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Prof. Beliavsky, Ph.D.

The New School for Jazz and Contemporary Music

Reading: Chapter 16, The Late 18th Century: Haydn and Mozart (Concise History of Western Music, 4th
Edition, by Barbara Hanning)

1. Classicism reached its zenith in the late 18th century with the maturity of the Enlightenment.
“Enlightened” rulers such as Joseph II (r. 1765-1790) encouraged a liberal atmosphere in
cosmopolitan Vienna, a city that attracted artists and musicians from across Europe. Both Haydn and
Mozart experienced the political, economic, and social consequences of the French Revolution, and
Haydn lived to see the longer-term social changes that resulted.

2. Franz Joseph Haydn (1732-1809): Born in Rohrau, a village about 25 miles southeast of Vienna,
Haydn entered the service of the Hungarian Prince Paul Anton Esterházy in 1761 and continued in
the family’s service for the rest of his life.
a. The Esterházy family’s remote country estate in Hungary was called Eszterháza, and it rivaled
the splendor of the French court at Versailles. In fact, it was nicknamed the “Hungarian
Versailles.” It was also an international center for opera, and was located near Eisenstadt, a city in
Austria.
b. At Esterháza, Haydn was a household officer—a status higher than that of a servant, but which
required Haydn to wear the court uniform—and his first position was as Vice-Kapellmeister.
When the senior Kapellmeister died in 1766, Haydn assumed that title.
c. Haydn was responsible for composing on demand, presenting and conducting concerts and/or
operas weekly, training and supervising all musical personnel, maintaining the household
instruments, and assisting with almost daily chamber music performances and lessons (read
“Haydn’s Contract” on p. 347).
d. Although Eszterháza was relatively isolated, Haydn kept up with current trends through the
distinguished artists who visited the estate and through occasional trips to Vienna, which was
about 60 miles away.
e. Haydn was fortunate to have skilled singers and instrumentalists at his service, and to have an
intelligent patron who supported his musical efforts: “My prince was pleased with all my
work…as conductor of an orchestra I could make experiments, observe what strengthened and
what weakened an effect and thus improve, substitute, make cuts, and take risks; I was isolated
from the world; no one in my vicinity could make me lose confidence in myself or bother me, and
so I had to become original” (p. 345).
f. As Haydn’s fame spread throughout Europe through concerts presented in Paris and in London in
the 1780s and 1790s, his position with the Esterházys changed according to his growing prestige:
as a result, toward the end of his life, he was appointed court music director for Prince Nikolaus
Esterházy II in Vienna with minimal duties (read Haydn’s biography, p. 344).

3. Instrumental Music — Symphonies: Stylistically, Haydn drew on many sources, including folk,
galant, empfindsam, and learned Baroque practices. He followed contemporary conventions of
phrasing, form, and harmony, but also added unexpected surprises and musical wit.
a. Among Haydn’s most original musical works were his more than 104 symphonies, 92 of which he
composed by 1789, and most for Prince Esterházy’s orchestra.
i. During the 1780s, Haydn composed six symphonies (nos. 82-87) on commission for Paris
(known as the Paris Symphonies).
ii. He composed his last twelve symphonies (nos. 93-104) during the 1790s for a concert series
organized by the impresario Johann Peter Salomon in London (these are known as the London
Symphonies).
b. While many of Haydn’s earliest symphonies followed a three-movement plan (fast-slow-fast,
derived from the Italian opera overture [the sinfonia]), some recalled the four-movement slow-
fast-slow-fast sequence of the Baroque sonata da chiesa.
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i. In the 1760s, Haydn established a four-movement plan that became the standard for the
Classical age. The movements generally break down as follows: 1. Allegro (a fast sonata-
allegro form with a possible slow introduction); 2. Andante moderato (a slow movement); 3.
Minuet-Trio (two contrasting anacrustic [meaning they begin with upbeats] triple meter
dances); 4. Allegro (a fast finale in sonata or rondo form).
