Wolfgang Amadeus Mozart A. Wolfgang Amadeus Mozart (1756–1791) I

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Student Study Outline Chapter 33: Wolfgang Amadeus Mozart I. Chapter 33: Wolfgang Amadeus Mozart a. Wolfgang Amadeus Mozart (1756–1791) i. Child prodigy who began composing at age five ii. Leading keyboard virtuoso iii. Short life and financially insecure b. Mozart’s Life and Career i. Born to a musical family in Salzburg, Austria ii. Father Leopold took his children on an international tour in 1763 iii. 1772– invited to join the court musicians by archbishop of Salzburg iv. 1781– wrote an Italian opera to be presented in Munich v. Vienna– turning point in his career c. Making Connections: Mozart as Freemason i. Joined the Freemasons in 1784 d. Mozart’s Music i. Over 600 compositions ii. Cataloged in the 19th century by Ludwig von Köchel iii. Operas– performed often 1. Italian– The Marriage of Figaro, Don Giovanni 2. German– The Abduction from the Seraglio, The Magic Flute iv. Sacred music v. Symphonies 1. No. 40 in G minor 2. No. 41 in C major (Jupiter) vi. Nearly 40 concertos vii. Chamber music e. Making Connections: Mozart and Posterity i. Legends f. Mozart and the Classical Concerto i. Piano Concerto No. 23 in A major, K. 488, First Movement Listening Map 29 1. First movement a. Tutti b. Solo c. Cadenza g. Mozart and Italian Opera i. C.W. Gluck (1714–1787) 1. Gluck’s reforms influenced Mozart ii. Opera seria iii. Opera buffa 1. The Marriage of Figaro a. Mozart, The Marriage of Figaro, K. 42, Act I, Scene 1, Figaro and Susanna, “Se a casa madama” (1786) Listening Map 30 b. Mozart, The Marriage of Figaro, K.492, Act I, Scene 2, Figaro, “Se vuol ballare” (If you want to dance) (1786) Listening Map 31 i. Cavatina ii. Pizzicato h. Mozart and German Opera i. Singspiel 1. The Magic Flute- Mozart’s most famous Singspiel a. Mozart, The Magic Flute, K. 620, Act II, Scene 3, Queen of the Night, “Der Hölle Rache” (1791) Listening Map 32 ii. Mozart’s Legacy 1. Masterpieces in nearly every genre .

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Ludwig Van Beethoven Franz Schubert Wolfgang
STIFTUNG MOZARTEUM SALZBURG WEEK LUDWIG VAN BEETHOVEN PIANO CONCERTO NO. 1 FRANZ SCHUBERT SYMPHONY NO. 5 WOLFGANG AMADEUS MOZART PIANO CONCERTO NO. 23 ANDRÁS SCHIFF CAPPELLA ANDREA BARCA WEEK LUDWIG VAN BEETHOVEN Vienna - once the music hub of Europe - attracted all the Piano Concerto No. 1 in C major, Op. 15 greatest composers of its day, among them Beethoven, Schubert and Mozart. This concert given by András Schiff and FRANZ SCHUBERT the Capella Andrea Barca during the Salzburg Mozart Week Symphony No. 5 in B flat major, D 485 brings together three works by these great composers, which WOLFGANG AMADEUS MOZART each of them created early in life at the start of an impressive Piano Concerto No. 23 in E flat major, KV 482 Viennese career. The programme opens with Beethoven’s First Piano Concerto: Piano & Conductor András Schiff “Sensitively supported by the rich and supple tone of the strings, Orchestra Cappella Andrea Barca Schiff’s pianistic virtuosity explores the length and breadth of Beethoven’s early work, from the opulent to the playful, with a Produced by idagio.production palpable delight rarely found in such measure in a pianist”, was Video Director Oliver Becker the admiring verdict of the Salzburg press. Length: approx. 100' As in his opening piece, Schiff again succeeded in Schubert’s Shot in HDTV 1080/50i symphony “from the first note to the last in creating a sound Cat. no. A 045 50045 0000 world that flooded the mind’s eye with images” Drehpunkt( Kultur). A co-production of The climax of the concert was the Mozart piano concerto.
