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

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

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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