Mozartian Eucatastrophe

"I coined the word 'eucatastrophe': the sudden happy turn in a story which pierces you with a joy that brings tears (which I argued it is the highest function of fairy-stories to produce). And I was there led to the view that it produces its peculiar effect because it is a sudden glimpse of Truth, your whole nature chained in material cause and effect, the chain of death, feels a sudden relief as if a major limb out of joint had suddenly snapped back. It perceives – if the story has literary 'truth' on the second plane (....) – that this is indeed how things really do work in the Great World for which our nature is made."

---J.R.R. Tolkein 'Letter 89'*

 The final allegro assai may be as fizzing as the overture which inaugurated his folle journée, but the true climax is the andante that precedes it, as the Count twice begs forgiveness (the second phrase intensifying the first), the Countess grants it in six bars of noble magnanimity, completing the melody he began, and the whole company takes it up in words that are banal - "Ah tutti contenti saremo cosi" ("Then let us all be happy") - but in music that is on the heights.

Mozart's reconciliations are real. They invoke the good in human nature. His vision embraces the pain and cruelty as well as the compassion - the darkness and the light; but it is the light that prevails.

 --- David Cairns Mozart and His Operas, p. 131-132

*see further, On Fairy-Stories

Mostly Mozart Festival, 2010

I just finished reading Jay Nordlinger's New York Chronicle review of the 2010 Mostly Mozart Festival in the  September issue of The New Criterion. Regretfully I cannot share any of my own opinions of this year's festival as I did not attend any of its concerts. My reasons for abstaining are not new but are quite simple: there is not enough Mozart and the concerts are not sensibly programmed.

As an exercise I have taken the liberty of assembling a few concerts which I believe do not share those defects. I have attempted to pay attention to practical matters of length and instrumentation.

Each grouping has a particular theme, so to speak: the evolution of the string quartet, a contrast of  harmonic practices, song and lyricism, counterpoint and liturgical style and evolution, influences on Beethoven, evolution of the concerto, and so forth.

Now I certainly do not expect these programs to be deliberately performed at the festival any time soon, but perhaps the complementarity of the pieces in each group will be to your edification and listening pleasure. Feel free to make your own suggestions in the comments!

1) 
Joseph Haydn
String Quartet Op. 33, No. 2 in E-flat

Mozart
String Quartet in G major, KV.387
String Quartet in D minor, KV.421
String Quartet in E-Flat major, KV.428

2) 
Joseph Haydn
Symphony No. 84 in E-flat

Mozart
Overture to La Clemenza di Tito, KV.620
Symphony No. 35 in D major, KV.385
Symphony No. 36 in C major, KV.425

3) 
Mozart 
Overture to Le nozze di Figaro, KV.492
Arias from Figaro: Porgi amor & E susanna non vien!. . . Dove sono
Rondo in D major
Piano Concerto No. 18 in B-flat, KV.456
Piano Concerto No. 23 in A major, KV.488

4)
Mozart 
Misericordias Domini, Offertory in D minor, KV.222/205a
Kyrie in D minor, KV.341
Adagio and Fugue in C minor, KV.546
Requiem in D minor, KV.626

5) 
Mozart
Piano Concerto No. 27 in B-flat, KV.595
String Quintet in E-flat, KV.614
String Quintet in D, KV.593
Clarinet Quintet in A, KV.581

6)
Mozart
Sinfonia Concertante in E-flat, KV.364/320d
Serenade No. 10 in B-flat, KV.361/370a

7) 
Mozart
String Quartet in A major, KV.464

Ludwig van Beethoven
String Quartet No. 5 (Op.18) in A major
String Quartet No. 15 (Op.132) in A minor

8)
C. P. E.  Bach 
Concerto in F minor

J. C. Bach
Concerto in A

Mozart
Piano Concerto in E-flat, KV.271
Piano Concerto in D minor, KV.466

Delacroix Don Giovanni

I was doing some research and came across this painting which seems not at all to be mentioned on the internet, or at least not identified. Lest it fall into obscurity. . .

The Last Scene From Don Giovanni, by Eugène Delacroix.

1824. 55.9 by 45.7 cm. (Private Collection)

As he did with Medea About to Kill Her Children, Delacroix captured a psychologically rich moment, manipulating our knowledge of what is about to transpire. Here, only Leporello and Donna Elvira know the Commendatore has taken up Don Giovanni's invitation to dinner.

Delacroix on Mozart and Don Giovanni:

[Mozart was] 'undoubtedly the creator. . . of art carried to its highest point, beyond which no further perfection is possible', [1]

[On Don Giovanni] 'What an admirable fusion of elegance, expression, buffoonery, terror, tenderness, irony, each in just measure.'[2]

[1] A. Joubin, ed.: Journal d'Eugè Delacroix, Paris [1950], I, pp.346-47

[2] ibid., pp.185, 186-87


See also:

Johnson, Lee. 'The Last Scene of "Don Giovanni" ': A Newly Discovered Delacroix. The Burlington Magazine, Vol. 138, No. 1122 (Sep., 1996), pp. 605-607

Judd, Percy. Delacroix on Music. Music and Letters Vol. 43, No. 4 (Oct., 1962), pp. 340-344

Mozartian Counterpoint Part I

Part I | II | III | IV | V | VI | VII

Introduction

The word "counterpoint" tends to conjure images of 17th century schools, where stern counterpoint masters taught "academic counterpoint." By this "academic" style we mean a style not so concerned with making beautiful music but following the rules of stretto [1] and assuring proper entrance and resolution of the subjects, matching point against point, punctus contra punctum. Johann Joseph Fux (1660-1741), Austrian composer, music theorist, teacher, and author of the classic treatise on counterpoint "Gradus ad Parnassum" typifies this conception. In contrast the word "polyphony" has a rather distinctive medieval ring, bringing with it associations of monks and minuscule scripts. Perhaps we think of the period between those, the era of Renaissance polyphony and the era of the great church composers and polyphonists like Palestrina and Monteverdi.

Those seem to be the three popular associations with what we broadly call "counterpoint," a word with both beguilingly simple and confoundedly complicated definitions. The most important feature of counterpoint is a relative rhythmic and melodic independence for each voice. The weaving together of these multiple "strands" of melodies allows for both horizontal and vertical relationships, i.e. each note is relative to the others being played simultaneously (up and down on the sheet music) and to the ones which preceded and which will succeed it. This weaving is said to create a polyphonic, or contrapuntal, texture. We should add that rhythm may be both harmonic and melodic, i.e. based on the movement from dissonance to consonance and vice-versa, and based on metrical units created from notes of varying length. With these observations alone one can imagine the many potentialities of contrapuntal writing.

We ought perhaps to make a few more technical and definitional observations before proceeding. First, is the concept of the canon. It comes from the Greek κανών, rule or standard. While the word itself explains the concept, another might be helpful: the Italian caccia, chase or hunt. Thus in the canon a melody is played and then imitated, or chased, by another, which follows by a particular rule, or canon, i.e. it comes a measure later, a fifth above, inverted, et cetera. The canon and the idea of imitation are the central concepts of counterpoint. Later, the fugue developed into the archetypal contrapuntal form. Perfected by J. S. Bach, the fugue has a specific structure of exposition of subjects but a somewhat looser overall organization. Edmund Rubbra put the fugue well saying, "fugues begin canonically with well-defined statements of the material, and then develop freely within the orbit of the tonal scheme. . . Fugue is a contrapuntal discourse that has a beginning, middle, and end but admits of no subtler labeling of its arguments." [Rubbra, 58]

While there is no accepted theory of the origins of its practice, polyphony has more or less worldwide origins.  Polyphony, a word which notionally is identical to counterpoint, is considered a more broad term, referring more generally to the simple practice of having multiple melodies.[2] In contrast counterpoint as we have seen is thought of as a more defined body of practices for writing polyphonic music. This unification began in the development of schools, like the 13th-century Ars Antiqua and 14th-century Ars Nova, and continued around the practices of 15th-century composers like Dufay and Josquin, and again around 16th-century composers like di Lasso and Palestrina. This period, the time of di Lasso, Palestrina, and Monteverdi, is often referred to as the Golden Age of Counterpoint.