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Beethoven to Drake Featuring Daniel Bernard Roumain, Composer & Violinist
125 YEARS Beethoven to Drake Featuring Daniel Bernard Roumain, composer & violinist TEACHER RESOURCE GUIDE 87TH Annual Young People’s Concert William Boughton, Music Director Thank you for taking the NHSO’s musical journey: Beethoven to Drake Dear teachers, Many of us were so lucky to have such dedicated and passionate music teachers growing up that we decided to “take the plunge” ourselves and go into the field. In a time when we must prove how essential the arts are to a child’s growth, the NHSO is committed to supporting the dedication, passion, and excitement that you give to your students on a daily basis. We look forward to traveling down these roads this season with you and your students, and are excited to present the amazing Daniel Bernard Roumain. As a gifted composer and performer who crosses multiple musical genres, DBR inspires audience members with his unique take on Hip Hop, traditional Haitian music, and Classical music. This concert will take you and your students through the history of music - from the masters of several centuries ago up through today’s popular artists. This resource guide is meant to be a starting point for creation of your own lesson plans that you can tailor directly to the needs of your individual classrooms. The information included in each unit is organized in list form to quickly enable you to pick and choose facts and activities that will benefit your students. Each activity supports one or more of the Core Arts standards and each of the writing activities support at least one of the CCSS E/LA anchor standards for writing.
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The Compositional Influence of Wolfgang Amadeus Mozart on Ludwig Van Beethoven’S Early Period Works
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2018 Apr 18th, 12:30 PM - 1:45 PM The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works Mary L. Krebs Clackamas High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Musicology Commons Let us know how access to this document benefits ou.y Krebs, Mary L., "The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works" (2018). Young Historians Conference. 7. https://pdxscholar.library.pdx.edu/younghistorians/2018/oralpres/7 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. THE COMPOSITIONAL INFLUENCE OF WOLFGANG AMADEUS MOZART ON LUDWIG VAN BEETHOVEN’S EARLY PERIOD WORKS Mary Krebs Honors Western Civilization Humanities March 19, 2018 1 Imagine having the opportunity to spend a couple years with your favorite celebrity, only to meet them once and then receiving a phone call from a relative saying your mother was about to die. You would be devastated, being prevented from spending time with your idol because you needed to go care for your sick and dying mother; it would feel as if both your dream and your reality were shattered. This is the exact situation the pianist Ludwig van Beethoven found himself in when he traveled to Vienna in hopes of receiving lessons from his role model, Wolfgang Amadeus Mozart.
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Wolfgang Amadeus Mozart Béla Bartók Franz Schubert
JANUARY 22, 2016 – 7:30 PM WOLFGANG AMADEUS MOZART Quartet for Flute and Strings in C Major, K. 285b Allegro Andantino Lorna McGhee flute / Erin Keefe violin / Rebecca Albers viola / Robert deMaine cello BÉLA BARTÓK Sonata No. 1 for Violin and Piano, Sz. 75 Allegro appassionato Adagio Allegro James Ehnes violin / Andrew Armstrong piano INTERMISSION FRANZ SCHUBERT Trio for Violin, Cello and Piano in E-flat Major, Op. 100, D. 929 Allegro Andante con moto Scherzo: Allegro moderato Allegro moderato Alexander Kerr violin / Edward Arron cello / Max Levinson piano SEASON SPONSORSHIP PROVIDED BY JAMES F. ROARK, Jr. WOLFGANG AMADEUS MOZART color and fairness to the other players, variations (1756–1791) two and three are led respectively by the violin and Quartet for Flute and Strings in C Major, cello. De rigueur Mozart moves into the darker C K. 285b, K. Anh. 171 (1778) minor for the fourth variation. Having enriched the harmonic color there, he shifts into a slower Adagio Mozart famously complained to his father that for No. 5, perhaps the loveliest in the set. The he detested the flute, a sour declaration that concluding variation returns to C major in a spirited probably drew added venom from his unhappiness dance-like gesture with folk-like intimations. with having to ply his trade in provincial Salzburg in the employ of his formidable foe, Archbishop BÉLA BARTÓK Hieronymus Colloredo. He also griped about (1881–1945) the paltry recompense offered for the task of Sonata No. 1 for Violin and Piano, Sz. 75 composing several pieces commissioned by a (1921) wealthy amateur flutist named De Jean.
