Please enable JavaScript.
Coggle requires JavaScript to display documents.
Die Zauberflöte, No 4 (recht and aria: 'O zittre nicht') and No. 5…
Die Zauberflöte, No 4 (recht and aria: 'O zittre nicht') and No. 5 (quintet: 'Hm! Hm! Hm! Hm!) from Act 1 (Mozart)
Context
This work is an example of a Classical-period opera.
The Magic Flute (Die Zauberflote) is a Singspiel, a type of German language opera with spoken dialogue in place of the recitative that separates the arias ensemble numbers and choruses in other types of opera. Recitative, which appears in No. 4, was reserved for the more dramatic moments.
First performed on 30 September, 1791
It is a fantastical tale incorporating the ideals of the 18th Century Enlightenment and Freemasonry
It requires vocal soloists, chorus (though not in the prescribed extracts) and orchestra.
Sonority
The soloists in this pieces are: - The Queen of the Night - sung by a high (coloratura) soprano, Tamino - a tenor, Papageno - a baritone, The Three Ladies - all of them soprano. They have separate parts, heard in homophony - though at bar 237, the first and second sopranos double at the unison.
Only part of the orchestra is required in these pieces: two oboes, two bassoons, two horns in Bb and strings in No. 4, and the same forces plus clarinets in No. 5
Pizzicato is used in the Andante in No. 5, bar 214 onwards.
Notation
The music is presented as a vocal score with individual lines for each vocalist with the exception of the 1st and 2nd Ladies, whose parts are printed on the same stave.
Italian terms are used for tempos, even though the work uses the German language.
The usual (Italian) dynamic indications are used, though only rarely in the vocal parts (e.g. No. 5, bars 192-203)
The direction 'sotto voce' ('under the voice') is used for The Three Ladies at bar 184 in No. 5
In this score, German terms and abbreviations are used for the instruments, some of the less obvious terms are Br. for Bratsche (viola), Blas. for Blaser (wind instruments).
Tempo, Metre and Rhythm
Both numbers contain tempo contrasts - No. 4: Allegro maestoso, Larghetto, Allegro moderato. No. 5: Allegro, Moderato
Metres also change: No. 4: simple quadruple (4/4) for the two allegro sections, contrasting with the simple triplet (3/4) in the Larghetto. No. 5: 'Cut common time' (fast two minims per bar) changing to more relaxed quadruple (4/4) in the Moderato
Notice the following rhythmic features: Syncopation in the orchestral introduction of No. 4, imparting a sense of urgency. The 'free time' delivery in the recitative sections. Frequent dotted rhythms. Rapid, dramatic flourishes, e.g. the triplet semiquavers in the Allegro moderato (No. 4, bars 62-63)
Virtuoso streams of semiquavers (No. 4, bars 79-92)
Insertion of rests within melody of Andante (No. 5, bars 218-219)
Melody
Overall the vocal range of The Queen of the Night's recitative and aria is wide, from D just above middle C, to F two octaves and a 3rd higher.
The last bar of the No. 4 Recitative contains a falling diminished 7th and a typical last closing formula for recitatives, i.e. the falling 4th.
Unusual phrase structure at the start of the aria in No. 4, consisting of 3 + 3 + 2 + 2 bars
Ornamentation and appogiaturas intensify expressive power
Sequence (No. 4, bars 28-31)
Chromatic descent (No. 4, bars 41-43) for pathos
Melody in the No. 4 Allegro moderato frequently contains rapidly moving scales
Word setting involves a mix of syllabic, slurred quavers and melismas
Melody in the Quintet, No. 5 is marked by: Periodic phrasing, generally diatonic writing, repeated notes.
Harmony
Functional with clearly defined perfect and imperfect cadences.
Interrupted cadences also appear, e.g No. 4 bars 55-56
Neapolitan 6th (No. 4, bar 19) followed by Diminished 7th (No. 4, bar 20)
Tonic pedal at opening of No. 4
Appoggiatura chord is used at bar 52 of No. 4
Suspensions are rare, but see No. 4, bar 66
Notice the Augmented 6th chord in No. 5 at bar 150
Tonality
Both numbers are in the key of Bb major and modulate to related keys, e.g. G minor (No. 4, bar 21), C minor (No. 4, bar 38), F major (No. 5, bar 34), D minor (No. 5, bar 142), Eb (No. 5, bar 172)