Fux's Gradus ad Parnassum is part summary of the basic relationships among musical intervals and part counterpoint instruction, describing rules and procedures for writing against a fixed melody (cantus firmus) counterpoint of increasing complexity.

Yet from the time of the Golden Age onward tonal organization grew to rival and succeed contrapuntal structural organization. In the music of Johann Sebastian Bach the fusion of these focuses reached its zenith with his great, indeed incredible, attention to both tonal and contrapuntal structure. [3] While one could spend a lifetime on Bach alone, he is not the focus of this essay. In fact, in his own time J. S. Bach was more famous as an organist than a composer as the contrapuntal style in which he worked was gradually being replaced by the styles and forms we have come to know as "classical."

In the mid-to-late 17th century counterpoint remained a significant part of musical training even though it had faded from popular taste. Mozart's familiarity with the practices of counterpoint would have come in more or less three phases: early exercises under the tutelage of his father Leopold, rigorous exercises with Padre Giovanni Battista Martini, the prominent head of a musical school who the teenage Mozart met in Bologna during an extended Italian tour, and through Baron Gottfried van Swieten, the Prefect of the Imperial Library who befriended Mozart during his decade in Vienna and introduced him to the music of J. S. Bach via his considerable collection of manuscripts.

Looking at Mozart's output then, we see early simple canons, some elaborate contrapuntal pieces, stylistic exercises in earlier forms, early hybrids and combinations, and lastly what we formally consider Mozart's own fusion sonata and contrapuntal form. There are also of course varied uses of contrapuntal techniques and instances of canon and fugato (a passage in fugal style within a non-fugal work); the practice had not disappeared, but one would more seldom see a fugue proper than, say, a serenade, sonata, or symphony.  We said earlier that composers were more and more growing to consider music harmonically rather than contrapuntally. By Mozart's time one could fairly say such was the status quo. By the Classical era, counterpoint was being used as a tool in a larger structure.Scholar Arthur Hutchings suggested suggested Mozart, even in great contrapuntal works, still conceived of the structure harmonically. [Hutchings, 126] Indeed of composers after J. S. Bach, Beethoven is the most famous for using counterpoint. (Wagner is appropriately noted too in this regard.) Perhaps an investigation into Mozart's use of the practice will be illuminating. Where, how, and why did he employ it?

Such is the introduction to this essay, which in fact was intended to be a simple list of interesting Mozartian uses of counterpoint in his music. Yet one could ask, "why make such a list?" With our background sketch completed we may now justify such a list, the purpose of which is to shed light on why one would attempt such difficult musical experimentation. Looking back on musical history it seems a logical and natural progression, but it was far from necessary and far from simple.

The only necessary tool for hearing these differences in construction is being an attentive listener. The more carefully one follows the main line of the piece, the more one will hear the other voices when they come, and then one will be able to appreciate one of the effects: being able to jump to that line, stay on the main line, or focus on the totality. Sometimes Mozart, to borrow Hutching's phrase, will "feint" in a contrapuntal direction, and then pull back. Sometimes he will alternate between clearly delineated homophonic and contrapuntal sections.

We won't  count every point and identify every species: far from it. We will make a few, hopefully elucidating, comments on some of the pieces but leave as much investigating to the listener as possible. My goal is simply to give direction to the inquiry.

Detailed and repeated listening is recommended!

Please Note:

• This list is chronologically organized.
• The above introduction of course treats topics in broad strokes, but it did not seem reasonable simply to dive into a list of "Mozartian Uses of Counterpoint."
• We won't be comprehensive here, but please let me know if I've left anything significant out.
• I've placed the text before the videos: consider whether or not you'd like to listen first.

 –

1. Missa Solemnis in C minor, "Waisenhausmesse": Gloria: Cum Sancto Spiritu KV.139 (1768)

This robust fugue on cum sancto spiritu, "rolls along like a river in full flood. It, too, has a revolutionary element to it in the form of the tritone interval of its subject and great length, while its technique, structure and expressivity all mark it out as a great advance on Mozart's earlier style." [Abert, 224]

 2. Litaniae De Venerabili Altaris Sacramento: Pignus Futurae Gloriae KV.125 (1772)

This second of Mozart's Litanies dates from March 1772. The phrase pignus futurae gloriae (pledge of future glory) was often singled out in the Litany for contrapuntal treatment. Though with an attractive theme, a bright and clear tone, and a certain regal dignity, this feels over-long; in fact Mozart edited it down already and the changes are visible at the Neue Mozart Ausgabe (NMA) I/2/1.

3. Misericordias Domini, Offertory in D minor KV.222/205a (1775)

A setting of the words, "Misericordias Domini" from Psalm 89, Misericordias Domini in aetarnum cantabo, "The mercies of the lord I will sing forever" with great vigor and in brilliant variety of imitation.

4. Vesperae Solennes De Dominica in C - Laudate Pueri KV.321 (1779)

As with the pignus futurae gloriae of the Litany the Laudate Pueri of the Vespers was treated contrapuntally by tradition. Here we see the procedure outlined above: a theme outlined and then followed in canon. Then (at m.17) all of the voices converge and join in homphony on "excelsus super omnes gentes Dominus." The question, "Quis sicut Dominus Deus noster, qui in altis habitat, Et humilia respicit in caelo et in terra? / Who is as the Lord our God, who dwells on high and looks down on the low things in heaven and in earth?" concludes with a Phrygian half cadence before the bit of word painting with a trilled rising figure accompanying "suscitans." After more ingenious variation he concludes on a five-bar crescendo Amen.

5.  Vesperae Solennes De Confessore in C - Laudate Pueri KV.339 (1780)

With an almost intimidating D minor opening in the basses, this setting of laudate pueri is quite distinct from its companion in KV.321. Too it feels more tightly structured, with little homophony it proceeds through contrapuntal treatment and several motifs.

6.  Fantasia and Fugue in C KV.394/(383a) (1782)

Who can think of the form of the "Prelude and Fugue" without thinking of J. S. Bach and his Well-Tempered Clavier? These pieces clearly date from the period in which Mozart began his more intensive looks at J. S. Bach and Handel with Baron van Swieten. The "keyboard poems" that are these fantasias are themselves beautiful and fascinating, with their freedom of modulation, increased chromaticism and dissonance, and a structure which "combines freedom and constraint in the most felicitous manner." [Abert, 836]

The C major fugue, reminiscent of the opening fugue of the Well-Tempered Clavier, exhibits a great struggle between the subject and counter-subject. Abert is correct to point out the peculiar harshness to this piece, the quaver and semi-quaver figures at the end in particular suggesting a bare, desperate, attempt at survival before the struggle ends abruptly at the two-bar, chordal andante.