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Franz Joseph Haydn (1732-1809)
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Classical Opera Ian Page (Conductor)
ZAIDE CLASSICAL OPERA IAN PAGE (CONDUCTOR) 7586_CO_Zaide_BOOKLET_FINAL.indd 1 13/06/2016 10:15 WOLFGANG AMADEUS MOZART (1756 - 1791) ZAIDE, K.344 Libretto by Johann Andreas Schachtner (1731 - 1795) ZAIDE SOPHIE BEVAN soprano Performance material: New Mozart Edition (NMA) By kind permission of Bärenreiter-Verlag GOMATZ ALLAN CLAYTON tenor Kassel · Basel · London · New York · Praha Recorded at the Church of St. Augustine, Kilburn, London, UK from 10 to 13 March 2016 ALLAZIM JACQUES IMBRAILO baritone Produced and engineered by Andrew Mellor Assistant engineer: Claire Hay SULTAN SOLIMAN STUART JACKSON tenor Post-production by Andrew Mellor and Claire Hay Design by gmtoucari.com Cover image by Debbie Coates OSMIN DARREN JEFFERY bass-baritone Photographs by Benjamin Ealovega German language coaches: Johanna Mayr and Rahel Wagner VORSINGER JONATHAN McGOVERN baritone Harpsichord technician: Malcolm Greenhalgh ZARAM DARREN JEFFERY Orchestra playing on period instruments at A = 430 Hz We are extremely grateful to George and Efthalia Koukis for supporting this recording. SKLAVEN PETER AISHER, ROBIN BAILEY, We are also grateful to the following people for their generous support: Kate Bingham and Jesse Norman, Sir Vernon and Lady SIMON CHALFORD GILKES, Ellis, John Warrillow and Pamela Parker, Kevin Lavery, Pearce and Beaujolais Rood, John Chiene and Carol Ferguson, and all ED HUGHES, STUART LAING, the other individuals who supported this project. NICK MORTON, DOMINIC WALSH Special thanks to: Mark Braithwaite, Anna Curzon, Geoff Dann, Chris Moulton, Verena Silcher, Alice Bellini, Léa Hanrot, Simon Wall and TallWall Media. THE ORCHESTRA OF CLASSICAL OPERA Leader: Bjarte Eike IAN PAGE conductor 2 MOZART / ZAIDE MOZART / ZAIDE 3 zaide7586_CO_Zaide_BOOKLET_FINAL.indd booklet FINALEsther.indd 2 2-3 09/06/2016 15:58:54 zaide booklet FINALEsther.indd 3 09/06/201613/06/2016 15:58:54 10:15 ZAIDE, K.344 ACT ONE Page 1 [Overture – Entr’acte from Thamos, König in Ägypten, K.345] 3’23 32 2 No.