1. The first sonata-allegro movement demanded the most concentration from an audience,
and was basically a ternary structure (ABA’, where A is the exposition, B the development,
and A’ the recapitulation) that had evolved from the 18th century rounded binary model
(review Domenico Scarlatti’s keyboard sonatas and Sammartini’s symphonies in Chapter
15).
2. Review Figure 16.4 at the bottom of p. 346 for a comparison of binary and ternary sonata
structures.
c. Read the outline of symphonic form, with details about each movement, on pp. 347-349 as it
relates to Haydn’s Symphony No. 92 in G Major, the Oxford Symphony. Haydn presented this
symphony to Oxford University upon receiving an honorary doctorate there in 1791.
i. In essence, the first movement is about the presentation of stable material (e.g., themes 1, 2,
and closing material in the exposition; the retransition in the development; and the entire
recapitulation in the tonic key), often presented in balanced four-measure phrases. This stable
material is contrasted against unstable material (the exposition’s transition from theme 1 to 2
and the entire development until the retransition).
1. Unstable material is modulatory and features sequences, rhythmic energy and
syncopation, exaggerated motivic repetition, overlapping (eliding) phrases, irregular
phrase lengths (e.g., 5 or 6 bars long instead of the standard 4 bars), imbalanced
periods, cadence delay, registral expansion, unexpected (dramatic) pauses, dynamic
contrasts, and various other techniques collectively meant to disrupt an audience’s
expectations of how the symphony’s known forms proceed:
https://www.youtube.com/watch?v=9esxWeb8xzk (Oxford Symphony, complete).
d. Many of the above techniques of instability and tension are features of movements 2 and 3 (Theme
and Variations and Minuet-Trio forms, respectively) of Symphony No. 94, The Surprise
Symphony (1791): http://www.youtube.com/watch?v=mNwMXj0Y1_Y (Symphony No. 94, Mvt.
2); http://www.youtube.com/watch?v=pJutWjeI-cg (Symphony No. 94, Mvt. 3);
http://www.youtube.com/watch?v=Oruqnrg-idk (commentary about the symphony);
http://www.youtube.com/watch?v=XKZL9QRrR4g (analysis of Mvt. 2);
http://www.youtube.com/watch?v=oNhoQhuCpGg (analysis of Mvt. 3);
https://www.youtube.com/watch?v=eVXalu0p1wo (complete performance).
i. Contemporary audiences and critics sometimes assumed that the second movement’s surprise
(the crashing chord in the theme at 0:35) was intended to wake up a sleepy audience, especially
one that was tired after concentrating on structure and development during the first movement.
In Haydn’s words:

No, but I was interested in surprising the public with something new, and in making a
brilliant debut, so that my student [Ignaz] Pleyel [1757-1831], who was at that time
engaged by an orchestra in London (in 1792) and whose concerts had opened a week
before mine, should not outdo me. The first Allegro of my symphony had already met
with countless Bravos, but the enthusiasm reached its highest peak at the Andante with the
Drum Stroke. Encore! Encore! sounded in every throat, and Pleyel himself complimented
me on my idea.

e. Overall, Haydn’s symphonies, particularly those composed between 1768 and 1772, demonstrate
his treatment of the genre as something more serious than a light entertainment derived from the
Italian opera overture.
i. His symphonies in minor keys, for instance, are associated with the literary movement of
Sturm und Drang (“storm and stress,” review this in C.P.E. Bach’s keyboard sonatas and the
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sentimental empfindsam style, Chapter 15), and feature abrupt contrasts between loud and soft,
powerful crescendos, and sudden accents (sforzati).
ii. Haydn’s later symphonies are rhythmically complex, include developed counterpoint (a
reference to Baroque learned and “strict” practices), are more dramatic than his earlier works,
and effectively blend the lighter galant style with the older, learned styles of the Baroque.