See also:

Fugue in G minor KV.401 (Fragment) [YouTube] (1782)

7. String Quartet in G major - Molto allegro KV.387 (December 1782)

The final movement of this quartet is both one of Mozart's most famous movements and the most famous examples of his fusion of counterpoint and sonata-form. This is the first example we have looked at which is strictly instrumental and thus more abstract.  The opening bars are provided below, showing the four entrances:

click to enlarge

mm.1-19

The ensuing imitation, texture, and contrast of color, along with the playful dynamics is glorious. At m.52 a new theme begins before being taken up by the other voices. The imitation falls away and at m.91 we get a bright theme in the first violin against repeated crotchets. After a rising scalar figure, a jaunt in staccato crotchets, and a highly gestural quaver figure, we raise twice in scalar figures falling off onto crotchets, as if coming to earth. Then from a short passage we conclude with a rising chromatic figure and a section repeat after m.124. After the repeat we hear a figure with an interval of a fifth and rising by semitones. After a brief imitative treatment we return to a recapitulation and, "The fugal texture of the opening measures gradually turns into the more normal obbligato writing of the late eighteenth century, in which accompaniments have only a shadowy independence given by their thematic significance." [Rosen, 441]

8. Fugue in C minor for two keyboards KV.426 (1783)

". . . the fugue avoid all pianistic effects, being conceived in purely abstract terms and pursuing a similar goal–albeit on a far less grandiose scale–to Bach's The Art of Fugue. . . The fugue is developed with both rigor and boldness and explores to the full the emotional antithesis of its subject, with its contrast between heroism and weary resignation." [Abert, 839]

9. Mass in C minor KV.421/(KV.417a) (July 1782 – October 1783)

Kyrie Eleison

The C minor kyrie opens with a haunting, limping figure. The canon seemingly begins with the entrances of the four voices, but the orchestra intervenes forte with the opening theme and cuts off the canon on its final syllable. The sopranos continue on alone, with a more lyrical kyrie eleison. They're soon joined by the altos, but the company provides no solace and they continue on, echoing and amplifying the anguish. The tenors and basses join but they too cry out and with all the voices it is as a sea of people crying out in grief over that grim opening them which marches on inexorably and heedless of the outcry. After the bass theme has ratcheted itself up and up, the upper voices leap up a 7th and octave and then as if exasperated all fall silent. The sopranos then take the melody and the lead, as if to sit and pray in unison for salvation, while the other voices follow in homophony. From a descending scale from the 6th to C the soprano enters alone, piano, on Christe. In the relative major E-flat major we now find solace, and the chorus enters together not in despair but with a figure of grateful supplication.

After a passage of effusive prayer with the soprano, to which the others add only punctuating affirmation, we return to the material of the opening. Yet what was once sole despair is now mixed with confidence. The opening theme here is now met with somewhat of a brazen fanfare, stricken but not lost.

The other contrapuntally-treated parts of the C minor could not be more different from the opening Kyrie. They know no darkness, proceeding in joyful sureness.

Gloria: Cum sancto spiritu [YouTube]

Osanna in excelsis Deo [YouTube]

Benedictus qui venit in nomine Domini [YouTube]

10. Piano Concertos of 1784:

No. 14 in F major - Allegro ma non troppo KV.449 [YouTube]
 
"The four re-dressings of the refrain could not have been made by a composer who was not an adept in academic counterpoint; any student can force contrapuntal imitation, but it is style even in the modification of a single part, that tells the contrapuntist. One could easily force the theory that the entries of this refrain were intended to bring a laugh against the series of text-book "species" which seem to be parodied in turn.

So sure is Mozart's sense of contrapuntal style that in all kinds of unexpected places–the finale presto of Don Giovanni, for instance– he makes a fugato gesture which makes us we are going to have something on the scale of the 'Jupiter' finale; yet when the parts disappear in smoke, or find themselves on firm homophonic ground, we are aware of no incongruity." [Hutchings, 87]

No. 19 in F major - Allegro assai KV.459 [YouTube]

This movement lacks the wit of the fugato gambits of KV.449. Here in the concerto as he did earlier in choral writing Mozart varies the texture between homophonic and contrapuntal. This concerto is simply to large and complex to handle here; Girdlestone takes ten pages to discuss this movement alone. Minimally one may observe the opening: the main theme introduced by the piano is taken up and treated contrapuntally by the tutti, the soloist returns, varies the main theme and adds another, both of which will later be taken up in a double fugue by the tutti.

With many modulations, polyphony erupting and then quieting into homophony, some motives remaining in homophony others in counterpoint, the mirrored recapitulation, and the movement of material from the tutti to the piano which often decorates the material in competition with the orchestra, this movement is monumental. Too it has remarkably rich texture with various rhythms and instruments suddenly flaring up into fugato. As we have noted before we are seeing more and more chromatic lines. Mozart makes much of the piano's solo nature, it sometimes refusing to submit to the order of the counterpoint. To say listening to this concerto is a blast is incomplete: the panoply is mesmerizing and it is invigorating to experience that which seems to spring up unexpectedly each time.

"The form of this movement, at once concise and expansive, is the synthesis of Mozart's experience and of his ideals of form. Everything plays a role here–operatic style, pianistic virtuosity, Mozart's increasing knowledge of Baroque counterpoint and of Bach in particular, and the symmetrical  balance and dramatic tensions of sonata style." [Rosen, 227]

See also the first two movements of this concerto.

–

Endnotes

[1] Italian for narrow or close, stretto refers to the answer replying to the subject before the subject has completed. (It can also refer to a section of increased speed. [See The Harvard Dictionary of Music, entry, stretto.]

[2] For the purposes of clarification, we consider music with:

• one melody, monophonic
  
• one dominant melody accompanied by chords, homophonic
• independent (or mostly independent) melodies, polyphonic

[3] Dan Brown's essay from "Why Bach?" "Bach as Contrapuntist" is a wonderful introduction to Bach, his music, and the concept and practice of counterpoint. http://whybach.crosstownbooks.com/chapter.html

–

Bibliography
 

Abert, Hermann. W. A. Mozart. Yale University Press. New Haven and New York. 2007.

Hutchings, Arthur. A Companion to Mozart's Piano Concertos. Oxford University Press. New York. 1948.

Rosen, Charles. The Classical Style. W. W. Norton and Company. New York. 1997.

Rubbra, Edmund. Counterpoint: A Survey. Hutchinson University Library,  London. 1960.

Mozart: Rhapsody and Reverie

I. Rhapsody

Musicologist Arthur Hutchings on the Mozartian rhapsody:

. . . the form is "a becoming." In it we may be aware of phrases, of sequences which show metabolism. . . but the main principle of its form is the approach to and decline from climax. . . we imagine ourselves to be the performer; if we do not live along its line, we are not fulfilling the composer's demands of us. [Hutchings, 139.]

Piano Concerto No. 21, KV.467 - Andante

II. Reverie


Musicologist Cuthbert Girdlestone on the Mozartian "Dream Reverie:"

The true "dream" does not imply any strong emotion; it does not exude passion, but the exquisite fancy of a fresh and rich nature is its character. When melancholy speaks it is not with a tragic voice. They are inspired by a spirit of fairyland, too far removed from reality to know sorrow. Their form is that of a long, winding melody which cannot be broken up into phrases and follows on almost uninterruptedly from one end to the other, and Mozart's rhythms are found here at their freest. [Girdlestone, 39.]

Piano Concerto No. 6, KV.238 - Andante

Violin Concerto No. 3, KV.216 - Adagio

Gidon Kremer, violin. Nikolaus Harnoncourt conducting the Wiener Philharmoniker


String Quartet in E-flat, KV.428 - Andante con moto

Salomon Quartet

–

Bibliography

Hutchings, Arthur. A Companion to Mozart's Piano Concertos. Oxford University Press. New York. 1948.

