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.
Requiem
Wolfgang Amadeus Mozart Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Requiem aeternam dona eis, Domine, et lux perpetua luceat eis
Te decet
Hymnus, Deus in Sion, et tibi reddetur votum in Jerusalem
Exaudi
Orationem meam, ad te omnis caro veniet
Requiem aeternam dona eis, Domine, et lux perpetua luceat eis
Kyrie eleison, Christe eleison, Kyrie eleison
2. Dies irae
Dies irae, dies illa solvet saeclum in favilla, teste David cum
Sybilla
Quantus tremor est futurus, quando judex est venturus, cuncta
Stricte
Discussurus
3. Tuba mirum
Tuba mirum spargens sonum per sepulchra regionum, coget omnes
Ante thronum
Mors stupebit et natura, cum resurget creatura, judicanti
Responsura
Liber scriptus proferetur, in quo totum continetur, unde mundus
Judicetur
Judex ergo cum sedebit, quidquid latet apparebit, nil inultum
Remanebit
Quid sum miser tunc dicturus? quem patronum rogaturus, cum vix
Justus
Sit securus?
4. Rex tremendae
Rex tremandae maiestatis, qui salvandos salvas gratis, salva me
Fons
Pietatis
5. Recordare
Recordare Jesu pie, quod sum causa tuae viae, ne me perdas illa
Die
Quaerens me sedisti lassus, redemisti crucem passus; tantus
Labor non
Sit cassus
Juste judex ultionis, donum fac remissionis ante diem rationis
Ingemisco tanquam reus, culpa rubet vultus meus; supplicanti
Parce Deus
Qui Mariam absolvisti, et latronem exaudisti, mihi quoque spem
Dedisti
Preces meae non sum dignae, sed tu, bonus, fac benigne, ne
Perenni
Cremer igne
Inter oves locum praesta, et ab hoedis me sequestra, statuens in
Parte
Dextra
6. Confutatis
Confutatis maledictis, flammis acribus addictis, voca me cum
Benedictis
Oro supplex et acclinis, cor contritum quasi cinis, gere curam
Mei finis
7. Lacrymosa
Lacrymosa dies illa, qua resurget ex favilla judicandus homo
Reus
Huic ergo parce Deus, pie Jesu Domine, dona eis requiem! Amen!
8. Domine Jesu
Domine Jesu Christe! Rex gloriae! Libera animas omnium fidelium
Defunctorum
De poenis inferni et de profundo lacu!
Libera eas de ore leonis, ne absorbeat eas Tartarus, ne cadant
In obscurum:
Sed signifer sanctus Michael repraesentet eas in lucem sanctam
Quam olim
Abrahae promisisti, et semini ejus
9. Hostias
Hostias et preces tibi, Domine, laudis offerimus
Tu suscipe pro animabus illis, quarum hodie memoriam facimus:
Fac eas
Domine, de morte transire ad vitam, quam olim Abrahae
Promisisti, et
Semini ejus
10. Sanctus
Sanctus, sanctus, sanctus Dominus Deus Sabaoth! pleni sunt coeli
Et terra
Gloria tua
Osanna in excelsis
11. Benedictis
Benedictis, qui venit in nomine Domini
Osanna in excelsis
12. Agnus Dei
Agnus Dei, qui tollis peccata mundi, dona eis requiem
Agnus Dei, qui tollis peccata mundi, dona eis requiem
Sempiternam
Lux aeterna luceat eis, Domine, cum sanctis in aeternum, quia
Pius es
Requiem aeternam dona eis, Domine, et lux perpetua luceat eis
The lyrics of Wolfgang Amadeus Mozart's Requiem are a solemn and powerful plea for eternal rest and peace for the departed souls. The song is divided into 12 sections, each with its unique interpretation of death, judgment, and salvation. The first section, Requiem Aeternam, asks God to grant eternal rest to the souls and that his perpetual light may shine upon them. The second section, Dies Irae, speaks of the day of judgment when everything will be judged strictly, and the trumpet will sound, calling all before the throne of God. The third section, Tuba Mirum, describes the sound of a trumpet spreading throughout the world calling everyone before the judgment of God. The fourth section, Rex Tremendae, speaks of the awe and majesty of God who can save even the most lost souls. The fifth section, Recordare, asks for mercy and forgiveness for sins committed, realizing that only the just can be saved. The sixth section, Confutatis, describes the judgment of the wicked who are condemned to suffer in flames while the blessed are called to join Christ in heaven. The seventh section, Lacrymosa, expresses the sorrow and pain of those who cry out to God for mercy on the Judgment Day. The eighth section, Domine Jesu, calls upon Christ as the king of glory to rise with his people and save them from the torments of hell. The ninth section, Hostias, is a plea for offerings and prayers for the departed souls, asking for their peaceful transition to the life that Abraham was promised. The tenth section, Sanctus, speaks of the holiness and glory of God, filling the heavens and the earth with his glory. The eleventh section, Benedictus, proclaims that the one who comes in the name of the Lord is blessed. And the final section, Agnus Dei, asks for eternal light to shine upon the departed souls, granting them eternal peace and rest.
Line by Line Meaning
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Contributed by Eva W. Suggest a correction in the comments below.
@gutsjoestar7450
0:00 setting the scene
0:50 dramatic Main character introduction
1:20 rising action
2:00 arising conflict
4:25 resolution of conflict
5:00 rising action to climax
7:34 climax
8:00 falling action
8:20 denouement
@user-gf2tf2jw1e
Imagine living in the same era and hearing it for the first time
@d3ltazer0judgement
"Hey, let's go there to hear the new mozart music"
"Less go"
music begins
nice
1:00 "OHH THAT BEAT IS SICK AF, NGL"
@thesaint5381
Story of salieri's life
@saboss
@The Saint Amadeus movie isn't real
@hanksherman8078
Heavy Metal before Heavy metal
@evavx6702
@saboss but... I thought that jokers laughed is real._.
@applesauce155
This song is truly a golden experience, like a fresh, Italian morning, it really pierces your soul, giving you the strength to conquer those who stand in your way, no matter how strong they stand. This is Requiem.
@crest6942
Is that a joj
@El_Peje
@Crest it truly is a j
@applesauce155
@EL PEJE it’s a