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.
Die Zauberflöte K. 620 Act 2:
Wolfgang Amadeus Mozart Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Tod und Verzweiflung flammet um mich her!
Fühlt nicht durch dich Sarastro
Todesschmerzen,
So bist du meine Tochter nimmermehr.
Verstossen sei auf ewig,
Verlassen sei auf ewig,
Zertrümmert sei'n auf ewig
Wenn nicht durch dich!
Sarastro wird erblassen!
Hört, Rachegötter,
Hört der Mutter Schwur
The lyrics above are from "Der Hölle Rache," an aria from the second act of Wolfgang Amadeus Mozart's opera Die Zauberflöte (The Magic Flute). The aria is sung by the character Queen of the Night, who is a powerful and vengeful queen seeking to overthrow the wise and benevolent leader Sarastro. In the aria, she declares that her heart is boiling with hellish rage and that death and despair surround her. She asks her daughter, Pamina, if she does not feel the pain of death caused by Sarastro but if she sides with him instead of her, she will disown her as a daughter.
The Queen of the Night's aria is known for its vocal agility, featuring a range of high-pitched notes, and dramatic expression. The frenzied melodies and explosive coloratura of this aria demonstrate the Queen's fury and drive for revenge, as well as the trauma she has experienced at the hands of Sarastro's followers. The aria is often admired for its ability to convey both power and vulnerability, as the Queen of the Night is both a threatening character and, as a mother, emotionally invested in the plight of her daughter.
Line by Line Meaning
Der Hölle Rache kocht in meinem Herzen,
In my heart, I am boiling with anger and revenge.
Tod und Verzweiflung flammet um mich her!
Death and despair surround me!
Fühlt nicht durch dich Sarastro Todesschmerzen,
If Sarastro does not feel the pain of death through you, then you are not my daughter anymore.
So bist du meine Tochter nimmermehr.
If Sarastro is not hurt by you, then you are not my daughter anymore.
Verstossen sei auf ewig,
I will reject you forever.
Verlassen sei auf ewig,
You will be abandoned forever.
Zertrümmert sei'n auf ewig Alle Bande der Natur
All natural ties will be forever broken.
Wenn nicht durch dich! Sarastro wird erblassen!
If Sarastro is not hurt by you, he will be afraid.
Hört, Rachegötter, Hört der Mutter Schwur
Listen, gods of revenge! Hear the vow of a mother.
Contributed by Scarlett Y. Suggest a correction in the comments below.
@WhyNot-hb3mm
Une pure Merveille cette voix...
Paroles :
Air de la Reine de la Nuit
Une vengeance infernale brûle dans mon cœur;
La mort et le désespoir flamboient autour de moi !
Si Sarastro ne meurt pas de tes mains,
Tu ne seras plus ma fille !
Tu seras répudiée à jamais,
Abandonnée à jamais,
À jamais seront rompus entre nous
Tous les liens de la nature,
Si Sarastro ne périt pas de tes mains !
Entendez! Entendez ! Entendez, Dieux de Vengeance !
Entendez le serment d'une mère !
@WhyNot-hb3mm
C'est Merveilleux, quelle voix sublime, sommes véritablement transportés...
Paroles :
Air de la Reine de la Nuit
Une vengeance infernale brûle dans mon cœur;
La mort et le désespoir flamboient autour de moi !
Si Sarastro ne meurt pas de tes mains,
Tu ne seras plus ma fille !
Tu seras répudiée à jamais,
Abandonnée à jamais,
À jamais seront rompus entre nous
Tous les liens de la nature,
Si Sarastro ne périt pas de tes mains !
Entendez! Entendez ! Entendez, Dieux de Vengeance !
Entendez le serment d'une mère !
@hibaabih9591
La Flauta Mágica 'Der Holle Rache' Lyrics
Der Hölle Rache kocht in meinem Herzen,
Tot und Verzweiflung
Tot und Verzweiflung flammet um mich her!
Fühlt nicht durch dich Sarastro
Todesschmerzen,
Sarastro Todesschmerzen
So bist du meine Tochter nimmermehr.
So bist du meine
Meine Tochter nimmermehr.
[Escala de aes]
Meine Tochter nimmermehr.
[Escala de aes]
So bist du meine Tochter nimmermehr.
Verstossen sei auf ewig,
Verlassen sei auf ewig,
Zertrümmert sei'n auf ewig
Alle Bande der Natur
Verstossen
Verlassen
Zertrümmert
Alle Bande der NaturAlle Bande der Natur
Alle Bande...
[Escala de aes]
Alle Bande der Natur
Wenn nicht durch dich
Sarastro wird erblassen!
Hört, Rachegötter,
h***t der Mutter Schwur!
@aroojmalik3190
Me scrolling to find a comment related to PENTHOUSE
But found A BTS Army who watched PENTHOUSE
I found gold while searching for silver 🤣
Im a BTS army too
And PENTHOUSE IS MY 2ND KDRAMA
MY FIRST KDRAMA WAS VINCENZO
@nicholasgede-lange8519
She’s kept up an incredible pace with grace and beautiful articulation. I hate it how some other sopranos keep changing the tempo on different parts of the aria, because they are unable to sing it properly on the faster bits, but then rush through the parts which are meant to be more relaxed. This was not the case here. She did a wonderful job!
@frchopin1
Mozart exactly know how to tortue sopranos but she overcomes it... well done.
@amandalipare9303
Mozart DOES know how to torture “us”......I am a lyric coloratura and sang this role in full costume with full orchestra while in grad school getting my MA in performance......it’s NOT an easy role!
@heavnnnsent
😆😆😆
@KlaidosHollande
Yeah, I remember the she even made a difficult opera piece for a soprano he didn't exactly like, he made it so the opera singer would bob her head up and down like a chicken😆😆Mozart is so savage😂🤣
@kikidee23
@@KlaidosHollande wasn’t it his sister in law or something?
@KlaidosHollande
@@kikidee23 not sure but yeah..i think so🤔
@tommyekman7922
For a singer who was born with material that makes her suitable for singing coloratura soprano, it is not "torture" at all. They do not find the high coloraturas difficult and heavy to sing as we who listen and admire. With the right technique and wise conductors, it is their natural voice mode they use.
@Mtz2604
Exactly! The torture is for us, the Mezzos haha
@bikedawg
Wow---she's absolutely stunning!! Her voice--the depth and her reach is astounding!!!!