I. Italian Comic Opera p.484 A. Stylistic features 1. Acceptability of new styles 2. Emphasis on beautiful melodies

1 Chapter 21 Opera and Vocal Music in the Early Classic Period p.483 PREFACE * The new musical idiom and the Enlightenment writers * Roots in vocal music * Direct and musical expression * Traits from Italian opera * 1720s~1730s * Separation of comic and serious opera * Tradition weighed less on comic opera * (Comic opera) more hospitable to innovation * more unexpected and naturalistic ways in comic opera * Beauty of melody and ability of music to portray complex characters and rapidly changing emotions I. Italian Comic Opera p.484 A. Stylistic features 1. Acceptability of new styles 2. Emphasis on beautiful melodies B. Opera buffa 1. dramma giocossa, dramma comico, and commedia per musica 2. General characteristics a. A full-length work b. 6 or more characters c. Plots d. Commedia dell arte e. Recitative with continuo 3. Arias a. Short tuneful phrases accompanied by simple harmonies b. Da capo forms c. Example 21.1 C. Intermezzo p. 485 1. A short, comic, musical interlude 2. Plots 3. 2 main characters + bass 4. Recitative and aria 5. La serva padronna by Giovanno Battista Pergolesi

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3 D. La serva padronna, excerpt ( see NAWM 101 and Example 21.2 ) p. 486 1. Recitative section a. Opening: simple recitative b. Later dramatic moment: accompanied recitative c. Modulation 2. Aria a. Da capo form b. Ritornello opening c. A section with 2 stanzas d. B section with contrasts e. Presenting contrasting emotions E. Later comic opera p. 489 1. Serious and sentimental elements 2. Ensemble finale II. Opera Seria A. Simple melodic style from opera buffa B. Pietro Metastasio (1698-1782) 1. Librettos 2. To promote morality 3. Stories 4 3 acts C. Alternations of recitatives and arias 1. Recitatives a. Simple recitative b. Accompanied recitative 2. Arias 3. Little vocal ensemble 4. Role of the orchestra D. Da capo aria 1. 2-stanza standard 2. 1 st A section p. 490 a. Opening ritornello b. The 1 st vocal statement c. A short ritornello follows d. The 2 nd vocal statement

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5 3. The B section a. Use the 2 nd stanza b. Syllabic text-setting c. Different tempo, meter, or key 4. The return of the A section a. Repeated with embellishments b. Abbreviated da capo 5. New features a. Contrasting moods b. 4-measure antecedent and consequent phrases E. Johann Adolf Hasse (1699-1783) NAWM 102 1. Da capo aria 2. A1 and A2 3. B 4. return of A III. Opera in Other Languages P. 493 A. Opera outside of Italy 1. Opera seria 2. Comic opera a. libretto b. music 3. Historical significance of comic opera a. reflect b. encourage B. France 1. Querelle des bouffons ( Quarrel of the Comic Actors ) p. 494 2. Jean-Jacques Rousseau (1712-1778) 3. Opéra comique p. 495 a. vaudevilles b. Airs or ariettes in Italian style c. Spoken dialogue d. Serious plots based on social issues e. Richard Coeur-de-Lion (Richard the Lion-Hearted, 1784) by Grétry C. England p. 496 1. Ballad opera a. Spoken dialogue in English b. Borrowed popular tunes and newly composed songs c. Influential in Britain and America

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7 2. The Beggar's Opera (1728) by John Gay and Johann Pepusch a. Enormous popularity b. Plot (HWM Figure 21.5) c. Orchestration D. The Beggar's Opera, excerpt from Scene 13 (NAWM103) 1. Macheath fleeing from the law and hiding in Polly's room 2. Borrowed melodies present Melancholy 3. My heart was so free a. Simile to aria of Baroque operas b. Courting song c. Binary form. 4. Were I laid on Greenland's coast a. Tune b. The duet c. In C Dorian mode E. Germany and Austria p. 497 1. Serious German opera 2. Singspiel a. Spoken dialogue, musical numbers, and comic plot b. Influence from English ballad opera c. Johann Adam Hiller (1728-1804) d. In northern Germany e. Funny subjects with lively music IV. Opera Reform A. Beginnings 1. Wanted opera to be more natural a. Want more flexibility in recitatives and arias b. Orchestra and choruses c. Less demands of singers d. An Essay on the Opera (1755) 2. Jommelli (1714-1774) and Traetta (1727-1779) p. 498 a. Common: b. Jommelli: model for later opera seria c. Traetta: combine French tragédie en musique and Italian opera

