Classical Music Composer Wolfgang Amadeus Mozart - Classical Music Eine Kleine Nachtmusik

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Classical Music Composer: Wolfgang Amadeus Mozart

Eine Kleine Nachtmusik

Wolfgang Amadeus Mozart (German: [ˈvɔlfɡaŋ amaˈdeus ˈmoːtsart], full baptismal name Johannes Chrysostomus Wolfgangus Theophilus Mozart (27 January 1756 – 5 December 1791), was a prolific and influential composer of the Classical era. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, piano, operatic, and choral music. He is among the most enduringly popular of classical composers.

Mozart showed prodigious ability from his earliest childhood in Salzburg. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty; at 17 he was engaged as a court musician in Salzburg, but grew restless and traveled in search of a better position, always composing abundantly. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and the Requiem. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons.

Mozart learned voraciously from others, and developed a brilliance and maturity of style that encompassed the light and graceful along with the dark and passionate—the whole informed by a vision of humanity "redeemed through art, forgiven, and reconciled with nature and the absolute." His influence on subsequent Western art music is profound. Beethoven wrote his own early compositions in the shadow of Mozart, of whom Joseph Haydn wrote that "posterity will not see such a talent again in 100 years."

Appearance and character

Mozart's physical appearance was described by tenor Michael Kelly, in his Reminiscences: "a remarkable small man, very thin and pale, with a profusion of fine, fair hair of which he was rather vain". As his early biographer Niemetschek wrote, "there was nothing special about [his] physique. [...] He was small and his countenance, except for his large intense eyes, gave no signs of his genius." His facial complexion was pitted, a reminder of his childhood case of smallpox. He loved elegant clothing. Kelly remembered him at a rehearsal: "[He] was on the stage with his crimson pelisse and gold-laced cocked hat, giving the time of the music to the orchestra." Of his voice Constanze later wrote that it "was a tenor, rather soft in speaking and delicate in singing, but when anything excited him, or it became necessary to exert it, it was both powerful and energetic".

Mozart usually worked long and hard, finishing compositions at a tremendous pace as deadlines approached. He often made sketches and drafts, though unlike Beethoven's these are mostly not preserved, Constanze having sought to destroy them after his death. See: Mozart's compositional method.

He was raised a Roman Catholic, and remained a loyal member of the Church throughout his life; see: Mozart and Roman Catholicism.

Mozart lived at the center of the Viennese musical world, and knew a great number and variety of people: fellow musicians, theatrical performers, fellow transplanted Salzburgers, and many aristocrats, including some acquaintance with the Emperor Joseph II. Solomon considers his three closest friends to have been Gottfried von Jacquin, Count August Hatzfeld, and Sigmund Barisani; the many others included his older colleague Joseph Haydn, singers Franz Xaver Gerl and Benedikt Schack, and the horn player Joseph Leutgeb. Leutgeb and Mozart carried on a curious kind of friendly mockery, often with Leutgeb as the butt of Mozart's practical jokes.

He enjoyed billiards and dancing (see: Mozart and dance), and kept pets: a canary, a starling, a dog, and also a horse for recreational riding. Particularly in his youth, Mozart had a striking fondness for scatological humor, which is preserved in his many surviving letters, notably those written to his cousin Maria Anna Thekla Mozart around 1777–1778, but also in his correspondence with his sister Nannerl and his parents. Mozart even wrote scatological music, the canon "Leck mich im Arsch" (literally "Lick me in the arse", sometimes idiomatically translated "Kiss my arse" or "Get stuffed") K. 231.

Works, musical style, and innovations

Classical Music

Style

Mozart's music, like Haydn's, stands as an archetype of the Classical style. At the time he began composing, European music was dominated by the style galant: a reaction against the highly evolved intricacy of the Baroque. But progressively, and in large part at the hands of Mozart himself, the contrapuntal complexities of the late Baroque emerged once more, moderated and disciplined by new forms, and adapted to a new aesthetic and social milieu. Mozart was a versatile composer, and wrote in every major genre, including symphony, opera, the solo concerto, chamber music including string quartet and string quintet, and the piano sonata. These forms were not new; but Mozart advanced the technical sophistication and emotional reach of them all. He almost single-handedly developed and popularized the Classical piano concerto. He wrote a great deal of religious music, including large-scale masses: but also many dances, divertimenti, serenades, and other forms of light entertainment.

