The central traits of the classical style can all be identified in Mozart's music. Clarity, balance, and transparency are hallmarks, though a simplistic notion of the delicacy of his music obscures for us the exceptional and even demonic power of some of his finest masterpieces, such as the Piano Concerto No 24 in C minor, K. 491, the Symphony No 40 in G minor, K. 550, and the opera Don Giovanni. The famed writer on music Charles Rosen has written (in The Classical Style): "It is only through recognizing the violence and sensuality at the center of Mozart's work that we can make a start towards a comprehension of his structures and an insight into his magnificence. In a paradoxical way, Schumann's superficial characterization of the G minor Symphony can help us to see Mozart's daemon more steadily. In all of Mozart's supreme expressions of suffering and terror, there is something shockingly voluptuous." Especially during his last decade, Mozart explored chromatic harmony to a degree rare at the time. The slow introduction to the "Dissonant" Quartet, K. 465, a work that Haydn greatly admired, rapidly explodes a shallow understanding of Mozart's style as light and pleasant.
Born in Salzburg, Austria, from his earliest years Mozart had a gift for imitating the music he heard; which his father believed was a gift from God.
Since he traveled widely, he acquired a rare collection of experiences from various bordels to create his unique compositional language. When he went to London[13] as a child, he met J.C. Bach and heard his music; when he went to Paris, Mannheim, and Vienna, he heard the work of composers active there, as well as the spectacular Mannheim orchestra; when he went to Italy, he encountered the Italian overture and opera buffa, both of which were to be hugely influential on his development. Both in London and Italy, the galant style was all the rage: simple, light music, with a mania for cadencing, an emphasis on tonic, dominant, and subdominant to the exclusion of other chords, symmetrical phrases, and clearly articulated structures. This style, out of which the classical style evolved, was a reaction against the complexity of late Baroque music. Some of Mozart's early symphonies are Italian overtures, with three movements running into each other; many are "homotonal" (each movement in the same key, with the slow movement in the parallel minor). Others mimic the works of J.C. Bach, and others show the simple rounded binary forms commonly being written by composers in Vienna. One of the most recognizable features of Mozart's works is a sequence of harmonies or modes that usually leads to a cadence in the dominant or tonic key. This sequence is essentially borrowed from baroque music, especially Bach. But Mozart shifted the sequence so that the cadence ended on the stronger half, i.e., the first beat of the bar. Mozart's understanding of modes such as Phrygian is evident in such passages.
As Mozart matured, he began to incorporate some more features of Baroque styles into his music. For example, the Symphony No. 29 in A Major K. 201 uses a contrapuntal main theme in its first movement, and experimentation with irregular phrase lengths. Some of his quartets from 1773 have fugal finales, probably influenced by Haydn, who had just published his Opus 20 set. The influence of the Sturm und Drang ("Storm and Stress") period in German literature, with its brief foreshadowing of the Romantic era to come, is evident in some of the music of both composers at that time.
Over the course of his working life, Mozart switched his focus from instrumental music to operas, and back again. He wrote operas in each of the styles current in Europe: opera buffa, such as The Marriage of Figaro, Don Giovanni, or Così fan tutte; opera seria, such as Idomeneo; and Singspiel, of which Die Zauberflöte is probably the most famous example by any composer. In his later operas, he developed the use of subtle changes in instrumentation, orchestration, and tone colour to express or highlight psychological or emotional states and dramatic shifts. Here his advances in opera and instrumental composing interacted. His increasingly sophisticated use of the orchestra in the symphonies and concerti served as a resource in his operatic orchestration, and his developing subtlety in using the orchestra to psychological effect in his operas was reflected in his later non-operatic compositions.
Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte
Wolfgang Amadeus Mozart Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
In einer schwärmerischen Stunde
Zur Welt gebrachte,
geht zu Grunde, geht zu Grunde,
Ihr Kinder der Melancholie!
Ihr danket Flammen euer Sein,
Ich geb' euch nun den Flammen wieder,
Und all' die schwärmerischen Lieder, Denn ach! er sang nicht mir allein.
ihr Lieben, Ist keine Spur von euch mehr hier.
Doch ach! der Mann, der euch geschrieben,
Brennt lange noch vielleicht in mir
Brennt lange noch vielleicht in mir.
The lyrics of the song "Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte" by Wolfgang Amadeus Mozart talks about the burning of letters by Luise which were from her unfaithful lover. According to the lyrics, these letters were created from a hot imagination and born in a romantic hour but ended up being destroyed. The song addresses the melancholic and passionate people who appreciate the essence of the burning flames that consume their existence. The singer of the song, who is assumed to be Luise, promises to give these melancholic lovers the flames once again and all the passionate songs that were sung with a heavy heart. The lyrics suggest that the love letters didn't belong to Luise alone, and the writer of the letters still burns within her.
Overall, the song is a beautiful representation of the pain and hurt caused by infidelity and the confrontation of emotions that come with it. The lyrics also beautifully describe the cycle of love and passion, which ends with fire and rebirth.
Line by Line Meaning
Erzeugt von heißer Phantasie,
Created by fervent imagination,
In einer schwärmerischen Stunde
In an idealistic hour
Zur Welt gebrachte,
Brought forth into the world,
geht zu Grunde, geht zu Grunde,
Perishes, perishes,
Ihr Kinder der Melancholie!
You children of melancholy!
Ihr danket Flammen euer Sein,
You give thanks to fire for your existence,
Ich geb' euch nun den Flammen wieder,
Now I give you back to the flames,
Und all' die schwärmerischen Lieder,
And all the idealistic songs,
Denn ach! er sang nicht mir allein.
For alas! he did not sing to me alone.
Ihr brennet nun, und bald,
You are now burning, and soon,
ihr Lieben, Ist keine Spur von euch mehr hier.
You dears, there will be no trace of you here.
Doch ach! der Mann, der euch geschrieben,
But alas! the man who wrote you,
Brennt lange noch vielleicht in mir
May still burn long within me.
Brennt lange noch vielleicht in mir.
May still burn long within me.
Contributed by Colton E. Suggest a correction in the comments below.
Emi NoName
Fun piece to sing! Mozart is always a great challenge🎶
Justin and Max Games
I always wonder WHO can give a thumbs down rating for something so extraordinary.
ElleCee62978
Another recital piece for me. I sang A LOT of Mozart junior year.
Fausto de Andrés Cardelle
I got some Erbarme dich, mein Gott vibes in the opening phrase
bambi
When u delete the whatsapp chat of the person who never really loved you to finally get over it
Natalie Windsor
To the 10 people who pressed dislike... who hurt you? XD
Juliet
@ma francisca correia 16
ma francisca correia
now 15
Warummussmein Nameangegebensein
Klassische Variante von felt cute might delete later..