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Leopold and Wolfgang Mozart's View of the World
Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World by Thomas McPharlin Ford B. Arts (Hons.) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy European Studies – School of Humanities and Social Sciences University of Adelaide July 2010 i Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World. Preface vii Introduction 1 Chapter 1: Leopold Mozart, 1719–1756: The Making of an Enlightened Father 10 1.1: Leopold’s education. 11 1.2: Leopold’s model of education. 17 1.3: Leopold, Gellert, Gottsched and Günther. 24 1.4: Leopold and his Versuch. 32 Chapter 2: The Mozarts’ Taste: Leopold’s and Wolfgang’s aesthetic perception of their world. 39 2.1: Leopold’s and Wolfgang’s general aesthetic outlook. 40 2.2: Leopold and the aesthetics in his Versuch. 49 2.3: Leopold’s and Wolfgang’s musical aesthetics. 53 2.4: Leopold’s and Wolfgang’s opera aesthetics. 56 Chapter 3: Leopold and Wolfgang, 1756–1778: The education of a Wunderkind. 64 3.1: The Grand Tour. 65 3.2: Tour of Vienna. 82 3.3: Tour of Italy. 89 3.4: Leopold and Wolfgang on Wieland. 96 Chapter 4: Leopold and Wolfgang, 1778–1781: Sturm und Drang and the demise of the Mozarts’ relationship. 106 4.1: Wolfgang’s Paris journey without Leopold. 110 4.2: Maria Anna Mozart’s death. 122 4.3: Wolfgang’s relations with the Weber family. 129 4.4: Wolfgang’s break with Salzburg patronage.
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Overture to the Marriage of Figaro
Integrated subject areas: Music English Language Arts Overture to The Marriage Social Emotional Learning of Figaro: Compare and Grade(s): 4-6 Lesson length: 40 minutes Contrast Instructional objectives: Students will: Learn about Mozart’s life DESCRIPTION Identify basic musical elements: tempo, dynamics, instrumentation and melody Compare and contrast two different musical styles using Students will listen to two pieces of music with similar melodies, but in the same basic melody completely different styles. One piece is the overture to The Marriage of Compose a review as a music Figaro, an opera in four acts written by Wolfgang Amadeus Mozart in 1786. critic The other is a modern interpretation of the same piece of music by the East Village Opera Company. Materials: Musical recordings of the Students will explore instrumentation, tempo, dynamics, and style used featured repertoire listed within these two pieces. above Sound system for musical Assessment Strategies excerpts of concert repertoire (e.g. laptop and speakers, In this lesson, students should be able to successfully do the following: iPhone® dock, Spotify®, etc) discuss basic musical elements such as tempo, dynamics, instrumentation Paper and writing utensil and melody; differentiate between two musical works with the same melody but very different styles, through class discussion and a writing Featured Repertoire*: assignment. Learn more about assessment strategies on page 5. Mozart – Overture to The Marriage of Figaro Learning Standards East Village Opera Company – Overture Redux (Le Nozze Di This lesson uses Common Core and National Core Arts Anchor Figaro) Standards. You can find more information about the standards featured in this lesson on page 4.
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CHAN 3093 BOOK.Qxd 11/4/07 3:30 Pm Page 2
CHAN 3093 Book Cover.qxd 11/4/07 3:23 pm Page 1 GREAT OPERATIC ARIAS GREAT OPERATIC ARIAS CHAN 3093 CHANDOS O PERA IN DIANA MONTAGUE ENGLISH 2 PETER MOORES FOUNDATION CHAN 3093 BOOK.qxd 11/4/07 3:30 pm Page 2 Diana Montague at the recording sessions Cooper Bill Great Operatic Arias with Diana Montague 3 CHAN 3093 BOOK.qxd 11/4/07 3:30 pm Page 4 Time Page Time Page Wolfgang Amadeus Mozart (1756–1791) from Atalanta from The Marriage of Figaro Meleagro’s aria (Care selve) Cherubino’s Aria (Non so più) 6 ‘Noble forests, sombre and shady’ 2:05 [p. 46] Alastair Young harpsichord • Susanne Beer cello 1 ‘Is it pain, is it pleasure that fills me’ 3:07 [p. 44] from The Clemency of Titus Wolfgang Amadeus Mozart Sextus’s Aria (Parto, parto) from Così fan tutte 2 6:39 [p. 44] ‘Send me, but, my beloved’ Fiordiligi, Dorabella and Don Alfonso’s Trio (Soave sia il vento) Christoph Willibald von Gluck (1714–1787) 7 ‘Blow gently, you breezes’ 3:33 [p. 46] with Orla Boylan soprano • Alan Opie baritone from Iphigenia in Tauris Priestesses’ Chorus and Iphigenia’s Aria (O malheureuse Iphigénie!) Dorabella’s Recitative and Aria (Smanie implacabili) 3 ‘Farewell, beloved homeland’ – 8 ‘Ah! Leave me now’ – ‘No hope remains in my affliction’ 4:56 [p. 45] ‘Torture and agony’ 3:39 [p. 46] with Geoffrey Mitchell Choir Dorabella and Fiordiligi’s Duet (Prenderò quel brunettino) Iphigenia’s Aria (Je t’implore et je tremble) 9 ‘I will take the handsome, dark one’ 3:07 [p.
