphonies (41) Sacred Music

Requiem Concertos

Violin, Woodwinds (Clarinet) Piano (#21 in C Major, 2nd movement; March 10, 1785!)

Chamber Music “Eine Kleine Nachtmusik” (Youtube)

22 Operas Age 11 - 1791

OPERA

“…everything else I write is just to sustain me until the perfect

libretto presents itself…”

WHY?

Baroque opera traditionsMozart’s goals

“Real” people/emotionsDramaSubconscious*

1: SINGSPIEL*

VernacularSpoken dialogueLight subject matter

“The Abduction From The Seraglio”“The Magic Flute”

2: OPERA SERIA*

Subject matterMelodramaticMythologicalReligious

IdomeneoTitus

3: OPERA BUFFA*

Only comedic? Character development

LORENZO DA PONTE* (1749-1838 NYC)

DA PONTE QUICK FACTS: PROFESSIONAL

Writer Playwright Poet Librettist Royal Court Appointment by (Franz) Joseph II

Close personal and professional friendship with Salieri

DA PONTE QUICK FACTS: TRIVIA

Personal life

Born Jewish, converted to Catholicism Priest Married his mistress Defrocked, opened a brothel Moved to New York

US Citizen Philadelphia grocer Columbia University professor Founding member of the Library of Congress

PIERRE BEAUMARCHAIS* (1732-1799)

BEAUMARCHAIS FACTS Watch-maker, inventor, musician, politician, fugitive, spy,

publisher, arms-dealer, and revolutionary (French and American)

Playwright (“The Figaro Trilogy”*)

The Barber of SevilleThe Marriage Of FigaroLa Mère coupable

THE MARRIAGE OF FIGARO*CHARACTERS

Aristocracy*

1. Count Almaviva2. Dr. Bartolo3. Don Basilio4. Rosina (Countess Almaviva)

5. Marcellina6. Don Curzio

Commoners*

1. Figaro2. Susanna3. Cherubino*4. Antonio5. Servants

*Trouser role

REACTION TO “THE MARRIAGE OF FIGARO”

Napoleon:“Everything you need to know in order to understand the spirit of (French) Revolution is contained in the truths found in Figaro.”*

Banned in France by Marie Antoinette Why? And by her brother, Franz Josef, in Austria?

(FRANZ) JOSEPH II (1741-1790)

DROIT DE SEIGNEUR*

Right Of The Lord“Right of the First Night”

“FIGARO”S APPEAL TO MOZART

Conflict Social Political

Character development Subconscious* Repressed/unspoken thoughts

Susanna Cultural standing

PRODUCTION CONFLICTS

Librettist (Da Ponte) is working for the censor of the script (Franz Joseph II).

Librettist is hired to write for the composer’s “rival” (Salieri).

RESOLUTIONS

Da Ponte’s deal with (Franz) Joseph II

Subject matter Politics removed Only a “bedroom farce” is left

“Time off” to be repaid

TWO SCENES

Act II Finale*

Act III “Recognition” sextet*

TWENTY+ UNINTERRUPTED MINUTES!1. Susanna

2. Count & Countess

3. add Susanna

4. add Figaro

5. add Antonio remove Antonio

6. add Marcellina, Bartolo, Basilio

1. Solo

2. Duet

3. Trio

4. Quartet

5. Quintet Quartet

6. Octet

“Recognition” sextet

Allegiances reverse Musical “laughter”

Plot completely changes

Authority challenged, thwarted, defeated

PIANO SONATA IN C MAJOR K. 330; 3RD MOVEMENT

Vladimir Horowitz* Horowitz in Moscow (1986)

1787: DON GIOVANNI*

Legend of Don Juan “Or The Rake (Cad/Heel) is Punished”

LIBRETTO

Lorenzo da Ponte

Dramma Giocoso*

Anti-Hero*

DON GIOVANNI CHARACTERS

Aristocracy*

Don Giovanni Donna Anna

Don Ottavio Commendatore

Donna Elvira

Commoners*

Leporello Zerlina Masetto

REVOLUTIONARY, IN JUST 10 MINUTES!

Overture* Opening Ending?

Leporello’s opening rant “I don’t want to be a servant anymore!”

(Attempted) rape Sword fight (musical) Murder Trio for three basses

VIVA! VIVA LA LIBERTA!*

Political statement

Out of context (and this is Mozart/Da Ponte?!)

Every character

Eight repeats

FINAL SCENE

Don Giovanni’s last party? Donna Elvira’s entrance and exit

Thunder Screams

Knocks/steps Confrontation*

Music from the overture Good vs. Evil

Choice!

1791

Die Zauberflöte (Magic Flute)* Papageno/Papgena duet

La Clemenza di Tito Requiem*

Lacrimosa* Myths vs. Facts

Mozart’s final completed composition Franz Xaver Süssmayr

DECEMBER 5, 1791

On the day of his death he asked for the score to be brought to his bedside. 'Did I not say before, that I was writing this Requiem for myself?' After saying this, he looked yet again with tears in his eyes through the whole work ... They were at the first bars of the Lacrimosa

when Mozart began to weep...

LACRIMOSA*

Tearful that day, on which will rise from ashes

guilty man for judgment. So have mercy, O Lord, on this man.

Compassionate Lord Jesus, grant them rest. Amen.

THE TORCH IS PASSED

Ludwig van Beethoven made his appearance in Vienna as a youthful musician of promise in the spring of 1787, but was only able to remain there a short time; he was introduced to Mozart, and played to him at his request. Mozart, considering the piece he performed to be a studied show-piece, was somewhat cold in his expressions of admiration. Beethoven remarking this, begged for a theme for improvisation, and, inspired by the presence of the master he reverenced so highly, played in such a manner as gradually to engross Mozart's whole attention; turning quietly to the bystanders, he said emphatically, “Watch that young man; he will make himself a name in the world! When I am gone, he will teach you all something!”

CARL MARIA VON WEBER* (178601826)

CD#1, TRACK 16

Clarinet Concerto #2* Which movement?

Why?

Listen for…

Cantabile* solo passages Predictable rhythm Secondary, accompaniment for the orchestra