1. To understand why his mature style blended practices of both late Baroque and high (late)
Classicism, it is important to note that Haydn grew up during the Baroque but matured as a
composer relatively late. Consequently, his works came to define the late Classical style.
f. Starting in the 1770s, audiences expected symphonies to be serious, ambitious, and impressive—
these were traits that reflected the prestige newly associated with the genre. Haydn (in the
symphonies of 1773-1788) fulfilled and exceeded these expectations with his music’s broad
emotional range, masterful technique, mixture of popular and learned styles, humor, and exotic
and folk elements (e.g., music that was exotic imitated Turkish bands by using triangle, cymbals,
and bass drum, and was folkish by including peasant tunes that Haydn remembered from his
youth).
i. In the 1780s, Haydn increasingly composed for the public and no longer almost exclusively for
the Esterházys, and he sold his symphonies to patrons and publishers abroad.
1. The six Paris symphonies of 1785-1786 were commissioned by presenters and performed
in Paris.
2. The London symphonies (nos. 93-104) were performed in London, with Haydn conducting,
during two concert seasons between 1790 and 1795. The various complexities, allusions,
novelties, and humorous elements with which Haydn infused his later symphonies,
especially the London symphonies, made his musical truly Classical: this meant that it
appealed simultaneously to the amateur and to the expert listener.
ii. In addition to serious elements, Haydn’s style is often characterized by humor and wit. As an
example, listen to the Farewell Symphony No. 45 in F# minor (1772): in the last movement
(the finale), as a hint to Prince Esterházy that it was time to move the court back to the city of
Eisenstadt from the summer palace so that the musicians could return to their families, Haydn
indicated in the score that the musicians should gradually walk off stage, one section after
another, before the movement comes to an end:
https://www.youtube.com/watch?v=vfdZFduvh4w (Symphony No. 45, Finale);
http://www.youtube.com/watch?v=AFntc0VWpLQ&feature=related (a brief and comical
history of this particular symphony presented by Peter Ustinov).
1. Another great comic example is the rondo finale of Symphony No. 101
(http://www.youtube.com/watch?v=IrS2FrWbJeY), where energetic and arguably
exaggeratedly dramatic transitions contrast sharply with the banality of the recurring rondo
theme.
g. String Quartets: Unlike symphonies, which were performed by professionals for a paying or
invited audience, chamber music was primarily for amateurs to play for their own pleasure in a
private setting. Haydn composed 68 quartets, the evolution of which, like his keyboard sonatas,
followed that of his symphonies (review pp. 351-354).
i. Haydn published his quartets in groups of six: Opp. 9, 17, and 20 (1770-1772) established the
four-movement plan, with the minuet movement before the slow movement. In these, he began
continuously developing motives from a first movement exposition through the entire
movement, and ended three of the quartets from Op. 20 with fugues.
1. Continuous development and fugal writing demonstrate Haydn’s attempts to elevate the
string quartet genre from the lighter, galant style fashionable in Paris during the 1760s to a
more prestigious art form. These features also exemplify his characteristic blending of
popular and serious elements in his music.
ii. In the six Op. 33 quartets (1781), the minuet became titled a scherzo (the Italian word for joke).
In it, Haydn played with the courtly structure of the minuet dance (which traditionally signified
a surrendering to love) by emphasizing metric and rhythmic syncopations (Example 16.2, p.
351).
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1. His humor is also present in the Op. 33 finale movements. Listen to the Joke Quartet, Op.
33, No. 2, Presto Finale, Rondo form, https://www.youtube.com/watch?v=TiGVNpe_BhY
(live performance), which is a movement that refuses to end (review p. 352).
2. In these Op. 33 quartets, Haydn established the technique of continuous thematic
development, and basically treated all the instruments equally.
iii. Haydn’s later quartets (Op. 76, 1797) prefigure Romantic era music by using chromatic
harmonies, enharmonic changes, and unusual modulations. Still, his humor and wit pervade
the lighter Minuet-Trio or sometimes Scherzo-Trio movements.