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Noteworthy 16-2006
F.A.P. December 2OO7 Note-Worthy Music Stamps, Part 16 by Ethel Bloesch (Note: Part 16 describes stamps with musical notation that were issued in 2006.) ANTIGUA & BARBUDA Scott 2887 Michel 4353-4356 A sheet issued July 3, 2006 for the 250 th anniversary of the birth of Wolfgang Amadeus Mozart (1756- 1791). On the left side of the sheet are four stamps (three portraits of the young Mozart and a violin). The right side features a page of music superimposed on the unfinished portrait of Mozart by Joseph Lange, 1789. The music is the first page of the solo horn part to Mozart's Horn Concerto No. 3 in E-flat major, KV 447, now thought to have been written in 1787. The orchestration (clarinets and bassoons, rather than oboes and horns) and the lyrical musical style make this work more intimate and less extroverted than Mozart's three other horn concertos. ARMENIA Scott 730 Michel 540 A stamp issued March 28, 2006 for the 125 th anniversary of the birth of the Armenian musician Spiridon Melikian (1880-1933). His contributions to the musical culture of Armenia were wide- ranging: he engaged in expeditions to study Armenian folklore, wrote text-books and other musicological works, taught in the conservatory in Yerevan, and was one of the founders of the Armenian Choral Society. He also composed two children's operas, choral works, and songs. The stamp features a portrait of Melikian, with unidentified music in the background. AUSTRIA Scott 2067 Michel 2617 This stamp has been issued jointly by Austria and China on September 26, 2006.
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The Marriage of Figaro 4
Dynamic Surprises UNIT Focal Work: Mozart’s Overture to The Marriage of Figaro 4 Aim: How do unexpected dynamic changes create musical movement? Summary: We analyze dynamic change and contrast in Mozart’s Overture to The Marriage of Figaro. Materials: colored pencils or markers, staff paper Time Requirement: three 20-minute sessions Standards: US 1, 2, 3, 4, 5, 6, 8; NYC 1, 2, 3 Vocabulary: overture, opera, dynamics, tempo Unit 4 Overview Activity 4.1: What is an Overture? Activity 4.2: Overture to The Marriage of Figaro Listening Map Creative Extension 1: Overture to The Marriage of Figaro Dynamics Map Activity 4.3: Get Things Moving with Dynamic Surprises Creative Extension 2: Draw Your Own Cartoon Story Activity 4.1: What is an Overture? • How do all TV programs—cartoons, news, soap operas—begin? • Why would you want music at the beginning of a TV program? • What are some of your favorite TV theme songs, and how does the music connect with the program? • Play Overture to The Marriage of Figaro, Track 31. • What kind of show would this music introduce? • Introduce and define the overture and story from Mozart’s The Marriage of Figaro. The Marriage of Figaro opera: Contouris an opera that tells a live theater show in a funny story about a which the characters whirlwind day f illed sing what they’re with confusion, chaos, saying instead of surprises, tricks, talking to each other and a happy ending. The The Overture to overture: Marriage of Figaro instrumental music uses slow and fast tempos as well as that acts as the introduction to loud and soft dynamics an opera to represent the different characters of the opera and all theContour tricks they play on each other.
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