Girdlestone, Cuthbert. Mozart and his Piano Concertos. Dover Publications, Inc. New York, NY. 1964.

On Mozart's Overtures: Final Thoughts

Mozart Overtures

Idomeneo | Die Entführung aus dem Serail

Le nozze di Figaro | Don Giovanni | Così fan tutte

Le clemenza di Tito | Die Zauberflöte

Final Thoughts

As I reflect on the preceding series on Mozart's overtures inevitably the deficiencies present themselves first. Foremost perhaps is that we have not looked at all of the overtures. Of the composer's twenty-two or so operas we have excluded the first twelve (including Die Schuldigkeit des ersten Gebots, a sacred drama), composed from 1767 through 1780. Likewise we have excluded the overtures to the unfinished Lo sposo deluso (1784) and the short singspiel-farce Der Schauspieldirektor (1786.) Thus we can more properly be said to have looked at the overtures to the last seven, complete, full-scale Mozart operas.

My overall approach was to avoid both the abstruse and the banal and as clearly as possible explain how the music achieved its effect.  Sometimes I may have curtailed detail for clarity or stated details without explication. In the latter case my hope is that the listener, with the feature pointed out, can discover the effect.

Regarding scholarship I am indebted to the scholars of the past 200 years that have produced the wealth of insight available today. Invariably all Mozart scholarship looks like "footnotes to Abert." Invariable also is the struggle to restate a basic observation in a non-identical way: how many ways can one describe a particular chord, scale, or figure? I hope I have not stepped on the toes of any scholars. All mistakes and defects are my own.

In addition to the great quantity of scholarship I had to draw on I also had the tremendous reference that is the Neue Mozart Ausgabe, the complete scores of Mozart's music available for free online. While I have quoted portions of the scores liberally it was with critical intent. No infringement was intended.

–

Perhaps we may take up one more issue, though, one that required looking at all of the overtures. What precisely is the relationship of the overture to the subsequent drama? We know the overtures except for Die Entführung) were all the last music of the operas completed. This was at least partly for the practical reason that it could be left for last since it only required, if it receive this much at all, a run-through with the orchestra, and not weeks of choreography and accommodation to the singers. Yet while it was the last music practiced and written down, we cannot know when it was finished in terms of conception (either in terms of specifics or its general plan.)

The notion Mozart wrote down perfect scores with no revisions is indeed an exaggeration. From letters it seems likely he did compose at the keyboard, which was standard practice. Likewise some sketches are preserved, though not on the scale of the sketches in Beethoven's books. In fact, Mozart even struck out short portions of the overtures to Figaro and Die Zauberflöte. While we have a general knowledge of his habits of writing down his music we cannot speak with certainty of what Arthur Hutchings aptly called the "procedures of the mind." We cannot say Mozart wrote the opera and then chose parts or aspects of it to assemble into, or from which to create, the overture. Nor can we say they were conceived of more or less at the same time.

Unable to discern their function from Mozart's compositional practices let us look at how the overtures work in relation to the operas. There is clearly a strong connection between each overture and its corresponding opera. No one could possibly suggest swapping the overtures for Don Giovanni and Figaro, or even the more-similar operas like Die Entführung and Die Zauberflöte.

Yet the overture does not in every skip and jump mirror a particular aspect of the opera proper. Generally we may say if composer uses a particular theme or progression in more than one place such  invites inquiry, by virtue of either the similarity or difference of their functions. Thus in Mozart's overtures, where the overture bears thematic and harmonic relationship to the subsequent music of the opera, we assume significance. What is the significance though? Are these similarities the heart of the overture's fulfillment of the need to be a "dramatic argument" for the opera? Do they have a subsidiary function to the same end?

What might we make, say, of Daniel Heartz's observation that the overture "emerge[s] from the material of the opera" [Heartz, 319] Likewise what do we make of his findings of many harmonic connections between the overture and the following music [in the case of the overture to Titus?] (Regrettably I am unable to familiarize myself with Constantin Floros' studies[1] on the connections between the overtures and operas.) Let us look at a few quotations and see the state of the question:

Heartz:

[The overtures] presented at once, and with the greatest concentration of emotional and intellectual content, the crux of the drama. [Heartz, 319.]

Abert:

Like its predecessors, it was the last number to be written and in consequence is a kind of general lyrical admission of Mozart's feelings about the works as a whole. Once more he relives the artistic experience that produced the opera, but instead of the work in its concrete form, it is the mood that inspired Die Zauberflöte that he now intends to instil in the listener before the following drama can make its impression – but it is, of course, the mood of the work as he, its creator, felt it. [Abert, 1258]

Thomas Bauman quoting Walter Wiora:

Walter Wiora, in his classic essay "Between Absolute and Program Music," has observed that "an opera overture partakes of the basic mood, the atmosphere, the overall qualities. . . of the opera, and possesses corresponding functional and characteristic traits." [2]

All three scholars make the sensible case that the overtures are neither purely programmatic nor purely abstract. Of course if divorced from the opera and played as a concert piece, the overture is purely abstract. Attached to the opera, once you have heard both you cannot avoid drawing connections.
Yet these similar moments do not point to analogous parts of the opera. Their significance lies in that they are assembled in such a way in the overture to state the opera's case as purely as possible.  This follows for the mature operas with the exception to the overture to Figaro which is frankly a sinfonia. The overture to Idomeneo is the distillation of the tragic ethos. The overture to Die Entführung is of exotic adventure and a lost lover, to Don Giovanni of being and non-being, to Così the endless chatters that make us all wonder, "Do they all?" and to Titus exalting a noble and besieged character. Die Zauberflöte contains multiple dimensions.

The overtures contain both specific and general relationships to their respective operas. The generalities are what make the overtures "dramatic arguments." It is important not to get too sidetracked by the similarities of parts of the overture to parts of the opera. These are the results of a compositional process we do not fully know. They are not why the overtures are dramatic arguments since the overture could have have been a potpourri of themes in the manner of the later Romantic-French style. They are instead part of the how the overtures are dramatic arguments. They exist because the overture and opera speak the same language to express the same ideas. The Mozartian overture qua dramatic argument is demonstrated not in the similarities to Vitellia's aria, the threefold chord, or the "Don Giovanni/Commendatore" chord but rather in the statements of the overtures in toto. Though the overtures were composed last the effect is reversed: coming to the opera-goer first, the overture sets up the dramatic argument and the opera proper is "merely" the playing out.

–

[1] Constantin Floros, "Das 'Programm' in Mozarts Meisterouvertüren," Studien zur Musikwissenschaft 26 (1964): 140-86.

[2] Walter Wiora, "Zwischen absoluter und Programmusik," in Fetschrift Friedrich Blume zum 70 Geburtstag, ed. Anna Amalie Abert and Wilhelm Pfannkuch (Kassel, 1963), p.383.

Bibliography

Abert, Hermann. W. A. Mozart. Yale University Press. New Haven and New York. 2007.

Heartz, Daniel. Mozart's Operas. University of California Press. Berkeley and Los Angeles. 1990.

Hutchings, Arthur. Mozart: The Man, The Musician. Thames and Hudson. London. 1976.

On the Overture to Die Zauberflöte

Overture to Die Zauberflöte
Wolfgang Amadeus Mozart. (KV.620)

Die Zauberflöte was the product of collaboration between Mozart and actor, librettist, singer, and impresario Emanuel Schikaneder. Die Zauberflöte premiered at the latter's Theater an der Wien
on September 30, 1791.

Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 clarin trumpets, 3 trombones, timpani, and strings (2 violins, 2 violas, cello, bass.)

The score is available via the Neue Mozart-Ausgabe.

Incipit.

(click to enlarge)

James Levine conducting the Metropolitan Opera Orchestra.

–

It was his bequest to mankind, his appeal to the ideals of humanity. His last work is not Tito or the Requiem; it is Die Zauberflöte. Into the Overture, which is anything but a Singspiel overture, he compressed the struggle and victory of mankind, using the symbolic means of polyphony; working out, laborious working out in the development section; struggle and triumph. [Einstein, 467]

–

In each of Mozart's overtures the composer transports us in the very first bars. We were whisked off in Die Entführung, swept up in the floodtide of Figaro, and thrust into the struggle of Don Giovanni. The overture to Die Zauberflöte brings about our transport by enveloping us in an extra ordinary aura of majesty and solemnity. Rising each measure and with the hint of heraldry from the three trombones, it is as if the the now-famous "threefold" chord of the opening Adagio calls us not just to hear but to partake. The key too, E-flat, contributes to the solemnity of the occasion, but this is not the E-flat of sterile galanterie or carefree baubles, or even of the heroic and dignified Sinfonia Concertante KV.365 and Piano Concerto KV.482. Girdlestone captured the spirit in calling it the "play of Botticelli's Graces" [Girdlestone, 366.] We feel this awareness of the transcendent in other E-flat works of Mozart, most of all in the Symphony KV.543, the Divertimento KV.563 and the final String Quintet KV.614.

In the next 12 bars Mozart crafts an unbroken line of sublimest beauty and deepest reverence. The arch-shaped figures and sforzandi of m.4-7 create a loftiness that bears us along before the basses, hovering around the leading tone and dominant, create a thin stability. To the same end the second violins waver on the leading seventh and tonic until it narrows to just E, on which it remains piano. The wandering of the violins on the third and fourth degrees and the syncopated crescendos and piano bursts from the trumpets at m.8 and 11 continue to heighten the mystery until at m.12 the bassoons modulate from C to C-flat and the violins from A-flat to A. We then finally arrive firmly at the dominant (m.13) and at m.14 the long-silent oboe rings out on the tonic, holding all of the tension of the preceding bars and preparing the way for the release in the following Allegro passage starting at m.16.

m.16-18

Thomas Bauman astutely notes, contra Abert, the inherent bifurcation of the theme of m.16-17 above caused by (1) the leading tone-to tonic modulation in the last two notes of the measure before the dominant of m.17, (2) the contrasting and closely-placed dynamic markings. It is even proper to say more, as Bauman does, that "these two primal degrees sound at the beginning of the subject as two distinct tonal poles." [Bauman, 288.] Bauman notes the other critical feature of this phrase, the G–C–F–B-flat figure in m.18. Similar to how the swerve to A in m. 7 of the sinfonia to Figaro prevented a full resolution at the outset, here this figure, clearly wanting to resolve to the tonic in its circle-of-fifths progression, does not.

The first violins respond with the second part of the theme (from m.16) in a higher register against a tonic sforzando figure before they switch parts and conclude in a descending scalar figure as the main theme is taken up by the basses. The violins then present a figure which will become the counter-melody/counter-subject:

 m.27-28

The fugal treatment that now begins throws the built in I-V contrariety of our main theme into starker contrast. The interplay of the main theme, the rising fourths, and the second subject in the dominant build to the glorious and liberated forte restatement of the main theme at m.39. It is critical to note, though, as Bauman does:

This restatement of the themes is not literal. The subject has shed its third and fourth bars–the ones with the anxious rising fourths–as well as its weak-beat sforzandi; this confident, triadic, metrically stable new version of the subject is now wedded to the countersubject at the octave in invertible counterpoint.

It is not necessary to link this melding of forms to the following drama in order to sense the impact of joining these two themes which are far more brilliant together than separate. The statement here is also more intense: forte, with the flute finally partaking in the main theme, sforzandos in the basses, and tremolo in the violins. At m.49 a brief descending scalar passage in the flute ends on two half-notes, making a rather dramatic stroke before a flurry of E quavers doubled in octaves and in a higher register finally descend staccato for another dramatic flourish. At m.57 the second violins pass off the main theme to the firsts and the violas who are answered by a rising scale up in the flutes. The two parts playfully engage in their repartee before the bassoon bumbles in and steals the main theme from the viola while the oboe joins in with a figure centered on F before finally the clarinet joins the exchange. (Abert perceptively called this charming little passage in which the winds seem to "bucolicize" amongst themselves an idyll. [Abert, 1259.])

The main theme returns in slight variation and with great vigor at m.68 before more wind play and a repeat of the main theme. At m.84 there is a remarkable increase in tension with violins tremolo alternating on B and C, the second violins pounding on F and the basses repeating a figure alternating G and B all with a crescendo swelling up at m.87. The section and crescendo close at m.96 and in the following six measures we return to the "threefold chord" of the opening of the overture. (It is here too marked Adagio.)

After the B-flat major triads of the "threefold chord" the main theme is restated the development section begins (at m.103) in the same key. We will see that the harmonic progression of this section is arch-like (parabolic in Bauman's terminology), in shape, beginning as we said in B-flat minor, rising, and concluding in B-flat major. At the peak of this arch (m.117) are two features, the first of which is a tempestuous canon beginning with the familiar G–C–F–B-flat pitches from the figure in m.18. The second is the bar of rest following the canon. Abert and Bauman take apparently opposite views of this pause, the former connecting it to the silence of the trials of Tamino and Pamina (the most difficult part of their tests) and Abert suggesting it points the way out of the crisis. These two seemingly divergent positions can be reconciled by considering that the moment of greatest strife is itself the opportunity for betterment. In the overture, though, it is only necessary to understand it as a brief withdrawal that heightens the struggle, as a poignant moment of detachment but without repose.

Here the main subject and a version of the second wander before the long-awaited arrival of E-flat and the recapitulation. Gaining strength in contrapuntal treatment the main theme finally bursts forth forte at m.153, running into the crescendo beginning at m.205. The finale rises higher and higher gaining momentum and building in intensity until concluding in a brilliant outburst. (It was already [too] common in Abert's time, and apparently' Jahn's, to refer to this finale in terms of brightness, brilliance, and so forth.)

While a profound sense of balance is the skill perhaps most frequently (and not without good reason) accorded Mozart for all of his work, such a sense is at work perhaps no more clearly than in this overture. There is solemnity but not severity, grandeur but not lavishness, earnestness without bombast or aggression, and tempest without terror. It is likewise common to speak of the later Mozart's achievement or tendency of combining fugal structure and sonata-form, and this feat too presents itself in this overture, where the canons are rather subtly grafted into the larger sonata structure. It appears that for the most fancied of his operas Mozart crafted an overture of most "formal perfection," [Bauman, 287.] Aside from its technical brilliance The Magic Flute has also been popular since its debut nearly 220 years ago, calling generation after generation to take part in the eternal opera that is parts philosophical, moral, fantastical and mystical.

–

Bibliography 

Abert, Hermann. W. A. Mozart. Yale University Press. New Haven and New York. 2007.

Bauman, Thomas. At the North Gate: Instrumental Music in Die Zauberflöte. Essay No. 16 in Mozart's Operas. (ed.) Heartz, Daniel. University of California Press. Berkeley and Los Angeles. 1990.

