Please enable JavaScript.
Coggle requires JavaScript to display documents.
No.4 Recit and Aria by Mozart (Melody (Wide vocal range - 2 octaves plus a…
No.4 Recit and Aria by
Mozart
Plot
The
Queen
:crown: attempts to soothe
Tamino
and encourage him to
rescue her daughter
. He sees a portrait of her and falls in love :<3:
Instrumentation and dynamics
High
coloratura soprano
2 oboes, 2 bassoons, 2 horns in B♭ and strings
German abbreviations - Br. for Bratsche (viola)
Dynamics
used to create/add
drama
-
p
and
f
in the intro
Structure and tonality
B♭ major
Modulates to relative keys - G minor (21), C minor (38)
Recitative and aria - accompanied by
orchestra
.
Recitative normally
spoken
but accompanied to
heighten expression
Aria =
2 sections
= developing
dramatic
situ.
Largo
- Queen expresses :crown:
sorrow
from loss
Allegro Moderato
- Tamino is
commanded
to rescue her daughter
Harmony
Functional
with clear cadence points
Mostly
diatonic
with some
chromaticism
- variety
Tonic pedal
= clear indication of key
Appoggiatura
(52)
Texture
Melody dominated homophony
Melody
Wide vocal range -
2 octaves
plus a minor 3rd (top F (92))
Final bar of recit contains a
falling dim 7th
and a typical closing
falling 4th
Unusual phrase structure
at the start of the
aria
- 3 + 3 + 2 + 2 bars
Ornamentation
and
appoggiaturas
- add
expression
Sequence
- (28-31), (87-89)
Chromatic decent = angiush
Scalic
passages -
excitement
and
energy
-
melisma
Rhythm
Allegro maestoso - Larghetto - Allegro Moderato
Simple quadruple (4/4) -
Allegro
Simple triple (3/4) -
Larghetto
Syncopation
in orchestral -
urgency
'Free time'
- Recit =
natural
flow of speech
Dotted rhythms & off beat accomp - drama
Rapid, dramatic flourishes (62-63), (79-92)
Context
Mozart had an
operatic approach to symphony writing,
characterised by a greater amount of thematic material. His
themes were generally more lyrical and expressive
, and his harmonies richer and often more chromatic than Haydn's. Mozart was capable of beautiful orchestral scoring, elevating writing for the woodwind to an equal with the strings. His symphonies show a greater textural complexity and brilliant contrapuntal skill in contrasting themes.