listening journal, 4. operatic extract_mozart die zauberflote k. 620, finale of first act

8/10/2019 Listening Journal, 4. Operatic Extract_Mozart Die Zauberflote K. 620, Finale of First Act

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Genre Title of Composition Composer

Operatic Extract Die Zauberflöte K. 620 Wolfgang Amadeus Mozart (1756-1791

References

!ecording Mozart" W# A# Die Zauberflöte Highlights. $onducted %& 'arl

)*m"Wiener +taatsopernc*or and Wiener ,*il*armonier#

Music !e.ie/ 0e.ine" !o%ert# Wolfgang Amadeus Mozart# Accessed on 16 anuar& 2334#

*ttp///#classicstoda&#comre.ie/#asp8!e.ie/um:935;

oos 0andon" <#$" !o%%ins# The Mozart Compenduium. =(0ondon >*ames ?@

<udson" 1996#

<arris" !o%ert# hat to !isten for in Mozart # (e/ or +imon @?

+c*uster" 1991#

,izzigoni" Ba.ide# The Magi" #lute. (e/ or A%%e.ille ,ress" c2333#

Warrac" o*n ? E.an West# $%ford Con"ise Di"tionar& of $pera' (rd

edition. (Oxford Oxford @ni.ersit& ,ress" 1996#

Edition Mozart" Wolfgang Amadeus# The Magi" #lute) *o"al +"ore. ,iano

!eduction %& Br# Wil*elm 'ienzl# (Mineola Bo.er" c1945#

http://www.classicstoday.com/review.asp?ReviewNum=905

http://www.classicstoday.com/review.asp?ReviewNum=905



Description of the composition in 6 creative and novel sentences.

The Magi" #lute" t*e last opera emerging from dar period of Mozart time /as de%uted on

+eptem%er C3" 1791 and conducted %& Mozart *imself# Written for a commercial t*eatre" /it*

+c*ianeder as t*e li%rettist" Magi" #lute %ecame MozartDs testament t*at summed up of all t*at

*e %elie.ed important in life and in music# >*e full of Masonic r*etoric" s&m%ols" and music

opera t*at *ad fantas& and deep religious significance is %asicall& t/o operas rolled into one" t*e

first act of /*ic* is a con.entional singspiel -erman lig*t comic opera /it* spoen dialogue-t*at

*as completel& different tone /it* t*e second act t*at %ecomes an opera a%out enlig*tenment and

trut*" %orro/ing Fuite *ea.il& from Masonic s&m%olism and doctrine# >*e final scene of t*e first

act" Zum Ziele fuhrt di"h diese ,ahn is performed %& t*ree %o&s" >amino" +peaer" $*orus"

,amina" ,apageno" Monostatos" and +arastro# >*e -ndante part of /*ic*" ie +tar ist ni"h dein

Zauberton tells t*at >amino is so t*anful /it* t*e unseen sounds /*o tell *im t*at ,amina is

still ali.e %& imitating /*at ,amina does and expresses it %& pla&ing *is magic flute# >*e first act

of t*is +ingspiel ended unexpectedl& %& +arastro" t*e e.il /*o idnapped ,amina" turns to

,amina and >amino telling t*em t*e& must undergo an suffering of purification %efore t*e& can

%e united#1

1 <# $# !o%%ins 0andon# The Mozart Compendium# (0ondon >*ames ? <udson" 1996" 2G3" 25G#

!o%ert <arris# hat to !isten for in Mozart # (e/ or +imon ? +c*uster" 1991" 236-213#

Ba.ide ,izzigoni# The Magi" #lute. (e/ or A%%e.ille ,ress" c2333" 7-13" 1C#

o*n Warrac ? E/an West# $%ford Con"ise Di"tionar& of $pera# Crd edition# (Oxford Oxford @ni.ersit& ,ress" 1996" 642-647#



5 Classical features about the performance.

+ingspiele" a comic opera in a erman language opera t*at *as t*e presence of spoen dialogue

raised %ecause of t*e need of simplicit& and sincerit& t*at is not concerns /it* ods and

m&t*ological *eroes is adopted %& Die Zauberflöte# One of t*e features of +ingspiele /*ic* all

t*e c*aracters tae parts at t*e end of eac* acts can %e configured in t*e final of t*e first act of

t*is opera /*ere t*e >*ree o&s" >amino" +peaer" $*orus" ,amina" ,apageno" Monostatos" and