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9 B. Christoph Willibald Gluck (1714-1787) 1. Born 2. Purge Italian opera a. NO singers' wishes and da capo form b. Overture c. Lessened contrast between recitative and aria d. "a beautiful simplicity" 3. Orfeo ed Euridice (1762) a. Libretto b. Music molded to the drama 4. French opera p. 499 a. Iphigénie en Aulide b. Orfeo and Alceste C. Orfeo ed Euridice, Act II, Scene I opening (NAWM 104 ) 1. Two orchestras 2. Dissonances 3. The ballet a. Modulation b. Dance as central to the story 4. Orfeo's song to the Furies a. Melody b. Phrases c. Role of Orfeo V. Song and Church Music p. 500 A. Songs in many nations 1. Strophic 2. Melodies 3. The accompaniment 4. France: romance 5. Britain: ballad 6. Scottish and Irish folksongs B. The Lied 1. Collections: 2. Characteristics: 3. Composers: 4. Erlkönig

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11 C. Church music p. 502 1. Catholic music a. Stile antico and polychoral style b. Composers c. Italian oratorios 2. Lutheran music p. 503 a. Galant style b. Oratorio 3. England a. Baroque style b. Composers D. Sacred music in the New World 1. European settlements 2. New England 3. Singing schools 4. William Billings (1746-1800) a. Unaccompanied four-part plain tunes b. Fuging tunes c. Two collections: d. Two milestones: 5. Creation (NAWM 105) p. 504 a. Fuging tune from Continental Harmony. b. First half: c. Second half: d. End: e. Tenor as principal melody f. Parallel fifths and octaves 6. Moravians a. Concerted arias and motets b. Composers: c. Moravians collected both sacred and secular music VI. Opera and the New Language 1. sources in vocal music 2. naturalistic expression 3. impact on instrumental music 4. new melody and form 5. mid-18 th century as transition

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13 Chapter 22 Instrumental Music: Sonata, Symphony, and Concerto at Midcentury p. 506 INTRODUCTION * Qualities of new idiom: * Instrumental music gained new independence * Important developments: 1 piano 2 string quartet 3 sonata 4 concerto and symphony 5 sonata form I. Instrumentals and Ensembles A. Roles of instrumental music 1. social activity p. 507 2. dinner and party music 3. in concerts 4. for dancing B. The piano 1. harpsichord and clavichord 2. Bortolomeo Cristofori a. action b. dynamics 3. 2 types of piano: a. grand piano b. square piano 4. the fortepiano

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15 C. Chamber ensembles 1. keyboard as melody instrument a. melody instruments and the continuos b. fully written-out part c. female keyboard player p. 508 2. Music for string ensemble without keyboard a. 2-5 strings b. string quartet c. for enjoyment d. concertante 3. Wind instrument and ensembles a. clarinet b. wind ensemble c. 2 oboes+2 clarinets+2 horns+2 bassoons(figure 22.4) d. amateurs as flutists D. Orchestra p. 509 1. concert orchestra in the 18 th 2. clarinet 3. the basso continuo 4. principle violin as conductor 5. string and wind instruments II. Genres and Forms p. 510 A. Genres of the Classic era 1. genres from Baroque era are out of fashion 2. sonata in 3 or 4 movements 3. chamber ensemble 4. Orchestral music a. concerto b. symphony 5. 3 movements 6. 4 movements

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17 B. Continuity and change 1. Concerto, sinfonia, sonata are old 2. The Galant style is new a. melody b. accompaniment c. now forms C. Preference for the major mode 1. Baroque: prefer minor 2. Classical: prefer major 3. minor keys as contrast a. minor modes divert from stability b. the return to Tonic D. Binary forms p. 511 1. Classic-era forms are harmonic a. Tonic Dominant Tonic b. in minor key: Tonic relative major Tonic 2. Binary in 2 sections a. 1 st : away from Tonic b. 2 nd : returns to Tonic 3. Simply binary form a. almost same length b. musical materials are related in both parts c. NAWM 84 & 85 4. Balanced binary form a. emphasizes both ends b. 1 st in V, 2 nd in I c. NAWM 94b and 106 5. Rounded binary form a. material from opening returns in 2 nd half b. Haydn Symphony No. 92, NAWM 112c

