A Comparison Of Le Nozze De Figaro And Der Rosenkavalier

During the 18th century, many musical elements were introduced. Sonata form was created around this time and Joseph Haydn further developed it2. Mozart built on Haydn’s ideas and used them in his own works2. Most of the elements

Wolfgang Amadeus Mozart had endless ideas for writing piano sonatas and like his other works, his sonata style has evolved dramatically over the years. His early works have been constantly compared with other well-known composers at the time. For example, it has been suggested that Haydn’s F Major Sonata, Hob. XVI: 23 as a model for Mozart’s K. 280 in the same key.

The Italian opera and the German opera are two different fields that both share characteristics, some of which are paralleled, and some of which contrast. Specifically, Giuseppe Verdi and Richard Wagner use motifs such as: redemption through love, patriotism, and sacrifice which run throughout both of their operas. The theme of betrayal also seems to be echoed throughout both operas; yet they are each used to project a different response. The significance of this comparison demonstrates that Verdi and Wagner may allude to the same references, such as Victor Hugo, Shakespeare, and Byron, but the operas The Flying Dutchman (German opera) and that of Nabucco (Italian opera) are completely different in context, and musical style; perhaps even

The 2nd movement of the Mozart k310 Piano Sonata resembles standard sonata form in many ways. It opens with a first theme in F (same as key signature). The theme is four bars long; two bars of antecedant, two bars of consequent. Mozart then starts the first theme again with a 32nd note run pick-up instead of the 16th note arpeggio pick-up in the the begginning of the piece so we are prepared for variation in the second statement of the first theme. He then continues the theme with variation until the consequent phrase which is completely different from the first consequent phrase. This new consequent has not only faster rythmic movement but also compressed harmonic rythym. This tension

Composing works derived from styles already in existence, he created an extremely unique and unprecedented genre of works. Thus Mozart became a trailblazer of the classical age. Music from this period consists largely of a lighter and clearer texture than the preceding Baroque music and is less intricate. One trademark especially evident in Mozart’s contribution to the classical period is the use of homophony. Examples of the homophonic effect are displayed in his piano concerto No. 23 and sonata No 16 in C. In these, the distinct pattern of an indubitable melody can be distinctly and easily recognized above the adjunct chordal accompaniment. Although Mozart contributed primarily to the growth of the classical era, he was also influenced by the works of Handel and Bach. Both were prominent composers of the baroque era. In some of his later works, Mozart indulged more in the incorporation of the previous baroque

Composers since the early classical era have used sonata form to express through music ideas which are at once complex and unified. This form contains a variety of themes and permutations of these themes, but is brought together into a comprehensible whole when these excerpts reappear. Beethoven, in the first movement of his Piano Sonata Opus 2 Number 3 utilizes this form to its full potential, modifying the typical structure in his characteristic way.

The fugue is often regarded as a genre defined by strict procedural guidelines. It is notable that three historically important composers, Johann Sebastian Bach (1685-1750), Georg Friedrich Handel (1685-1759), and Wolfgang Amadeus Mozart (1756-1791), all employed a closely related fugue subject in three different works. An analysis of each of these works individually, and a comparison of these works collectively reveal numerous latent and salient features, and a reflection of the composers’ style within these works. Analyses also provide an outlook into the fluidity in certain aspects and rigidity in others of the form itself, reflected historically. The three composers analyzed fall closely together in history. J.S. Bach and G.F. Handel were contemporaries, whereas Mozart was born six years after Bach’s death and three years before Handel’s death. Analytically, the angularity of these similar fugue subjects presupposes a treatment regardless of the composer. Because of the shared intervallic content among the subjects of these fugues, despite being written by several different composers, a surprising number of similarities arise. Therefore, it is reasonable to assert that compositional choices made in the construction of the fugue subjects limit the number of results possible.

This paper discusses Mozart's life, his compositions and his importance to the world and the world of music. It explains how Mozart's music is still some of the most popular classical music played today and his life is still studied because his music is so well known and liked.