1. A famous example from his opus 76 is the slow variation form movement of Op. 76, No. 3,
composed as a birthday tribute for Kaiser Franz. The movement’s tune, which Haydn first
composed as an anthem for Emperor Francis II and the Austro-Hungarian Empire (used
from 1797 until 1918), later became the German national anthem (used from 1922):
https://www.youtube.com/watch?v=udPddgVKzLg (“Emperor” Quartet, Op. 76, No. 3,
Theme and Variations form).
2. Like his symphonies, the quartets epitomize the high (late) Classical style through
juxtapositions of the serious with the comic, of artfulness with folksiness, and of the
complex with the simple.
h. Like the quartets, Haydn’s keyboard sonatas were composed for amateurs to play in private on
either harpsichord or pianoforte. These sonatas feature three-movement, fast-slow-fast plans, and
express sentimental feelings appropriate for his intended middle class audiences:
http://www.youtube.com/watch?v=mWF-48jIrSU (Piano Sonata No. 59 in E-flat Major, complete;
read the description under the video).
i. Haydn composed operas, masses, and oratorios. Until the 1780s, before his quartets and
symphonies were internationally applauded, he generally subscribed to the Baroque belief that
vocal music was more prestigious than instrumental music.
i. His oratorios, influenced by Handel and composed for publication and performance in England,
include The Creation (1798) and The Seasons (1801).
ii. Some of this music is sublime, in that it evokes awe in addition to being beautiful. For
example, the “Depiction of Chaos” at the start of The Creation begins with dissonant
harmonies; at the words “and there was light,” the chorus and full orchestra articulate a bright
C major chord (p. 356): https://www.youtube.com/watch?v=l07oRR4u-rk (complete
performance; the C major choral and instrumental blast is at 10:15).
1. https://en.wikipedia.org/wiki/The_Creation_(Haydn) (more information on The Creation
Oratorio)

4. Wolfgang Amadeus Mozart (1756-1791): Born in Salzburg, Austria, Mozart and his sister
Marianne, nicknamed Nannerl, were remarkable child prodigies, who, trained by their father Leopold
(a violinist and composer), toured Europe as children. These trips exposed Mozart to a broad range of
national musical styles, which he absorbed and synthesized seamlessly in his own works.
a. In Paris, he encountered the keyboard works of Johann Schobert (ca. 1735-1767); in London, he
met J.C. Bach and was influenced by Bach’s concerto forms; in Italy, he assimilated opera seria
(review Chapter 14), was influenced by Italian symphonists such as Sammartini, and studied
counterpoint with Padre Giovanni Battista Martini (1706-1784); in Vienna, he met Haydn and was
influenced by his music.
b. At 16, Mozart was appointed to the archbishop’s service in Salzburg, but left in 1781 for Vienna
to work as a freelance musician.
c. During his Salzburg years (1773-1781), Mozart was unsuccessful at obtaining a permanent post
in cities such as Munich, Mannheim, or Paris. Nonetheless, Mozart was commissioned to write an
opera, Idomeneo, for Munich in 1781. This opera revealed the influence of Gluck (review Chapter
14) and of French tragédie lyrique through its use of accompanied recitative, chorus, and of grand
spectacle.
i. In Salzburg, Mozart also composed 13 piano sonatas, and the keyboard theme and variations on
the French air, Ah, vous dirais-je maman (K. 265, “Twinkle Variations,” probably intended for
students): http://www.youtube.com/watch?v=fGGWtz_v6xM (performed on a pianoforte);
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http://www.youtube.com/watch?v=xyhxeo6zLAM (score);
http://www.youtube.com/watch?v=NUSDpxZgy0I (performed on a piano).
ii. Other notable examples of keyboard music include the Sonata K. 331 for its theme and
variations form first movement: https://www.youtube.com/watch?v=FZ1mj9IaczQ (complete).