The central traits of the Classical style are all present in Mozart's music. Clarity, balance, and transparency are the hallmarks of his work, but any simplistic notion of its delicacy masks the exceptional power 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. Charles Rosen makes the point forcefully:

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 exploited chromatic harmony to a degree rare at the time, with remarkable assurance and to great artistic effect.

Mozart always had a gift for absorbing and adapting valuable features of others' music. His travels certainly helped in the forging of a unique compositional language. In London as a child, he met J.C. Bach and heard his music. In Paris, Mannheim, and Vienna he met with many other compositional influences, as well as the avant-garde capabilities of the Mannheim orchestra. In Italy he encountered the Italian overture and opera buffa, both of which deeply affected the evolution of his own practice. Both in London and Italy, the galant style was in the ascendent: simple, light music with a mania for cadencing; an emphasis on tonic, dominant, and subdominant to the exclusion of other harmonies; symmetrical phrases; and clearly articulated partitions in the overall form of movements. Some of Mozart's early symphonies are Italian overtures, with three movements running into each other; many are homotonal (all three movements having the same key signature, with the slow middle movement being in the relative minor). Others mimic the works of J.C. Bach, and others show the simple rounded binary forms turned out by Viennese composers.

As Mozart matured, he progressively incorporated more features adapted from the Baroque. For example, the Symphony No. 29 in A Major K. 201 has 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 included three such finales in his recently published Opus 20 set. The influence of the Sturm und Drang ("Storm and Stress") period in music, with its brief foreshadowing of the Romantic era to come, is evident in the music of both composers at that time. Mozart's Symphony No. 25 in G minor K. 183 is another excellent example.

Mozart would sometimes switch his focus between operas and instrumental music. He produced operas in each of the prevailing styles: opera buffa, such as The Marriage of Figaro, Don Giovanni, and Così fan tutte; opera seria, such as Idomeneo; and Singspiel, of which Die Zauberflöte is the most famous example by any composer. In his later operas he employed subtle changes in instrumentation, orchestral texture, and tone color, for emotional depth and to mark dramatic shifts. Here his advances in opera and instrumental composing interacted: his increasingly sophisticated use of the orchestra in the symphonies and concertos influenced his operatic orchestration, and his developing subtlety in using the orchestra to psychological effect in his operas was in turn reflected in his later non-operatic compositions.

Influence

Mozart's most famous pupil, whom the Mozarts took into their Vienna home for two years as a child, was probably Johann Nepomuk Hummel, a transitional figure between Classical and Romantic eras.

More important is the influence Mozart had on composers of later generations. Ever since the surge in his reputation after his death, studying his scores has been a standard part of the training of classical musicians.

Ludwig van Beethoven, Mozart's junior by fourteen years, esteemed and was deeply influenced by his work, with which he was acquainted as a teenager. He is thought to have played in the court orchestra at Bonn in performance of Mozart's operas, and he traveled to Vienna in 1787 hoping to study the older composer (see above). Some of Beethoven's works have direct models in comparable works by Mozart, and he wrote cadenzas (WoO 58) to Mozart's D minor piano concerto K. 466.

A number of composers have paid homage to Mozart by writing sets of variations on his themes. Beethoven wrote four such sets (Op. 66, WoO 28, WoO 40, WoO 46). Others include Frédéric Chopin's Variations for Piano and Orchestra on "Là ci darem la mano" from Don Giovanni (1827) and Max Reger's Variations and Fugue on a Theme by Mozart (1914), based on the variation theme in the piano sonata K. 331. Pyotr Ilyich Tchaikovsky wrote his Orchestral Suite No. 4 in G, "Mozartiana" (1887), as a tribute to Mozart.

Köchel catalogue

For unambiguous identification of works by Mozart, a Köchel catalogue number is used. This is a unique number assigned, in regular chronological order, to every one of his known works. A work is referenced by the abbreviation "K." followed by this number. The first edition of the catalogue was completed in 1862 by Ludwig von Köchel. It has repeatedly been updated since then, as scholarly research improves our knowledge of the dates and authenticity of individual works.