Einstein, Alfred. Mozart: His Character, His Work. Oxford University Press, New York. 1945.

Girdlestone, Cuthbert. Mozart and his Piano Concertos. Dover Publications, Inc. New York, NY. 1964.

Recommended

Buch, David J. Die Zauberflöte, Masonic Opera, and Other Fairy Tales. Acta Musicologica, [Vol.] 76, [Fasc.] 2, pp. 193-219. 2004.

Harutunian, John. Haydn and Mozart: Tonic, Dominant Polarity in Mature Sonata-Style Works. Studia Musicologica Academiae Scientiarum Hungaricae, T. 31, Fasc. 1/4, pp. 217- 240. 1989.

Tovey, Donald Francis. Essays in Musical Analysis. (Six Volumes.) Volume IV: Illustrative Music: Overture to Die Zauberflöte. Oxford University Press. London. 1935.

On the Overture to La Clemenza di Tito

Overture to La Clemenza di Tito
Wolfgang Amadeus Mozart. (KV.621)

La Clemenza di Tito was commissioned by the Estate of Bohemia to celebrate the coronation of Leopold II. Domenico Guardasoni accepted this commission to put on an opera and contracted Mozart in the summer of 1791. La Clemenza di Tito premiered on September 6, 1791 at the Estates Theatre in Prague.

Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 clarin trumpets, timpani, and strings (2 violins, 2 violas, cello, bass.)

The score is available via the Neue Mozart-Ausgabe.

Incipit.

John Eliot Gardiner conducting the English Baroque Soloists.

–

Where Così fan tutte is the curiosity of the Da Ponte collaborations, La Clemenza di Tito is the same relative to all of Mozart's mature operas. Abert in his great W. A. Mozart devoted about half of the space to Titus as he did to the others and Rosen has said of it, "La Clemenza di Tito has all the finish of Mozart's finest works–Mozart's music is never less than beautiful–but it is difficult to convey how unmemorable it is." [Rosen, 164] For Tovey it was both an "admirable example of a festival overture" and "a piece d'occasion rendered all the more infuriating for the amount of good music which it stifles." [Tovey, 26] Recent scholarship suggests a rehabilitation of the opera's reputation, perhaps starting with Heartz's supplement to Floros' work on Titus, which Heartz wrote demonstrated the "typical underevaluation accorded this festival opera." [Heartz, 319]

Titus is an opera seria, a genre Mozart had not worked in since 1780 with Idomeneo. The overture too stands out opposed to Mozart's recent mature overtures. Mozart begins this festival overture as he did Idomeneo, with a unison fanfare. The allegro opening theme is unmistakably reminiscent of the opening to the Symphony in C, KV.338 from 1780:

Symphony in C, KV.338. Incipit.

The main theme begins at m.8 and its simplicity is evident:

m.8-9

a series of dotted notes, the first a half on the tonic followed by a sequence of quavers staccato and piano with the second violins a sixth below. A mere eight bars in and we pause to reflect, on the simplicity of this opening, its similarities to works from over 10 years previous, and that the whole is a piece composed in haste for the coronation and glorification of a new emperor. What will Mozart make of these materials? Let us keep this question in mind and revisit it later.

The tutti reply to the above theme is a syncopated phrase beginning forte and just slightly shaded with an A-flat in the violas, flutes, oboes, and clarinets. It ends with a scale descending from the dominant into another tonic chord and a repetition of the phrase from m.8-9, after which the second phrase returns.

m.10-11

The following passage features descending scales in thirds and sixths, "each downbeat punctuated by the three-note slide up to the tonic" as Heartz neatly states. [Heartz, 334] At the start of a large crescendo the descending scales in the strings are contrasted by ascending scales in the woodwinds until an unexpected modulation from dominant G to E-flat. In this development section a second subject follows with the winds taking prime place for a lofty and vulnerable theme consisting of two four-part sections:

 

 m.30-33

m.34-37

Heartz aptly points out how closely related this second subject is to the main theme, "the descending parallel sixths of the first theme need only be inverted to become the descending thirds of the second theme." [Heartz, 337]

The passage repeats and is followed by our main theme, this time forte and more menacing over dominant half-notes tremolo in the violas and cellos. Then chord at m.47 steals in, stabbing with its dissonance, followed by the agitating features of the rising triplet figure in the 1st violins and the syncopation in the 2nd violins. After the intense two bars the first theme returns as if the attacker has retreated into hiding, only to return at m.51.

A somber theme at m.55 winding down from G to E-flat (a sequence repeated shortly thereafter in the 2nd violins) precedes the return of our main theme which is here contrapuntally worked out. The effect of this passage is that of our main theme getting lost among many figurations and machinations. At m.78 the theme morphs into one of a more specifically tragic pathos than we have yet heard.

After a return of the main theme and a series with rapid dynamic alternations we enter the recapitulation, which has been much remarked to present the themes in reverse order. Abert [Abert, 1232] and Rice [Rice, 69] both correctly state that this symmetry contributes to the festive tone of the overture, but Konrad Küster suggests a more probable reason for the reversal:

It appears, then, that the 'reversed' order of the themes in the recapitulation results from harmonic problems: Mozart had to prepare the entrance of the second subject. But clearly he did not want to create a 'bifocal close' [Winter] from the half cadence that precedes it in the exposition; furthermore, he wanted to avoid any alteration of the relatively short primary group. The only way to solve these problems was to open the recapitulation with the second subject, to omit the half cadence in the dominant of the dominant and to conclude the recapitulation with the primary group (and, of course, a coda.) [Kuster, 481]

Küster persuades that while, as we saw in the opening, Mozart had in mind his early symphonies in the construction of this overture, he did not simply recycle or imitate them but rather adapted them to his own current practices.

At m.131 we return to the opening fanfare material and the theme from m.8-9 reasserts itself once more and with another crescendo of rushing scales we are brought to a rousing and satisfying conclusion.

So what of Titus then? (Or at least its overture.) For my part I cannot point to any "deficiencies." It is festal enough for a festival overture, grand enough for the themes of Titus, it establishes the tonal center of E-flat for the coming drama. Yet we are not struck as we are by the other overtures. Its character is perhaps simply too indefinite.  Idomeneo captured a specifically tragic pathos, Figaro had its unparalleled drive, Don Giovanni its philosophical dimension, and Così its effervescence. The overture to Titus is beautiful, finely wrought, functional and appropriate, but not entirely affecting.

Bibliography 

Abert, Hermann. W. A. Mozart. Yale University Press. New Haven and New York. 2007.

Heartz, Daniel. Mozart's Operas. University of California Press. Berkeley and Los Angeles. 1990.

Küster, Konrad. Essay, "An Early Form in Mozart's Late Style: the Overture to La clemenza di Tito,"in

Wolfgang Amadè Mozart: Essays on his Life and His Music. Sadie, Stanley. (ed.) Oxford University Press, New York. 1996.

Rice, John A. W. A. Mozart: La Clemenza di Tito. (Cambridge Opera Handbooks.) Cambridge University Press, New York. 1991.

Rosen, Charles. The Classical Style. "IV. Serious Opera." W. W. Norton and Company. New York. 1997.

Tovey, Donald Francis. Essays in Musical Analysis. (Six Volumes.) Volume IV: Illustrative Music: Overture to La Clemenza di Tito, KV.621. 1935.

Recommended

Winter, Robert S. The Bifocal Close and the Evolution of the Viennese Classical Style. American Musicological Society. 1989.