1. This finale loosely imitates the Janissary (elite Turkish infantry) music of Turkish military
bands by suggesting cymbals and triangles and by exaggerating downbeats:
https://www.youtube.com/watch?v=eTZ33EVK3Ug (Glenn Gould’s somewhat unusual
tempo, supposedly because he hated Mozart’s music and because he aimed to move the
listener out of complacency to tradition). Here is a more conventional interpretation:
http://www.youtube.com/watch?v=juLRqSV45vo. Here again is a less conventional
interpretation, a classical-jazz hybrid:
http://www.youtube.com/watch?v=0_Whp1kWZ8Y&feature=related.
iii. In Salzburg, Mozart composed three violin concertos (all from 1775) and the Piano Concerto in
E-flat Major, K. 271 (1777 at age 21; http://www.youtube.com/watch?v=k-wbyyI-380,
complete).
iv. Mozart also composed incidental music, serenades, and divertimenti in the 1770s and early
1780s for garden parties, outdoor performances, weddings, birthdays, and celebrations, and for
concerts at the homes of friends and patrons.
1. Among his most famous later works, composed for outdoor performances in a public
garden, is the string serenade Eine Kleine Nachtmusik (“A Little Night Music,” 1787), K.
525: https://www.youtube.com/watch?v=QZWKUszkbXU (Sonata-allegro, Mvt. 1;
Minuet-Trio, Mvt. 3 begins at 10:45); https://www.youtube.com/watch?v=CNRQ-DW7064
(a complete performance featuring a string quintet).
d. Mozart moved to Vienna in 1781 and was initially successful, remaining extremely popular for
the first 4-5 years of his life there. After that, as he received fewer commissions and had fewer
private students, and as his family expenses mounted, his health, both mental—he became
depressed—and physical, declined. In 1787, he was appointed chamber-music composer to the
emperor at less than half the salary his predecessor Gluck had received.
i. Musically, Mozart accomplished perfect synthesis of form and content, which was among the
essential aesthetic goals of the high Classical style: like Haydn, Mozart blended galant and
learned styles, and communicated both charm and emotion.
ii. His principle influences were Haydn (this is especially clear in Mozart’s Haydn Quartets), J.S.
Bach (Mozart came to know Bach’s Art of Fugue and the Well-Tempered Clavier, and Bach’s
influence was visible through Mozart’s increasing use of counterpoint in his later works), and
Handel (for example, Mozart re-orchestrated the Messiah in 1788-1790).
iii. An exemplary quartet is K. 421 in D minor, in which Mozart’s Italianate tunefulness is
combined with a contrapuntal texture and a quickly changing textural and dynamic plan—all
characteristics that show Haydn’s influence and Mozart’s ability to blend galant and Baroque
elements within a unified whole:
http://www.youtube.com/watch?v=qDeW4Oakh9Y&feature=related (first movement, read the
description on p. 365 and review Example 16.7).
iv. Important late piano sonatas include the Sonata in C minor, K. 457, which would serve as a
model for Beethoven’s Pathétique Sonata, Op. 13
(https://www.youtube.com/watch?v=taUm0cZreak, first movement).
1. A piano sonata that exemplifies Mozart’s style at the beginning of the Vienna period is the
Sonata in F Major, K. 332 (1781-1783). The first movement opens with a mix of styles,
which progress from galant through an imitation of hunting horns and to Sturm und Drang:
http://www.youtube.com/watch?v=eY2ZOc8oFlM (lyrical opening, horns at 0:24, the
agitated style at 0:37); https://www.youtube.com/watch?v=3rmYwic6fLY (score)
e. Symphonies: Mozart composed over 60 symphonies, most before 1782. He slowed his rate of
symphonic composition in Vienna, approaching the genre seriously and producing six symphonies
there.
i. The earlier symphonies, composed before 1782, functioned most often as concert or theatrical
“curtain raisers.”
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ii. The six late symphonies, however, are longer works, and are more technically and musically
demanding on performers, especially wind players. These symphonies are harmonically and
contrapuntally complex (for instance, Mozart created suspense through ambiguous harmonic
centers in the introductions to K. 425, 504, and 543), with climactic rather than light final
movements. Examples include the Haffner (K. 385, 1782) and Linz (K. 425, 1783)
Symphonies.
iii. Among Mozart’s greatest works may be the Prague Symphony (K. 504) and the three
symphonies he composed within a six-week period during the summer of 1788 (nos. 39-41).