Classical Music: Eine Kleine Nachtmusik

 The Serenade No. 13 for strings in G major, K. 525 was written by Wolfgang Amadeus Mozart in 1787. The work is more commonly known by the title Eine kleine Nachtmusik. The German title means "a little serenade", though it is often rendered more literally but less accurately as "a little night music" The work is written for a chamber ensemble of two violins, viola, and cello with optional double bass, but is often performed by string orchestras.

Composition, publication, and reception

The serenade was completed in Vienna on 10 August 1787, around the time Mozart was working on the second act of his opera Don Giovanni. It is not known why it was composed. Hildesheimer (1991, 215), noting that most of Mozart's serenades were written on commission, suggests that this serenade, too, was a commission, whose origin and first performance were not committed to record.

The work was not published until about 1827, long after Mozart's death, by Johann André in Offenbach am Main. It had been sold to this publisher in 1799 by Mozart's widow Constanze, part of a large bundle of her husband's compositions.

Today the serenade is widely performed and recorded; indeed both Jacobson and Klein (2003, 38) and Hildesheimer (1992, 215) opine that the serenade is the most popular of all Mozart's works. Of the music, Hildesheimer writes, "even if we hear it on every street corner, its high quality is undisputed, an occasional piece from a light but happy pen."

Movements of Classical Music

• I. Allegro
• II. Romanze: Andante
• III. Menuetto: Allegretto
• IV. Rondo: Allegro

 Allegro

This first movement is in Sonata Allegro form, which aggressively ascends in a Mannheim rocket theme. The second theme is more graceful and in D major, the dominant key of G major. The exposition closes in D major and is repeated. The development section begins on D major and touches on D minor and C major before the work returns to G major for the recapitulation — a repetition of the exposition with both subjects in the same key, as is conventional. During the recapitulation, it is in G major with the primary themes from the exposition playing. The movement ends in its tonic key, G major.

 Romanza

The second movement is a "Romanza", in Andante and contrasting and slower than the first movement. It is in a "section rondo form" and is similar to the sonata rondo form (A–B–A–C–A). The first theme (A) is graceful and lyrical. It is followed by a more rhythmical second theme (B). The first theme returns (A) and is followed by the third theme (C), which is darker than the first two and includes a touch of C minor. The first theme (A) returns to finish the movement. The key is in C major, which is the subdominant of G major.

Menuetto

The third movement is a minuet and trio (A–B–A). The movement is in the tonic key (G major) and is fairly quick with a tempo of Allegretto. It contains two themes, a minuet and a trio. The movement begins with the minuet (A), then the trio theme enters (B), and it ends with the minuet (A). It ends in G major.

Classical Music: Rondo

The fourth and last movement is in sonata rondo form. This finale returns with the liveliness of the first movement. The movement alters between two main themes during the exposition. In the development, it modulates through various keys and ends in G major. The two themes return in the recapitulation and finally ends in the coda, in which the first theme returns.

Possible extra movement

Mozart listed this work as having five movements in his own catalogue of his works. ("Allegro — Minuet and Trio. — Romance, Minuet and Trio and Finale.") The second movement in his listing, a minuet and trio, was long thought lost and no one knows if it was Mozart or someone else who removed it. Musicologist Alfred Einstein suggested, however, that a minuet in Piano Sonata in B-flat, K. 498a, is the missing movement. The sonata's minuet has been recorded in an arrangement for strings made by Jonathan Del Mar for Nimbus Records although music scholars are not certain that Einstein is correct.

 Satire

Musicologist Peter Schickele composed a parody of this work named Eine Kleine Nichtmusik, recorded on the album Portrait of P. D. Q. Bach in 1977. The piece consists of Eine kleine Nachtmusik played in its entirety, along with snippets of dozens of famous tunes heard in counterpoint throughout the piece, taken from both American folk music and the classical repertoire. As his alter ego P. D. Q. Bach, Schickele wrote the opera in one irrevocable act A Little Nightmare Music, S. 35 (1983).