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19 E. Sonata form p. 511-3 1. the first movement of a sonata 2. 18 th and 19 th century views(22.5) 3. Koch s view as Binary Form a. 1 st section * phrase 1 & 2 * phrase 3 * phrase 4 b. 2 nd section * period 1 * period 2 c. Koch s description of sonata form d. pieces by 1780 4. Sonata form 1780s~1830s p. 514 a. exposition * 1 st section * 2 nd section * 3 rd section * 4 th section b. development c. recapitulation d. introduction and coda 5. Omission of the repetition of the 2 nd half F. Other forms: p. 515 1. Slow movement 2. Variation 3. Minuet + Trio form 4. Rondo form a. main theme ( part A) b. episode(transition and retransition) c. ABACA or ABACABA

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21 III. Keyboard Music p. 515 A. Large numbers of keyboard works in 18th 1. Sonatas 2. Other works B. Domenico Scarlatti(1685-1757) p. 515-6 * Son of Alessandro Scarlatti * 1719 * 1729 1. Scarlatti s sonatas a. Over 555 sonatas b. Rounded Binary Form c. Striking features 2. Sonata in D major, K. 119(NAWM 106, Example 22.1) a. Balanced continuous binary form b. Tonic section: 22.1a ~ d c. Modulation and new key: 22.1e,mm 36 d. Dissonance and trill: 22.1f e. Guitar effect f. Other typical features C. Carl Philipp Emanuel Bach(1714-88) p. 518-9 * Son of J. S. Bach * At the court * At the 5 principle churches 1. Keyboard works 2. Essay on the True Art of Playing Keyboard Instrument, 1753-62 3. Keyboard sonatas a. Preference for clavichord b. 8 sets of 6 sonatas for keyboard c. Prussian & Württemberg sonatas d. Empfindsam style in slow movements

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23 4. Empfindsam characteristics Six Clavier Sonatas for Connoisseurs and Amateurs, No.4, 2 nd movement(nawm 107) a. Expressive melody in short phrases b. Sonata form without development c. Restless quality(22.2) d. Turn e. Recitative style IV. Orchestral Music p. 520 A. Origin of Symphony 1. Name of Symphony 2. Early sinfonia in 3 movements a. 1 st movement- Allegro b. 2 nd movement- short lyrical Andante c. 3 rd movement- Finale in dance rhythm(minuet or gigue) 3. Other influence on symphony a. Torelli s orchestral concerto b. Church sonata c. Orchestral suite B. Giovanno Battista Sammartini(ca. 1700-1775) * Northern Italy * Symphony in F major, No.32, I, ca 1740(NAWM 108, Example 22.3) a. 4-part strings + keyboard b. 3 movements:fast- slow- fast c. 1 st movement:in Binary form d. Each half repeated C. Mannheim p. 521 1. An army of generals 2. Johann Stamitz a. 4-movememt structure b. Contrasting themes

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25 3. Sinfonia in E-flat major(1750s, NAWM 109) a. 4 movements b. 4-part strings+2 oboes + 2 horns c. Koch s model d. The Mannheim crescendo e. After modulation f. Recapitulation 4. Vienna and Paris D. Symphonie Concertante p. 522 1. 1770 2. Orchestra + solos 3. 2 or more soloists form the orchestra E. Concerto 1. J. C. Bach(1735-82) * Son of J. S. Bach * The London Bach a. Galant style b. Influence on young Mozart 2. 3-movement structure 3. Ritornello + Sonata form 4. Concerto for Harpsichord or Piano in E-flat major, I(NAWM 110)(22.10) a. Framed by ritornellos b. 1 st ritornello c. 3 episodes 5. Cadenza a. Orchestral I 6/4 chord b. Trill over V chord F. Entertainment Music p. 524 1. Divertimento 2. Cassation 3. Serenade

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27 Chapter 23 Classis Music in the Late Eighteenth Century p. 526 INTRODUCTION 1. Musicians worked mainly for 2. Compose to please 3. Haydn and Mozart are the most successful 2 4. Synthesis of styles and traditions 5. Haydn: work for patron 6. Mozart: a freelance 7. Both: produced music that has be loved for over 2 centuries PART 1 HAYDN p. 527 I. Joseph Haydn(1732-1809) A. Historical position 1. The most celebrated 2. Symphonies and string quartets B. Early life 1. Born near Vienna 2. At St. Stephen s Cathedral 3. Freelance at Vienna 4. Count Morzin C. The Esterházy years 1. Most of Haydn s career 2. Prince Paul Anton hired Haydn in 1761 3. Nikolaus succeeded in 1762 4. Haydn s duties for the Esterházy: a. Compose music b. Conduct performance c. Train and supervise musical personnel d. Keep musical instruments in good condition 5. Esterháza p. 529 a. Moved from Austria to Hungary b. A splendor estate with 2 theatres and 2 music rooms c. 25 performers in orchestra which gives weekly concerts and regular performances 6. Nikolaus and baryton 7. Haydn kept updated by regular trips to European centers 8. New contract in 1779 9. Moved to Vienna in 1790

