Film Analysis :'samson ( Hwv 57 )

Scene one and the opening scene, is Don Giovanni is attempting to seduce a woman Donna Anna, while his servant Leporello is keeping watch outside, but complaining of his position as a servant, in F major which is his main key, using a march rhythm. The orchestral introduction is molto allegro; with sudden fortes. The strings remain constant, creating agitation but moves to violas and second violas marking the end of Andante, transforming into an open Allegro. (The Metropolitan Opera Guild, 2016) Leporello sings in a light staccato comic aria, bass sings in a rapid fire patter and in one note. Moving to the next interaction, are lyrical passages ornamented, as heard in the two trios, Donna Anna with Don Giovanni in the form ABB. Both are singing alternative and then imitative lines. (Hung, J.,

Salieri trying to interfere with Mozart’s opera, The Marriage of Figaro displays his second step of deceit. Upon hearing that Mozart’s new opera contained ballet, which is verboten in the Emperor’s operas, he wickedly conveys this information to his colleagues and attempts to destroy his opera. Although Mozart is distressed when approached by this fact, he still manages to work through his deceit and is able to achieve the emperor’s consent of the dance after being harassed and mentally walloped on from Salieri and his colleagues. Mozart accuses Salieri at the beginning of this uproar but is then altered after hearing this following quote from Salieri displaying his feign concern for the stressed fellow: “Mozart, permit me. If you wish, I will speak to the Emperor myself. Ask him to attend a rehearsal” (70).

Of the many great composers during this era, Wagner stood out to me because of the intensity of his composition from 1851 in “The Ride.” The song pulls at my emotions in a theatrical telling of a battle scene from which warrior maidens emerge. These women are attendants to Odin, who sought out the souls of those heroes lost in battle. The Norse myths story is told through the feelings I experience when I hear this composition. The tempo is fast and amped. It pulls me into the sounds and I want to hear what happens next. I feel the announcement of these heroic soldiers and the challenges they fought through. It starts fast, lightens up, and then comes back with stronger build up. I feel the drama in the battle as if it’s happening in front of me. There are moments while listening where I caught myself holding my breath. This draws out feelings of enthusiastic anticipation which reminds me of the music written for a screenplay. The song finishes with a final, proud, horn blast and then leave me with some tension in the fast-paced ending of thrills. I’m drawn in and

1. Write two pages on Ellen Zwilich's music. Ellen Taaffe Zwilich, born 30th April 1939 is a famous American composer and the first woman to receive the Pulitzer award (Rudman, pp.7). Zwilich began her compositions while still young and at the time she completed high school, she could play the trumpet, piano, and the violin. Zwilich’s early songs were full of atonal exploration but through the experience she has moved to a neo-romantic and post-modernist form of the genre.

“My happiness is in your hands.”1 This is the Countess’ plea as Susanna enters the Count’s study. She is about to accept the Count’s offer to meet after her wedding at her mistress’s request. This riveting scene in “The Marriage of Figaro” premiered on the stage of the Burgtheater in Vienna on May 1st, 1986.2 With the music by Wolfgang Amadeus Mozart and the libretto by Lorenzo Da Ponte, the Italian opera was an adaption of Pierre- Augustin Caron de Beaumarchais’ play “The Follies of a Day or, The Marriage of Figaro”. The play finally made it to the stage on April 27th, 1984, of the Comedie-Française after being banned by King Joseph II and being revised by a second censor board.3 “The Marriage of Figaro” takes place on the wedding day of

Clara being young at the time certainly did not persuade society that she was as skilled and determined as she was. During this era, women had to prove their quality of music was extraordinary. Women were expected to raise a family, not compose music. It was certainly not common at the time to see a woman being a musician. Society was trying to tell her that she was not important enough to go through with her passion. Clara got well-known musicians to take her seriously and persuaded them that women could be gifted in music. Clara fought through many assumptions of her and rose to the top. After she became known for being an appreciable pianist, society and male musicians during the period started to see her as an equal. Clara was in a musical society that was entirely conquered by men, getting their praise was a very great point in her life. In the end, she raised any expectations that were ever given, becoming one of the first women to go on an international tour for her

Clara Schumann and Fanny Mendelssohn Hensel Clara Schumann and Fanny Mendelssohn were both female composers during a time when female composers were not well supported. Their musical ventures play a large role in the development of female musicians in history. However, despite their similarities, Clara and Fanny both experienced different experiences as female musicians of the nineteenth-century. Clara Schumann Clara was exposed to music at a young age.

