Mozart’s Die Zauberflöte:
All Acts.
BACKGROUND
- Mozart: Helped establish the Classical style at the end of the 18th century.
↪ Was a contemporary and friend of Haydn, also knew Beethoven.
- One of the first to write in the vernacular (language of the people: German) instead
of Italian as operas initially were, having been invented in Italy in the early 17th
Century.
- Die Entführung aus dem Serail was one of the first Classical operas to be
written in German although his later operas were mostly written in Italian.
- In Classical opera there was more variation of mood within arias than in the
Baroque period.
↪ Duets and larger ensembles became an essential ingredient of the style.
- Singspiel ('play with singing’): Like a modern musical in relationship between
music and spoken dialogue.
↪ The style features magical storyline with comedy.
↪ More accessible to middle classes, instead of just nobility.
- The Magic Flute: Written in Mozart ́s last year of life.
↪ Was an immediate success and performed all through Europe.
↪ The work is strongly connected with the Freemason movement, with number 3 significance
reflected in music and plot line.
- The hero Tamino has to prove his worthiness to marry Pamina.
↪ Goes through series of tests with evil Queen of the Night trying to stop his quest.
↪ Eventually love conquers all. Comic subplot involves the bird catcher Papageno.
POINTS OF INTEREST
- Classical music features
- The singspiel
- The development of opera.
- Mozart ́s operas
- Word painting
, Act.4 (Queen of the Night)
STRUCTURE (& TONALITY)
Point Explanation Reference(s)
Overwhelmingly functional Use of conventional, functional ‘Porgi Amor’ Solo soprano Aria, from
- with modulations to related keys harmonic language: the opera Le Nozze di Figaro
- Indicative of classical - Written only 5 years prior to Die
era harmony in opera Zauberflöte
RECITATIVE (BARS 1-10): Use of an instrumental intro to ‘Non speri onusto il pino’ Aria, from the
herald the entrance of a Opera II Trionfo di Clelia, Gluck (1762)
Orchestral intro to Queen divine/royal character: - Used technique to introduce
- Bbmaj - Common to early French King Tarquinio
- Syncopated strings opera
------------------------------------ ---------------------------------------------
Rising triadic figures of the ‘Adriadne’ melodrama, Benda, Czech
recitative, use of syncopation & composer (1775)
crescendos:
- Influences by earlier
French opera of the
classical period
BARS 11-15: Indicative of the style of ‘Non speri onusto il pino’ Aria, from the
coloratura aria: Opera II Trionfo di Clelia, Gluck (1762)
- Moving to Fmaj - Would expect to find in - Used technique to introduce
opera seria King Tarquinio
BARS 16-20:
- Fmaj for 2 bars
- Closes in Gmin (relative minor)
, Aria- Binary form
--------------------------------------------
A= LARGHETTO
BARS 21-35:
- Opens in Gminor (usually
associated with pain &
suffering)
- Moderate paced legato
- Queen complains of her
suffering as a result of
daughter’s abduction
BARS 36-43:
- Bbmaj moves to Cmin
- Returns to Gmin
- Trembling represented by
word-painting
- Violins ‘shivering’, repeated
semiquavers
BARS 44-60:
- Gminor
------------------------------------------------------------
B= ALLEGRO MODERATO
BARS 61-73:
- Bbmaj
- Queen starts to display all her
power
BARS 74-END:
- Bbmaj
- (hints of Ebmaj Bars 80-83)
All Acts.
BACKGROUND
- Mozart: Helped establish the Classical style at the end of the 18th century.
↪ Was a contemporary and friend of Haydn, also knew Beethoven.
- One of the first to write in the vernacular (language of the people: German) instead
of Italian as operas initially were, having been invented in Italy in the early 17th
Century.
- Die Entführung aus dem Serail was one of the first Classical operas to be
written in German although his later operas were mostly written in Italian.
- In Classical opera there was more variation of mood within arias than in the
Baroque period.
↪ Duets and larger ensembles became an essential ingredient of the style.
- Singspiel ('play with singing’): Like a modern musical in relationship between
music and spoken dialogue.
↪ The style features magical storyline with comedy.
↪ More accessible to middle classes, instead of just nobility.
- The Magic Flute: Written in Mozart ́s last year of life.
↪ Was an immediate success and performed all through Europe.
↪ The work is strongly connected with the Freemason movement, with number 3 significance
reflected in music and plot line.
- The hero Tamino has to prove his worthiness to marry Pamina.
↪ Goes through series of tests with evil Queen of the Night trying to stop his quest.
↪ Eventually love conquers all. Comic subplot involves the bird catcher Papageno.
POINTS OF INTEREST
- Classical music features
- The singspiel
- The development of opera.
- Mozart ́s operas
- Word painting
, Act.4 (Queen of the Night)
STRUCTURE (& TONALITY)
Point Explanation Reference(s)
Overwhelmingly functional Use of conventional, functional ‘Porgi Amor’ Solo soprano Aria, from
- with modulations to related keys harmonic language: the opera Le Nozze di Figaro
- Indicative of classical - Written only 5 years prior to Die
era harmony in opera Zauberflöte
RECITATIVE (BARS 1-10): Use of an instrumental intro to ‘Non speri onusto il pino’ Aria, from the
herald the entrance of a Opera II Trionfo di Clelia, Gluck (1762)
Orchestral intro to Queen divine/royal character: - Used technique to introduce
- Bbmaj - Common to early French King Tarquinio
- Syncopated strings opera
------------------------------------ ---------------------------------------------
Rising triadic figures of the ‘Adriadne’ melodrama, Benda, Czech
recitative, use of syncopation & composer (1775)
crescendos:
- Influences by earlier
French opera of the
classical period
BARS 11-15: Indicative of the style of ‘Non speri onusto il pino’ Aria, from the
coloratura aria: Opera II Trionfo di Clelia, Gluck (1762)
- Moving to Fmaj - Would expect to find in - Used technique to introduce
opera seria King Tarquinio
BARS 16-20:
- Fmaj for 2 bars
- Closes in Gmin (relative minor)
, Aria- Binary form
--------------------------------------------
A= LARGHETTO
BARS 21-35:
- Opens in Gminor (usually
associated with pain &
suffering)
- Moderate paced legato
- Queen complains of her
suffering as a result of
daughter’s abduction
BARS 36-43:
- Bbmaj moves to Cmin
- Returns to Gmin
- Trembling represented by
word-painting
- Violins ‘shivering’, repeated
semiquavers
BARS 44-60:
- Gminor
------------------------------------------------------------
B= ALLEGRO MODERATO
BARS 61-73:
- Bbmaj
- Queen starts to display all her
power
BARS 74-END:
- Bbmaj
- (hints of Ebmaj Bars 80-83)