1. One of these three is the Symphony in G minor, K. 550, No. 40:
http://www.youtube.com/watch?v=g0ZE38BQmvQ&feature=related (Leonard Bernstein’s
1973 Charles Eliot Norton Lectures at Harvard, introduction to K. 550); Bernstein’s
performance of movement 1:
http://www.youtube.com/watch?v=0FLRcNJYSZE&feature=related (note the
introduction’s piano dynamic, a dynamic seldom heard at the start of Classical opening
movements). Read pp. 365-367 for a more detailed description of the various late
symphonies.
2. https://www.youtube.com/watch?v=Fcly8-RGhgw (Jupiter Symphony K. 551, Mvt 4):
Pay attention to the impressive coda (starting at 8:09), in which Mozart combined the four-
note fugue subject in counterpoint with a countersubject (another theme) with two ideas
from the movement’s transition and with both motives from the movement’s second theme
(review Example 16.10, p. 367).
a. In doing so, Mozart demonstrated his compositional mastery of form and technique,
combining galant with early 18th century fugal styles into an artfully unified whole.
f. Piano Concertos: Like Haydn, Mozart aimed to satisfy the tastes of both connoisseur (expert)
and amateur. His piano concertos, which were primarily vehicles for his own career, served that
purpose.
i. His three movement (fast-slow-fast) concertos were inspired by J.C. Bach’s model (review
Chapter 15), where first movements follow a blended ritornello-sonata form. Notice the
similarities between the first movements of Mozart’s Piano Concerto K. 488 in A Major
(composed 1786; read pp. 368-369) and J.C. Bach’s concerto (p. 339):
1. In both, the first movement begins with the orchestral exposition in the tonic; the following
three main solo episodes serve as exposition, development (in which both composers
introduce new material), and recapitulation, respectively; and in the Mozart concerto, the
piano cadenza interrupts the final orchestral ritornello. This form follows a design
described by Koch as three solo episodes framed by four orchestral ritornellos:
https://www.youtube.com/watch?v=bkSVeH4zoFI (Mvt. 1, score);
https://www.youtube.com/watch?v=DXeBFhqViYg (complete concerto, live performance).
2. Mozart’s second movements often sound like lyrical arias and may be sets of variations,
rondos, or sonata forms without development sections:
http://www.youtube.com/watch?v=9LqdfjZYEVE&feature=related (Mvt. 2, K. 488).
3. Third movements are virtuosic rondos or sonata-rondos:
http://www.youtube.com/watch?v=oeTyZPxlwMA&feature=related (Mvt. 3, K. 488).
a. Here is the complete film about Horowitz recording this concerto:
https://www.youtube.com/watch?v=eaRzAh1AMMo.
g. Operas: Mozart established his fame in Vienna with his opera Die Entführung aus dem Serail
(“The Abduction from the Seraglio,” 1782), which brought together German Singspiel (meaning
“sing-play,” this is a German language music drama with spoken dialogue;
http://en.wikipedia.org/wiki/Singspiel) with exotic elements and plots then popular: this one is a
romantic-comic story of adventure and rescue set in a Turkish harem:
http://en.wikipedia.org/wiki/Die_Entf%C3%BChrung_aus_dem_Serail. Importantly, the Turks
were long-standing enemies of Austria-Hungary, and represented the foreign “other” that so
intrigued Viennese audiences in contemporaneous art.
i. Mozart’s most famous operas were those in collaboration with the librettist Lorenzo Da Ponte
(1749-1838). The products of these collaborations were Le Nozze di Figaro (“The Marriage of
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Figaro,” 1786), Don Giovanni (“Don Juan,” 1787), and Così fan Tutte (“Thus Do They All,”
1790).