On the Overture to Così fan tutte

Overture to Così fan tutte
Wolfgang Amadeus Mozart. (KV.588)

Così was commissioned by Joseph II, Emperor of Austria, and premiered at the Burgtheater in Vienna on January 26, 1790.

Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 clarin trumpets, timpani, and strings (2 violins, viola, cello, bass.)

The score is available via the Neue Mozart-Ausgabe.

Incipit.

John Eliot Gardiner conducting the English Baroque Soloists

The Overture is one of the funniest things Mozart ever wrote. Its themes, alternating their whisperings and chatterings with a hilarious kid of Hallelujah Chorus, tell us in Mozart's language that the persons of this dream are, humanly speaking, rubbish, but far too harmless for any limbo less charitable than the eternal laughter of Mozart. [Tovey, 30]

I. Introduction

Tovey credits Mr. John Christie, (1882-1962, founder of the Glyndebourne Opera House and the Glyndebourne Festival Opera) with characterizing Così fan tutte as a dream. Such is true of Così both for its self-contained world with its many improbabilities and for the variety of interpretations the story invites. The setting is Arcadia, yet the characters are flawed. The title is Così fan tutte but just what has Alfonso's experiment revealed? Sometimes the characters speak in cliche, sometimes in poetry, here the music mocks the characters, there supports. What of these contradictions? We saw in Don Giovanni the forces of being and non-being in opposition, and in Così, as David Cairns brilliantly states, we explore "the difference between appearance and reality." [Cairns, 188] Continuing, he writes, "And it is not just the characters on stage whom the answered questions are addressed to but the audience watching them. Così fan tutte has implications far beyond the 'School for Lovers' and the 'All Women do it' of its titles. It speaks, existentially, of the randomness of life, the fickleness of affection, the brevity of happiness. Continually stimulating though it is, it is not a work that sends you out of the theater in a glow of contentment with the world."

Of contradictions we can already see two, between Tovey and Cairns, so let us analyze this overture and then revisit the question of its character.

II. Analysis

   Andante: m.1-14


This andante begins in C major, where an opening forte chord clears the air and prepares the way for a beautiful and delicate phrase for the oboe that begins piano on the dominant, gently supported and kept aloft by the bassoon.

m.2-4

Chords intervene forte here, as if to warn us not to get too comfortable with such unperturbed beauty. The oboe phrase repeats again, this time supported by the bassoon and clarinet, before what becomes the opera's titular theme begins (m. 8, lower strings):

m.7-14 (Click to enlarge.)

This theme is reprised in Act II by Don Alfonso in his aria on the nature of women. [1] Here, though, it has purely musical form and functions strictly as the heavyhearted counterpart to the first theme. In its first appearance in the strings and bassoon it is introduced staccato as though being gradually brought into view. In repetition it is repeated forte by the whole orchestra as if being begrudgingly acknowledged.

  Presto: m.15-end

Yet m.15 begins a presto section, picking up the final dominant of the andante and beginning in the tonic again, as if saying, "yes, such a sad fact is so, but nonetheless look how wondrous this is. . ." We are now introduced to the first of four themes whose interplay forms the basis of this large section. This first is a figure of chattering quavers. (Below, left)

I. m.16-17	II. m.25-28

The next theme, (above, right) follows immediately, before the woodwinds begin trading a third theme back and forth above a three-crotchet figure in the strings:

III. m.30-32

After a repeat of the second theme we hear the last one, which has a lower line not unlike the opening to Le Nozze di Figaro. [2]

IV.  m.59-61

The rest of the movement proceeds in like fashion, each theme remaining in the orchestral group in which it originated. Here theme III is interrupted by theme II which is interrupted by I. Shortly after they proceed in another order. Yet as if heedless of where they started the themes run again into the titular one at m.228. We left the Così fan tutte theme behind to look at love's playful variations in the hustle and bustle of the presto, but here we have inevitably come back. Yet we do not remain despairing as the Theme I of the presto returns and we skate right up into a Mannheim crescendo and a close on a fortissimo of the jocular presto Theme II.


III. Conclusion

What of our original question then? The overture has three aspects, the purely beautiful aspect love (Theme I. of the Andante), its sorrowful aspect (Theme II. of the Andante), and the trivial or exuberant (Themes I.-IV. of the Presto.) The first two aspects should not be glossed over as Mozart "putting on his mask" [Abert, 1176] and the third should not simply suggest the characters are "rubbish." The surface trivialities should not discourage us. Charles Rosen puts his finger on the proper approach to this piece:

There is no way of knowing in what proportions mockery and sympathy are blended in Mozart's music and how seriously he took his puppets. . . Even to ask is to miss the point: the art in these matters is to tell one's story without being foolishly taken in by it and yet without a trace of disdain for its apparent simplicity. It is an art which can become profound only when the attitude of superiority never implies withdrawal, when objectivity and acceptance are indistinguishable. [Rosen, 317]

Sometimes the ridiculous and improbable do spring forth from love and such things can be beautiful and worth exploring too. As the overture leaves us off at the drama, it is as if Mozart says, "and here's an example."

–

[1]

Act II, Scene III: Andante: Tutti accusan le donne m.21-24

[2] http://apologiaproliterativita.blogspot.com/2010/03/on-sinfonia-to-le-nozze-di-figaro.html

Bibliography 

Abert, Hermann. W. A. Mozart. Yale University Press. New Haven and New York. 2007.

Cairns, David. Mozart and His Operas. University of California Press. Berkeley and Los Angeles. 2006.

Rosen, Charles. The Classical Style. W. W. Norton and Company. NY, NY. 1997.

Tovey, Donald Francis. Essays in Musical Analysis. (Six Volumes.) Volume VI: Supplementary Essays, Glossary, and Index: Overture to Così fan tutte, KV.588. 1935.

On the Overture to Don Giovanni

Overture to Don Giovanni
Wolfgang Amadeus Mozart. (KV.527)

Don Giovanni was commissioned by Pasquale Bondini and Domenico Guardasoni for their opera company and premiered at the Estates Theatre (aka The Count Nostitz National Theater) in Prague on October 29, 1787.

Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 clarin trumpets, timpani, and strings (2 violins, viola, cello, bass.)

The score is available via the Neue Mozart-Ausgabe.

 

 Incipit. (click to enlarge.)

James Levine conducting.

. . . the work is not about guilt and retribution but simply about being and non-being, and the overwhelming tragedy of the conclusion rests on the grandeur and terror of the action as such, not on the triumph of moral laws over the world of appearances. [Abert, 1050.]

I. A Programmatic Overture?

In the tradition of E. T. A. Hoffman this overture has been considered programmatic in nature, with specific references to the plot and characters, particularly the opposing characters of Don Giovanni and the Commendatore.[1] As suggested by the quote above, Abert did not subscribe to this theory and wisely so. The significance  of this overture does not derive from particular actions but of elemental forces in opposition and conflict. Its essence is the relationship between these forces, a relationship incomparably expressed by some of Mozart's most beautiful and terrifying music.

II. Analysis

     a. Andante m.1-30

We begin in D minor with the opening famous for both its strength and the terror it evokes. The first chord, forte on the tonic, is striking enough, yet its effect is increased by 1) the trill on the timpani, 2) the sustained chords in the upper winds and horns, 3) the syncopated half-note chords in the violins, 4) the half-notes on D in the lower voices, and 5) the concluding rest. The effect is nothing short of astounding: the first chord slices the silence as the upper winds and horns fill out the sonority, and the timpani trill and the syncopated violins trip up the smoothness and jostle us before repeating their notes, and the lower voices fade away. A rest follows but this brief pause serves not as respite but to intensify the preceding terror by letting it momentarily recede from us. The effect is then repeated starting with a chord on the dominant.