Wolfgang Amadeus Mozart and Ludwig van Beethoven are two of the greatest composers ever to write music. Both men lived in the early 18th and 19th century, but their music and influences are still felt today. The men faced similar experiences, yet they both lead very different lives. All together the pieces that these men composed amounts to over 300 published, and unpublished works of art. The people of their time period often had mixed feelings about these men, some “complained that Mozart’s music presented them with too many ideas and that his melodies moved from one to the next faster than audiences could follow, yet the ideas themselves seem effortless and natural, clear and

The effects of Mozart on today’s society can be seen just about everywhere. In marketing, they play music to make the consumer want to buy their product. In restaurants, they play music to help the customer feel relaxed in their establishment. People listen to music while driving cars. It seems that music permeates almost every aspect of our everyday lives. When people think of the birth of modern music, they often think of classical music. And when people think of classical music, they think of Mozart. During the 18th century, the musical genius Wolfgang Amadeus Mozart composed a total number of six hundred and fifty works. When he was younger, he toured Europe with his father, Leopold, and his sister, Nannerl, playing for Europe’s elite of the time. He put forth some major musical contributions that shape modern music today (Fiero 324,326). Classical music is the great grandfather of all modern music. Some people enjoy

Mozart was a virtuoso on the piano. A virtuoso refers to someone who is highly skilled on his or her instrument. Mozart played keyboard and violin while his sister only played the keyboard. At the early age of 3, Mozart was showing signs of being musically gifted and began composing shortly after. Both he and his sister received intense musical training which, in turn, allowed Mozart the opportunity to grow as a musician. It became certain that Wolfgang Amadeus Mozart was a child prodigy. This meant that he had a skill that was not learned. He had a natural gift for music. Their father, Leopold began teaching his children music at a young age. Because of this, both children were destined to get far in their musical careers. Over his short life, Mozart wrote several operas. His most famous operas include; The Marriage of Figaro, The Magic Flute and La Clemenza di Tito. Operas and plays that are entirely sung. Each of Mozart’s operas have a story behind it. For example, The Marriage of Figaro is a comedy about a couple trying to get married but, a series of obstacles interferes with it. Because Mozart showed a talent for music at the young age of six, his father took him and his sister to play in from of a court and they caught the attention of important individuals. This resulted in a tour.

In the last decade, the problem of Mozart’s Requiem has divided itself into three categories which most of the scholars have majored on in an attempt to come up with a clear analysis of the arguments and various evidence. The three main problems include the authenticity problem viewed in a narrower sense, the instrumentation problem and the dating problem. According to Friedrich Blume, the question of authenticity comes in when the question of which parts were completed by Mozart and the other parts that were completed by the another composer. It is hard to determine if the other composer followed the concerns that Mozart would wish to be addressed. The issue of instrumentation also becomes of concern in the sense that whether the Sussmayr’s manuscript of the whole Requiem uses the instrumentation that Mozart had indicated or whether it is out of the creativity of the master. The dating problem was whether Mozart finished the work when he was on his deathbed or whether he had composed the Requiem before he fell ill. Such problems of the Requiem could only be answered by his close friends who died before the controversy arose. Looking further into this investigation this document will analyze the problems of the Requiem based on arguments from the five scholars: Thomas Bauman, Paul Moseley, Simon Keefe, Christoph Wolff, and Richard Maunder.

     Wolfgang Amadeus Mozart’s style unlike anyone else. Mozart was a master of counterpoint, fugue, and the other traditional compositional points of his day. He is also considered the best melody writer the world has ever known. Wolfgang perfected the grand forms of symphony, opera string quartet, and concerto made the classical period. “Mozart’s music is characterized by lucid ease and distinction of style....”2 Wolfgang wrote over 600 works which consisted of 21 stage and opera works, 15 masses, over 50 symphonies, 25 piano concertos, 12 violin concertos,27 concert arias, 17 piano sonatas, 26 string quartets, and many more. His operas range from comic baubles to tragic pieces. In his Requiem it illustrates the supreme vocal sounds in any of his work.

The first movement of Mozart’s piano Sonata No. 12 in F Major is written fairly typically in the very structured sonata form. Historically is follows the main guidelines that were understood for the form. Harmonically, is progresses like expected. There are a few surprises here and there, but they are typical for Mozart’s compositions, especially his sonatas of the 18th century. In all, it makes a very interesting piece of work, especially with so much contrast within it.

The Development of the Mozart is an open free-form section that bases its ideas on thematic materials from the Exposition. It is very modulatory and derivative. Mozart pays special attention to shaping factors in the pace, texture, plan of key relationships and order of all the melodic material. He emphasizes the sub dominant throughout the entire development. It creates a sort of fantasy of the earlier material. The Alberti bass is very prominent through out the entire section. It acts as a strong accompaniment to the new themes that are introduced. The development varies in length from the exposition and in other cases is quite long and detailed. However, it shows a greater degree of tonal, harmonic and rhythmic instability than the other sections. The last part of the developmental section is the re-transition or bridge. It helps prepares the return of the first subject in the tonic. It stresses and prolongs the dominant seventh of the tonic. At the height of the musical tension the tonic triumphs and it enters into the recapitulation.