1. Each of these operas is essentially comic, but both Da Ponte and Mozart raised the comedy
to a complex level: the characters are more deeply rounded than in typical opera buffa
(comic opera), existing tensions between social classes are highlighted and intensified, and
moral issues are treated more seriously than in standard opera buffa.
ii. Mozart’s operas reveal his insights into his characters’ psychologies through music and text
that are meaningfully related in solo arias, duets, trios, larger ensembles, and ensemble finales.
These different musical forms complement and parallel dramatic action. This musical-dramatic
cohesion is especially evident in the opening scene of Don Giovanni.
1. Mozart treated the Don Juan character not as a caricature of an immoral seducer, but as a
supremely individualist romantic hero and rebel against authority, who is nonetheless an
amoral and horrible blasphemer: http://en.wikipedia.org/wiki/Don_Giovanni.
2. The opera mixes elements of opera seria and opera buffa, in that each character is
represented musically according to that character’s social class: Don Giovanni is an
opportunistic libertine, who slides easily between high to low class; his servant Leporello
and the peasants Masetto and Zerlina sing in the comic buffo and patter styles; Donna
Anna, her father the Commendatore, and Donna Elvira all sing in the high tones of opera
seria.
a. This blend is clear in the opening scene
(https://www.youtube.com/watch?v=XPYjqz7nToY [complete opera with English
subtitles; the opening scene ends at 13:23]; read the description on p. 371) and in the
finale of Act I, where three simultaneously playing onstage dance bands play music
that represents the high (minuet), low (rustic waltz), and middle (contredanse) classes
(p. 372): in the video of the complete opera above, the finale begins at 1:20:37 and
continues until 1:30:35.
3. Ultimately, Don Giovanni is unrepentant to the last, and his guilt and unrelenting
individuality—personified by the ghost of the Commendatore, the man killed by Don
Giovanni during the opening scene—drag him to hell:
https://www.youtube.com/watch?v=FEVD9Yq9qF8 (the Commendatore scene); in the
complete opera this scene begins at 2:40:00.
4. Another famous number is the “catalog aria,” in which Leporello calms Donna Elvira (one
of Don Giovanni’s former lovers) and explains Don Giovanni’s ways by enumerating his
conquests.
a. The scene starts at 21:27 in the full opera link above, the recitative leading directly into
the “catalog aria” begins at 26:39, and the aria begins at 29:36.
5. Yet another important moment in the opera is Don Giovanni’s attempt to seduce Zerlina
“innocently” just before she is to marry Masetto in the duet Là ci darem la mano (“There
we shall entwine our hands”).
a. The scene begins at 37:33, the recitative leading into this duet begins at 41:28, and the
duet begins at 43:23 in the full opera link above.
iii. An important and famous late opera is The Magic Flute (1791), which is a German Singspiel
featuring spoken dialogue instead of recitative, and which has many elements symbolic of
Mozart’s Freemasonry (http://en.wikipedia.org/wiki/Masonic_ritual_and_symbolism). It ranks
as the first great German opera: http://en.wikipedia.org/wiki/The_Magic_Flute.
1. The opening overture blends and reconciles older Baroque and newer Classical styles by
mixing sonata and fugal procedures (https://www.youtube.com/watch?v=vvhlJC04JtM).
2. Throughout the rest of the opera Mozart integrates Italian opera seria, the solo aria and
buffo ensemble, the folk humor of German Singspiel, and solemn choral scenes into a
unified whole: http://www.youtube.com/watch?v=hqBwe9BCj4A (“The Queen of the
Night” aria).
3. The complete opera with subtitles: https://www.youtube.com/watch?v=c0cKnC3UvWU/
h. Mozart’s Requiem, K. 626, was his last work and remained unfinished. Its commission, under
conditions of absolute secrecy, was bizarre, and was seemingly the work of a Viennese noble who
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wished to claim the Requiem as his own composition:
http://www.youtube.com/watch?v=q5Y2B55nKZY; https://www.youtube.com/watch?v=vvCsjn-
Wpk4 (another complete performance, this one with English subtitles, with an interesting
introduction); https://en.wikipedia.org/wiki/Requiem_(Mozart) (more information).

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