Now a new theme of a dotted figure comes in the strings, accented by a whole note descending in the woodwinds on the first beat of each measure. Then we hear another new theme, with the 1st violins wandering amongst F, G#, A, and E as the lower strings alternate between the dominant and 7th and then tonic and dominant, all against a figure in the 2nd violins disorienting, agitating, and frightening despite its simplicity:

m. 11-14

Yet another new theme presents itself to us, a descending figure starting sforzato on a D quarter note (doubled 8ba) and running down to C on 32nd notes, where it ends piano. (below, left)

m.15-16	m.17

This theme transitions into yet another one, (above, right) consisting of a triplet 16th note (in the violins an octave apart) followed by a fragile 8th note in the bass voices. The theme is cut of by a swell forte in the orchestra before it continues, though only to be cut off in like-fashion again at m.20.  The theme, now limping even weaker, transitions into the andante's most recognizable theme, an ascending and descending scale that rises each measure, "rising in crescendo, seeping away again piano." [Abert, 1052]

m. 23

The scales create an unbearable and escalating tension until the fourth iteration of the scalar figure (m.26) erupts into a frenzy of 32nd notes in the 1st violins. The transition here is most abrupt: in m.28 we are all frenzied 32nd notes, timpani trill, and forte horns, and at m.29 we are piano, and the first violins in staccato 8th notes are slowly leading us away from the experience. This sudden transition into the following D major allegro draws the sharpest of comparisons between the two elemental forces of the overture.

     b. Allegro m.31-285(end)


     m.31-76

Abert insists, again contra E. T. A. Hoffman, that this "most inspired" of Mozart's ideas must be perceived as a unified whole and not as a "mosaic-like" arrangement of aspects of the titular character. [Abert, 1053]

m.32-39. (Abert's section bracketing.)

Indeed, for as he says this element as a whole consists of a build up and a release of energy, from the motifs on the upbeats to the explosion of the rising anapestic[2] fanfare figure in the woodwinds (m.38-39) This theme (in the violins) runs against a tonic pedal in the violas and cellos which seems as a fiery crackling in the background, strongly contrasting the previous passage and alerting us that something new is afoot. Despite several delays the theme is drawn down from A to the tonic and at last to the outburst and dominant at m.38.

The theme then repeats with intensification from the winds and horns in sections (a) and (b) and a new orchestral passage follows section (c). The staccato quavers, forte unison on D at m.48, the syncopated chords in the winds that give way again to the anapest figure, the figures rising and falling an octave, and the half cadence close give the section tremendous drive and contrast. Scales for the violins follow three times before a brief theme in the winds against another pedal piano, yet again without warning or preparation as the strings reply furiously in A minor before closing on E.

     m.77-120

m.77-78

This main theme of the 2nd subject falls into two sections, the first five descending notes (a) and then the consequent (b), the effect of which is a challenge and a response. (The consequent bears close relation to part of our opening theme.) The theme then repeats before part (a) of our second subject takes center stage. Its first two notes now forte and piano respectively, it is taken up first by the strings and woodwinds, then exclusively by the latter group that trades it back and forth between the flute and oboe (m. 85) and at last the bassoon takes it over. Now the second subject theme is unleashed in A major in all of its glory, its rhythms soaring unbound until at m.116 a series of quaver quadruplets centered around A and E barely manage to put the brakes on.


     m.121 - Development

This section begins with the return of the second subject theme. There follows what Abert understandably called the allegro's "most inspired moment" in which the first half of the theme is repeated stretta[3] in the woodwinds as the second half alternates between the violins. It is a brief yet revealing moment as these contesting ideas are "revealed to be different expression of one and the selfsame force." [Abert, 1056]

At m.141 the main theme returns with a shift to G major but it has not its former luster and vigor  and rather quickly fades away. The second subject theme now enters in what will be a series of six iterations, each harmonically varying. Abert outlines the harmonic progression of the section as follows:

B-flat - g(V) - g(1) ( = d (IV)) - d(V) - d(I) ( = a(IV)) - a(V) - A(I)

After the sixth variation the theme somewhat struggles with little ascending and descending figures and attempts to begin again  four times, fortepiano as if trying to get properly underway. The effort concludes with descending scales from E and G in the violins (m.192.)

After the rollicking return of material in the recapitulation we slowly descend to the drama, having modulated to C major (for transition into Leporello's Introduzione aria in F.) By means of drawing out the familiar first half of the second subject theme the momentum dies and the fading image of the elemental struggle gives way to the opera proper.


     c. Concert Ending (m.286-298)

While the overture dissipates into the Introduction and Leporello's aria "Notte e giorno faticar" Mozart also composed an alternative 13-bar ending intended for concert hall performances. The ending has been variously received, Abert calling it "hasty, too short or unworthy of a classic overture" [Biancolli. 460] and "evidently dashed off at great speed" [Abert, 1057: Footnote 87] and in contrast Einstein considering it "a truly inspired piece of work." [Biancolli, 460] It also presents various difficulties for analysis.


On this "concert ending," Mr. Hideo Noguchi has published on his personal Mozart Studies website a thorough and thoughtful analysis. Included are discussions of manuscripts, harmonics, instrumentation, dynamics, et cetera. As it is readily available I simply and gladly refer you to the author's fine work. The link is in the Recommended section below.


IV. Conclusion

As we see from the handling of the musical elements the relationship between our two main musical ideas is the heart of the piece. Compare the chilling opening of the andante and the potent, first theme of the allegro with its exuberant life force. Consider the array of terrible themes of the andante contrasting the variations of the second subject. Perhaps most significantly we saw the sharp contrast between the andante and the allegro in the sudden transition from the former to the latter and, perhaps most uncomfortably, that no matter how glorious the allegro grew, the great and ominous andante ever hovered over.

–

[1] Abert's W. A. Mozart contains a footnote with several works of such "poeticizing" interpretations from the 19th century, including accounts from Hoffman, Gounod, Jahn, and Wagner.
[2] i.e., a meter comprised of two short beats followed by a longer one, as opposed to the dactylic meter.
[3] Italian for narrow or close, stretto refers to the answer replying to the subject before the subject has yet completed. (It can also refer to a section of increased speed. [Apel, 711.]

Bibliography

Abert, Hermann. W. A. Mozart. Yale University Press. New Haven and New York. 2007.

Apel, Willi. Harvard Dictionary of Music. Entry: Stretto. Harvard University Press. Cambridge, Massachusetts. 1966.

Biancolli, Louis. (ed.) The Mozart Handbook: A Guide to the Man and His Music. Essay on the "Overture to Don Giovanni" by Herbert F. Peyser. The World Publishing Company. Cleveland and New York. 1954.

Recommended

Cairns, David. Mozart and His Operas. University of California Press. Berkeley and Los Angeles. 2006.

Kierkegaard, Søren. Either/Or. Trans. Hong, Howard V. and Hong, Edna H. Essay, "The Immediate Stages of the Erotic, or Musical Erotic." Princeton University Press. Princeton, NJ. 1987.

Noguchi, Hideo. An appraisal reconsideration of Don Giovanni Overture K.527 with Mozart's alternative conclusion.  http://www.asahi-net.or.jp/~rb5h-ngc/e/k527.htm 2007.

On the History of the Estates Theatre. http://www.estatestheatre.cz/et_history.html