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29 D. The London years p. 530 1. John Peter Salomon 2. For London concerts 3. Received great acclaim II. Haydn s Style p. 531-5 A. Unexpectedness within convention B. Sources of Haydn s style 1. The galant style 2. The expressiveness of the Empfindsam style 3. Baroque counterpoint 4. Generic clichés C. String Quartet in E-flat Major, Op. 3, No. 2(The Joke), finale(nawm 111) 1. The rondo form is ABACA 2. Binary opening 3. 2 episodes B and C have no new materials 4. Sense of economy and novelty 5. Heightened drama with harmonic extensions and delay 6. Humorous and witty effect(example 23.2) 7. The Joke as the nickname 8. Endearing to players, connoisseurs and listeners D. Haydn s compositional process p. 536 1. First improvised at keyboard 2. Then wrote out melody and harmony on paper(figure 23.4) 3. Finally wrote full score III. Symphonic form A. General 1. Approximately 106 symphonies 2. Identified by numbers, ending with No. 104 3. Many have nicknames but few were named by Haydn 4. Generally 4 movements a. 1 st :fast sonata-form movement with a slow introduction b. 2 nd :slow movement c. 3 rd :Minuet + Trio d. 4 th :fast finale in sonata or rondo form 5. All in the same key, except the slow movement 6. Haydn s format became standard for later composers

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31 B. Symphony, No. 92 in G Major (Oxford, NAWM 112) p. 537 1. Composed in 1789 while Haydn received an honorary doctorate form Oxford university 2. The 1 st movement is in a sonata form a. The slow introduction makes contract b. Alternation of tonally stable thematic ideas c. Exposition 1) the 1 st theme group has 3 distinct ideas(example 23.3, NAWM 112, 21~39) 2) Opening idea in the 2 nd thematic group but focused on winds 3) Closing theme(mm. 72)is repetitive and cadential d. Development 1) Modulations through relative keys 2) Full with sequences, counterpoint, and motivic developmemt e. Recapitulation p. 538 1) theme in flute with new counterpoint(imitation in m.125) 2) ST and CT in tonic and the tran. is extended and intensified 3. The slow movement is in ABA form p. 539 a. tend to provide a calm and gentle melody in contrast b. other form in slow movement: sonata form w/o repeats, theme+variation c. songlike theme(a)+ dramatic middle section(b)in tonic minor + abbreviated reprise(a, m. 72-87)+ coda d. coda: woodwinds and chromaticism 4. Minuet and trio a. Ternary form(aba)in overall; A and B are in Binary form b. Trio(B): often in the same key are the Minuet but may change mode or keys c. lighter orchestration in the Trio d. Minuet+Trio is shorter and more popular e. unexpected harmonies, syncopations, pauses, and changes of dynamics to show humor 5. The finale is in sonata form a. generally faster and shorter b. Exposition: c. Development: d. Rondo form in Final movements after 1770s e. some rondos are sonata-rondo 1) A and B as sonata-form exposition 2) C as development 3) return of B is in tonic

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33 IV The Symphonies p. 540 A. Early symphonies, 1757-67 1. Composed for Count Morzin(1757-61) a. typical orchestration:2 oboes, 2 horns, and strings b. 3 movements c. themes in the sonata-form movement 2. About 30 symphonies composed for the Esterházy in 1761-67 a. orchestration: added flute, bassoon b. novelty and variety c. 3 symphonies with common titles: 1) Symphony No. 6, Le Matin(Morning) 2) Symphony No. 7, Le Midi(Noon) 3) Symphony No. 8, Le Soir(Evening) B. Symphonies of 1768-72 1. Symphonies performed in concert room in Esterháza(Figure 23.5) 2. 12 symphonies are longer, more rhythmic complex, contrapuntal, and challenging 3. associated with Strum and Drang a. 6 are in minor b. startling effects: dynamic extremes, sudden contrasts, crescendos, sofrzantos c. harmonies: richer and more varied d. emotional and agitated C. Symphonies of 1773-81 1. mixed popular elements with serious, stirring, and impressive qualities 2. Symphony No. 56 in C Major(1774) D. Symphonies of 1781-91 1. for published abroad 2. standard orchestration:1 flute, 2 oboes, 2 bassoons, 2 horns, strings, and sometimes trumpets and timpani 3. The Paris Symphony(No. 82-87, 1785-6) 4. Symphonies No. 88-92 were also composed for commission 5. Combine popular and learned elements

