Kyrie
Wolfgang Amadeus Mozart Lyrics
Kyrie eleison.
Christe eleison.
Kyrie eleison.
Contributed by Elena K. Suggest a correction in the comments below.
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Wolfgang Amadeus Mozart (born Johannes Chrysostomus Wolfgangus Theophilus Mozart; 27 January 1756 – 5 December 1791) is among the most significant and enduring popular composers of European classical music. His enormous output includes works that are widely acknowledged as pinnacles of symphonic, chamber, piano, operatic, and choral music. Many of his works are part of the standard concert repertoire and are widely recognized as masterpieces of classical music. Read Full BioWolfgang Amadeus Mozart (born Johannes Chrysostomus Wolfgangus Theophilus Mozart; 27 January 1756 – 5 December 1791) is among the most significant and enduring popular composers of European classical music. His enormous output includes works that are widely acknowledged as pinnacles of symphonic, chamber, piano, operatic, and choral music. Many of his works are part of the standard concert repertoire and are widely recognized as masterpieces of classical music.
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.
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.
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Giuseppe LoGiurato
The Salieri character in that movie is so relatable... When asked about a "suitable teacher" for the Emporer's niece, after it's been made clear that W. Mozart is the man first in line, he most wryly and shrewdly replies:
"My concern, your highness, is to protect your majesty from any 'hint' of favouritism..."
Emporer Joe: "mm-hmm.. Well, there it is."
Mozart: if his majesty desires my services, why does he not simply appoint me to the position?
Count Orsini-Rosenberg: "You're not the ONLY composer in Vienna."
Mozart: "No, but I'm the best."
C. O-R. : "My dear Mozart; a little humility might suit you better... If you want to be considered for this position, you must submit your stuff, along with your colleagues."
Mozart: "Must I?"
C.O-R.: "mm-hmm"
Mozart; "well, I won't."
Fuck yeah! I love that character.
WP WP
Hi Ethan
thank you for your charming post :)
I also saw the concert live in Sydney City Recital Hall Angel Place after a beautiful meal at nearby lovely Felix French Restaurant with a gorgeous lady (was a good birthday that one!)
https://www.sydneysymphony.com/concerts-and-tickets/your-visit/city-recital-hall
Sydney City Recital Hall Angel Place which is a beautiful venue (not far from the Sydney opera house)
Its very beautiful from beginning to end
You can feel the love!
There are many beautiful things in life and Mozart's great love is one of them
its true love is eternal and Mozart's great mass proves it
good for you Ethan
I am charmed sir
Captain May
Yo Owen, do you realize that every single example you played is in the minor mode and every Mozart example in Major. Even that song you sang ("Crazy") is in minor. Really doubt that's just a coincidence: you're partial to the minor mode. As a classical composer/pianist in college 20+ years ago I actually noticed that Mozart's minor compositions a bit more brilliant than the ones in Major (even more true with Beethoven). If you're gonna compare apples to apples, you should be comparing minor to minor or Major to Major.
I'd recommend the Great Mass in C minor. Tell me you don't hear the genius: https://www.youtube.com/watch?v=vhMAhuY4DA8
Or the Requiem, 6th movement (Confutatis): https://www.youtube.com/watch?v=tlPQD04tn88
Dizzy12
“Displace one note... and there would be diminishment. Displace one phrase... and the whole structure would fall.”
Giuseppe LoGiurato
Is it not good?
It is miraculous.
(Needless too say, I said nothing whatsoever to His Majesty.)
Giuseppe LoGiurato
@Luis Salas "as I peered through the prison-bars of those meticulous ink-strokes, I realized...
Luis Salas
Those lines spoken by Abraham (combined with Mozart's most sublime music) express everything one needs to know about reaching perfection.
Josh Silva Jr
Constanze Mozart : Is it not good?
Antonio Salieri : It is miraculous!
Giuseppe LoGiurato
The Salieri character in that movie is so relatable... When asked about a "suitable teacher" for the Emporer's niece, after it's been made clear that W. Mozart is the man first in line, he most wryly and shrewdly replies:
"My concern, your highness, is to protect your majesty from any 'hint' of favouritism..."
Emporer Joe: "mm-hmm.. Well, there it is."
Mozart: if his majesty desires my services, why does he not simply appoint me to the position?
Count Orsini-Rosenberg: "You're not the ONLY composer in Vienna."
Mozart: "No, but I'm the best."
C. O-R. : "My dear Mozart; a little humility might suit you better... If you want to be considered for this position, you must submit your stuff, along with your colleagues."
Mozart: "Must I?"
C.O-R.: "mm-hmm"
Mozart; "well, I won't."
Fuck yeah! I love that character.
Giuseppe LoGiurato
Needless to say, I said NOTHING to the Emporer...
aarongtr180
The idea that a human being composed this piece baffles me. The music is, to put it as simply as possible, transcendent.
Elof Kjellson
Music IS transcendent. Every sentient thing can hear music and feel it on some degree, pretty much.
Davis Robinson
@Paul Halpin dude it was Mozart. You could r/whoooosh me, I won't care (I already see it coming).