Così Fan Tutte, ossia La scuola degli amanti, or more familiarly known as Così Fan Tutte, is one of Mozart’s last operas, translated as “Women are all alike, or The School of Lovers.” Being named as such, the principal theme of this opera is the fickleness and infidelity of women. The libretto of this piece was written by Lorenzo da Ponte, who was also the librettist for Don Giovanni and La nozze de Figaro, two other renowned operas of Mozart’s.1 This opera was first performed in Vienna at the Burgtheater, on January 26th, 1790.2 Though the exact origin of the story Ponte based his libretto on is unclear, many people at the time believed that the story was based on a scandal in Emperor Joseph II’s court, where two Viennese officers were

Richard Georg Strauss was born June 11th, 1864, he was one of the leading German composers of the late Romantic and early Modern eras. He is known for his operas such as Elektra, Die Frau one Schatten, and Salome. The composition I am going to analyze from Richard Strauss is his “An Alpine Symphony.” An Alpine Symphony begins in low volume, leaving me with a feeling of suspense. The instruments that commenced the piece was a fragment of the string section known as the second violins. The string section completely joined in but became over taken by a fragment of the brass section which was the trombones. The trombones played a long note, this theme reminds me of a funeral because of how silent the musicians are playing their instruments.

Le Nozze di Figaro is a timeless piece of work by W.A. Mozart that exemplifies the morals and boundaries for individuals in the time Mozart wrote it. This specific opera buffa explored three different themes—Noble Class vs. Servant Class, Jealousy vs. Love, and Vengeance vs. Forgiveness. While there are four different couples that show each of these themes throughout the show, there is one specific pairing that seemed to stand out among the others. Count Almaviva and his spouse, the Countess Rosina Almaviva demonstrated every part of these themes, with the exception of the servant class. In Wednesday night’s showing, not only did the characters themselves support these themes, but all the attributes such as the set, music and costumes contributed to the

George Frideric Handel was truly one of the greatest Baroque composers. He composed many major musical works and contributed greatly to the development of the musical world. According to Goulding, Handel is known as “Baroque Melodist; Oratorio Genius” (5). Handel is perhaps most well-known for his oratorio, Messiah. When people think of Messiah, it is a foregone conclusion that it is ‘Handel’s Messiah.’ Much can be learned about George Frideric Handel through examining his life, musical works, and Christian faith.

As a composer, Mahler acted as a bridge between the 19th-century Austro-German tradition and the modernism of the early 20th century. Mahler is well known for his lengthy, deep, and painfully emotional works. He adored nature and all life within it, but due to his early exposure to the darkness life brings, a suicide and a brutal rape he witnessed, Mahler feared death. This duality is evident in just about all his

Strauss. Strauss was a leading German composer, who was born on 11 June 1864 in Munich.

This timeless comedy about the events of a single, hectic day, first premiered in 1786. It tells the tale of two servants, the soon-to-be-wed Figaro and Susanna. Their master, Count Almaviva, is determined to seduce the bride-to-be, but is outwitted by the couple at every turn. An old man bent on exacting revenge, a scheming maid and a drunken gardener add to the hilarity of this production featuring some of Mozart’s most brilliant

A Lied is a type of German song of the Romantic period, typically for the solo voice with piano accompaniment. Erlkronig is a Lied written for piano and voice by the Austrian composer Franz Schubert in 1815. One of the special features of this piece includes one singer using his/her voice to depict the 4 different characters of the song: The narrator, the father, the son and the Erlkronig.