+arastro in.ol.e#

>*e presence of a spoen dialogue t*at maes Die Zauberflöte considered as a +ingspiele can %e

expected in t*e ie star ist ni"ht dein Zauberton mo.ement /*ere >amino notices t*at

,apageno ans/ers *im /it* *is panpipe# >amino sa&s H<aI Bas ist ,apageniDs >onIJ

One of t*e important scenes in t*is opera" t*e Andante section is t*e time /*ere >amino get some

enlig*tenment from t*e unseen po/ers of sound telling t*at ,amina is still ali.e# >*is scene

/ritten in $ maKor is s*o/ed in a .er& serious" calm" and formal c*aracter#

>*e first period pla&ed %& >aminoDs flute is a con.entional %alanced p*rase GLG %ars in t*e

-ndante part# >*is melodic GLG %ars %alanced p*rase can also %e *eard in t*e %eginning of t*e

next -ndante part /*en ,apageno and ,amina sing# >*is section is not onl& %alanced in melodic

structure %ut also in t*e *armonic structure /*ere t*e dominant use of -N c*ords can %e

o%ser.ed /*ere t*e *armonic progression is -N7--N--N -N7--N-c-N-# >*is period ended

/it* t*e .er& common progression c-N-#

>*e /ord =,aminaI $an &ou *ear me call8 <o/ /ill e.er find &ou at all8D is spoen %& >amino

in a .er& gentle /a& supported %& t*e increasing of d&namic and ascending melod& at t*e end#

,apageno ans/ers >amino from far a/a& /it* *er panpipe#2

2 osep* Mac*lis and 'ristine orne&# The /no&ment of Musi"" 4t* edition. (e/ or W#W# orton" 1999" C32-C3G#

Ba.ide ,izzigoni# The Magi" #lute. (e/ or A%%e.ille ,ress" c2333" 79-133#



4 Interesting facts about the performer.

Nienna ,*il*armonic Orc*estra (N,O founded on 14G2 %& Otto icolai as 1hilharmonis"he

-"ademie *as a uniFue relations*ip /it* Nienna +tate Opera %ecause of t*e mem%ers of t*is

orc*estra s*ould %e capa%le to pro.e t*eir capa%ilit& for t*ree &ears period in t*e +tate Opera

Orc*estra %efore t*e& are eligi%le to reFuest as a mem%er of Nienna ,*il*armonic Orc*estra# A

ne.er *ad principal conductors orc*estra" since 19CC *as in.ited man& great /orld class

conductor" including !ic*ard +trauss" Arturo >oscanini" Wil*elm urt/Pngler" 'arl )*m"

$laudio A%%addo" !iccardo Muti" Baniel aren%oim" etc# +ince 19G1" N,O sponsored Nienna

e/ earDs $oncerts eac* e/ earDs Ba& t*at dedicated to t*e +trauss amil&" especiall&

o*ann +trauss # >*e iener 1hilharmonier musicians and a music educator" <anne Mut*spiel

,a&er *a.e t*e intention to encourage c*ildren and &out*s for orc*estral music %& gi.ing t*em a

glimpse into t*e /orld and t*e life of professional musician and preparing t*em speciall& planned

sc*ool proKects to .isit t*e orc*estra# C

3 Nienna ,*il*armonic Orc*estra QOnlineR# A.aila%le from http)en.3iipedia.org3ii*ienna41hilharmoni"4$r"hestra QAccessed on

Marc* 2" 2334R#

>*e Nienna ,*il*armonic QOnlineR# A.aila%le from *ttp///#/ienerp*il*armonier#atindex#p*p8setSlanguage:en?cccpage:a%outSorc*estraQAccessed on Marc* 2" 2334R#

Music Education T pass/ortlassi QOnlineR# A.aila%le from *ttp///#/ienerp*il*armonier#atindex#p*p8setSlanguage:en?cccpage:ids

QAccessed on Marc* 2" 2334R#

http://en.wikipedia.org/wiki/Vienna_Philharmonic_Orchestra


http://www.wienerphilharmoniker.at/index.php?set_language=en&cccpage=about_orchestra

http://www.wienerphilharmoniker.at/index.php?set_language=en&cccpage=kids


http://www.wienerphilharmoniker.at/index.php?set_language=en&cccpage=about_orchestra

http://www.wienerphilharmoniker.at/index.php?set_language=en&cccpage=kids



3 rgumentative ideas about !I" interpretation.