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35 E. Symphonies of 1791-1794, the London Symphonies p. 541 1. 12 London Symphonies, commissioned by Salomon 2. Distinctive qualities a. More daring harmonies b. Intensified rhythmic drive c. Memorable thematic inventions d. Expanded orchestra: trumpets and timpani are standard, + clarinets e. The woodwinds and string bass are more independent f. The effect is spacious and brilliant 3. Haydn s novel ideas: a. A fortissimo in Symphony No. 94 b. folk-like tune(example 23.5) c. Turkish effects in No. 100, the Military Symphony d. A ticking sound in Symphony No. 101, the Clock Symphony V. Other Instrumental Music p. 542 A. String quartets 1. A great master of the genre 2. for amateurs 3. conversations between 4 strings 4. Early quartets:op. 1&2 resemble divertimentos 5. Op. 9, 17, 20:18 quartets in 4 movements a. many of Op. 20 are in minor key and exhibit Strum und Drang b. 3 of Op. 20 end with fugues c. these quartets gained international reputation 6. Opus 33:composed in a quite new and special way p. 543 a. lighthearted and tuneful(example 23.6) b. Minuet becomes Scherzo(joke, trick) c. rondos as finales for the 1 st time in string quartets d. filled with playful humor(example 23.1, 23.2, NAWM 111) 7. Later quartets:after Op. 33, Haydn composed 34 quartets a. 6 quartets suitable for concert hall performance b. expanded harmonic vocabulary foreshadows Romantic harmony c. serious and popular elements are juxtaposed

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37 B. Keyboard sonatas and trios p. 544 1. for amateur 2. 3 movements 3. focus on expression 4. the keyboard trio was essentially a keyboard sonata accompanied by strings VI. Vocal Music A. Opera 1. Haydn had higher regard in his vocal music 2. at the Esterházy 3. Armida(1784) 4. Haydn s opera are now rarely performed B. Masses 1. Haydn s last 6 masses are large-scale festive works: a. Missa in tempore belli (Mass in Time of War, 1796) b. Lord Nelson Mass (1798) c. Theresienmesse (1799) d. Harmoniemesse (Windband Mass, 1802) 2. 4 vocal soloists, chorus, and orchestra with trumpets and timpani 3. symphonic elements C. Haydn s Oratorios p. 545 1. Inspired by Handel s Messiah 2. Major works: a. The Creation, 1789, based on Milton s Paradise Lost b. The Season, 1801 3. Both were published in German and English 4. Baron Gottfried van Swieten wrote the German texts 5. Depiction of Chaos is remarkable for its harmonies and drama (NAWM 113, m.22~30)

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39 PART 2 MOZART I. Wolfgang Amadeus Mozart (1756-1791) p. 546 A. Mozart and Haydn 1. Friendship 2. Were seen equal 3. Fundamental differences a. younger with international reputation b. Freelancer without permanent position B. Early Life 1. Child prodigy p. 547 2. Leopold Mozart(1719-1787) a. A performer and composer b. Treatise on violin-playing c. Promote the young Mozart s talent 3. Touring p. 548 a. performed on keyboard and violin for aristocrat and public b. a wonder of nature c. composed minuets at 5, a symphony about 9, first oratorio at 11, first opera at 12 d. absorbed local music qualities 4. Absorbing influences p. 549 a. Paris Johann Schobert(ca. 1735-1767) b. London J. C. Bach c. Italy 1769-1773(Italian influences) Padre Martini: Sammartini: d. Vienna 1773(Viennese influences ) C. The Salzburg Years(1774-1781) p. 552 1. 2 ways to make money at that time: 2. Position with the archbishop of Salzburg a. Unhappy with the archbishop b. A commission on Idomeneo c. Leave for Vienna D. The Vienna Years(1781-1791) 1. Sources of Mozart s income: a. Die Entführung dem Serial b. piano and composition students c. performed as the finest pianist in private and public concerts d. organized his own concerts e. composed on commission f. 1787 was pointed chamber-music composer to the emperor

