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.
Kyrie
Wolfgang Amadeus Mozart Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Christe eleison.
Kyrie eleison.
The Kyrie is a part of the Catholic Mass that originated from the Greek Orthodox Church. Mozart's Kyrie is a setting of the Kyrie text, which is a prayer that means "Lord have mercy, Christ have mercy, Lord have mercy." Mozart's Kyrie in particular is classified as a choral piece, and it is sung a cappella, meaning without any instrumental accompaniment.
The piece begins with the phrase "Kyrie eleison" sung by the choir. This phrase is then repeated twice more with the next phrase, "Christe eleison" interrupting after the first repetition. The first phrase is Greek for "Lord have mercy," and the second phrase is a plea to Christ for mercy. After the interruption of the "Christe eleison" phrase, the choir repeats the "Kyrie eleison" phrase for the third and final time.
While the piece is simple in its structure, vocal harmonies, and melody, it is truly a masterpiece that showcases Mozart's skill and talent as a composer. The way in which he arranged the phrases and harmonies create an emotional and powerful experience for the listener. It is no surprise that this piece has remained a popular selection in choral music even centuries after it was first composed.
Line by Line Meaning
Kyrie eleison.
Lord, have mercy.
Christe eleison.
Christ, have mercy.
Kyrie eleison.
Lord, have mercy.
Contributed by Skyler K. Suggest a correction in the comments below.
@mabovithzelthz4580
キリエ【あわれみの賛歌】
第2曲 主よあわれみ給え
Kyrie eleison.
「主よ、いつくしみをお与えください」
Christe eleison.
「キリストよ、いつくしみをお与えください」
Kyrie eleison.
「主よ、いつくしみをお与えください」
「キリエ(主よ、いつくしみをお与えください)」
@johanliebert6270
The greatest genius in music...Requiem is the pinnacle of human art.
@lennierichardson1387
It's a ballbuster to sing, too. :D
@dinare8
Noooo... not you again!
@gotaro69
yo johan
Where did u escape
@katerinaroumelioti9475
πειράζει
@stratiotis1979
Masterpiece! Kyrie eleison. (God have mercy on us). Immortal Greek language.
@carlochang6592
It's latin
@stratiotis1979
@carlochang6592 No, my friend. This is Greek language written in Latin alphabet. Kyrie means "Lord" and Eleison means "Have mercy on Us."
@carlochang6592
@@stratiotis1979 ok no sabia saludos,,,,
@wooyaa8152
@@carlochang6592 the rest of the major work is Latin but this is Greek