iolaus <arnoncourt and $*oir ? Orc*estra of t*e UVric* Opera <ouse produce t*e Die

Zauberflöte" one of t*e famous opera /it* period instruments# >*ere are se.eral differences

%et/een t*is recording /it* 'arl )*m recording /it* Nienna ,*il*armonic Orc*estra and

Nienna +tate Opera /*o approac* t*is music /it* modern instruments# As t/o different groups

performing" t*e differences are not onl& %ecause of t*e different instruments %ut also in terms of

tempo and st&le and interpretation#

>*e different instruments t*at are used mae t*e different sound production of t*e orc*estration

%et/een t*e period and t*e modern instruments# >*e UVric* Orc*estra sounds lig*ter t*an t*e

Nienna ,*il*armonic# >*e period glocenspiel sounds s*rill and strident is contrasted /it* t*e

modern one /*ic* produce cr&stal-clear and transparent c*aracteristic# Moreo.er" t*e modern

instruments maes t*e orc*estra sounds maKestic#

>*e decision of <arnonocourt to perform a faster tempo for t*e ie +tar ist ni"h dein Zauberton

does not reall& mae sense and displa& t*e real mood and c*aracteristic# <is tempo %uild t*e flo/

and eas&-going c*aracter /*ic* actuall& s*ould %e a full-of-*ope c*aracteristic t*at displa&ed %&

0eopold +imoneau under )*mDs conducting#

+t&listic and interpretation issues t*at rose in se.eral places *ere" suc* as <arnoncourt performed

pauses and silent time fits most of t*e atmosp*ere in /*ic* it occurs# n t*is case" )*m does not

reall& react to t*e pauses and silent time# >*e ot*er issue of t*e performer is t*e .oice c*aracter

of Monostatos /*ic* sings %& ,eter 'eller from UVric* Opera <ouse is creep& and s*rill# @nder

t*e %aton of 'arl )*m" August aresc* interprets *is role %etter /*ere *e s*o/s t*e firm and

%ra.e c*aracters#



Comparison of # printed sources of information about the composer.

>*e articles a%out Mozart are taen from Karunia Musi /ritten %& ane +tuart +mit* and

1ortrait of 5enius /ritten %& or%ert Elias# ot* demonstrate similarities and differences in

information# >*e article %& ane +tuart +mit* descri%es MozartDs music in general and some of

*is %iograp*ical details# On t*e ot*er *and" or%ert Elias co.eres more a%out MozartDs c*aracter#

>*ere are some similarities %et/een Karunia Musi and 1ortrait of 5enius t*at can %e

summarized *ere# MozartDs music does not rel& on *is life /*ic* /as em%raced %& difficulties#

Buring *is lifetime" /*ile *e toured" *e /as exposed to a /ide practice-%ased musical education"

i#e# <e *eard /ors of eorge $*ristop* Wagenseil" and eorg !eutter" one of <andelDs teac*er

in Nienna <e encountered ,adre MartiniDs contrapuntal /ors in tal& <e ne/ /ors %& t*e

/ell-no/n renc* +c*ool composers suc* as 0ull&" ,*ilidor" o*ann +c*o%ert" etc <e stum%led

upon /ors %& <andel" #$# ac*" '# # A%el" anot*er ac*Ds pupil in 0ondon# >*erefore" as an

Austrian *imself" MozartDs musical st&le is not onl& Austrian in st&le %ut also a perfect

com%ination of tasteful talian" artful and educated erman" and elegant renc*# Anot*er

similarit& %et/een t*ese t/o %oos is MozartDs mot*er c*aracteristic /*ic* is elegance" /arm-

*eartedness" .i.aciousness and patience /it* some musical interests#

>*ere are also differences t*at can %e gleaned from a comparison of t*ese t/o %oos#

According to ane +tuart +mit*" e.en t*oug* Mozart lo.es to /rite operas" Mozart can %e

considered as a fat*er of modern concerto %ecause *e pla&ed piano concertos in pu%lic for t*e

first time" in /*ic* piano /as *is fa.orite instrument t*at can made *im speas *is most pri.ate

feeling# <is music is .er& clear" transparent" good and .er& difficult to perform#

listening journal, 4. operatic extract_mozart die zauberflote k. 620, finale of first act

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