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41 2. Financial problems in 1788 3. Later influences a. became friend with Haydn b. at the Swieten s 1) J. S. Bach s contrapuntal works 2) Handel s composition II. Instrumental Music A. Piano Music p. 554 1. sonatas, fantasias, variations, rondos, and piano duets 2. for students, home music-making, and publication 3. 19 piano sonatas are the most popular 4. Sonata in F Major, K. 332, 1 st movement(nawm 114, Example 23.8) a. in sonata form with repeats for both halves b. songlike theme at the beginning c. contrasts in the FTA(m. 1-22) d. Example 22.8, mm. 1-30: 1) galant style:mm. 1-4 2) learned stlye(countrapuntal):mm. 5-1 3) hunting style:mm. 12.3-22 4) Sturm und Drang style:mm. 22.3(fast rhythm, full texture, chromaticism, dissonances and diminished 7 th chords) e. new melody in the Development B. Chamber Music p. 556 1. Quartets a. 16 string quartets in early 1770s b. Haydn Quartets:1782-85 2. Quintets a. 6 string quintets for 2 violin, 2 violas, and cello: b. Quintet for Piano and Winds, K. 452: c. other quintets:horn quintet, clarinet quintet C. Serenade and Divertimentos 1. for garden party and outdoor performance 2. serious treatment 3. Eine Kleine Nachtmusik(A Little Night-Music, K. 525)

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43 D. Piano Concertos p. 557 1. Salzburg concertos:most notably- Piano Concerto in E-flat Major, K. 271(1777) 2. Vienna concertos:17 concertos are all masterpieces 3. all in 3 movements, followed J. C. Bach s ritornello and sonata form (p. 523) 4. Piano Concerto in A, K. 488, 1 st movement(1786)(nawm 115) a. 3 solo sections as Exposition, Development, Recapitulation b. opening ritornello presents FT, tran., ST, and CT, all in Tonic c. the last ritornello is shortened and in Tonic d. orchestra punctuates the long solo sections e. cadenza in the final ritornello section f. orchestral transition contrasts the lyric themes g. new idea at the beginning of Development 5. Second (slow) movement:lyric aria p. 558 a. key: b. form: 6. Finale movement: 7. Balance of elements: E. Symphonies p. 559 1. about 50 before moving to Vienna(1781) 2. 6 in Vienna Years and all are masterpieces a. Haffner Symphony in D Major, K. 385 (1782) b. Linz Symphony in C Major, K. 425 (1783) c. Prague Symphony in D Major, K. 504 (1786) d. Symphony in E-flat Major, K. 543 (1788) e. Symphony in G Minor, K. 550 (17880) f. Jupiter Symphony in C Major, K. 551 (1788) 3. Example 23.10:finale of the Jupiter Symphony (NAWM 116) p. 560 III. Operas p. 561 A. Early Operas 1. first opera in 1768 a. La finta semplice (The Pretend Simpleton, opera buffa b. Bastien und Bastienne, Singspiel 2. 2 Opere Serie in 1770s in Milan 3. 2 operas in commission for Munich a. La finta giardiniera, (1775), opera buffa b. Idomeneo, (1781),opera seria

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45 B. Die Entführung dem Serial(1782) 1. raised the Singspiel to the level of an artwork 2. the oriental setting: Turkish music C. Da Ponte operas: 1. all 3 were Italian comic operas a. The Marriage of Figaro (1786) b. Don Giovanni (Don Juan, 1787) c. Cosí fan tutte (Thus Do All Women, 1790) 2. they gave greater depth to the characters 3. ensembles:duet, trio, chorus 4. orchestration:more winds D. Don Giovanni p. 562 1. premiered in Prague in 1787 2. portrayed Don Juan more seriously 3. mixed opera seria and opera buffa charachters 4. 3 levels of characters in different dances in the finale of Act I: a. minute for the nobles b. contredanse for Don Giovanni c. rustic waltz for Leporello 5. The opening scene of Don Giovanni in mixing styles(nawm 117) a. Leporello b. Don Giovanni and Donna Anna c. Donna Elvira(example 23.11) E. The Magic Flute p. 563 1. composed in the last year of his life, along with the opera seria La clemenza di Tito (The Mercy of Titus, 1791) 2. story is symbolic, related with Freemasonry 3. wide variety of vocal styles IV. Church Music p. 564 A. early sacred pieces are not his major works B. Masses:symphonic-operatic idiom with fugal texture C. The Requiem, K. 626 1. commissioned by Count Walsegg in 1791 2. unfinished at Mozart s death and completed by his student, Süssmayr

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