In Wolfgang Amadeus Mozart’s The Marriage of Figaro, the three men Basilio, Cherubino, and the Count romantically pursue Figaro’s fiancée, Susanna. This combination of romantic feelings comes to a head in the trio “Cosa sento.” Mozart distinguishes the three characters not only through their respective tessituras, but with their three different musical textures as well. Basilio, a tenor, sings in a way that makes him sound innocent and beguiling. The Count sings in a bass’s tessitura, giving his music a powerful and noble sound. Susanna is a soprano and her fluttering, swooping sound lends her music a sense of inconsistency and frenzy. Madrigalisms establish character relationships and even imply staging choices. For instance, on the line “I’m ruined” …show more content…
This indicates a bowing motion and emphasizing his subservience to the count. He has less power, and therefore must use more seductive techniques to romance Susanna. In fact, on the line “Ah, what I said about the page / was only a suspicion of mine” (18-19), Basilio uses a “sighing” melody to comfort Susanna and make her trust him. The Count and Basilio find some unity during the lines “We are here to help you; / don’t be alarmed, my treasure, / and your honor is perfectly safe” (15-17). The two men sing in canon, suggesting mutual solidarity as they both support Susanna (as the staging in the script suggests) and express their adoration for Susanna (as the line's subtext suggests). This repetition of the same makes it clear that the intent behind the two men’s words and actions is the same, but the fact that they don’t sing in unison distinguishes them as two separate lovers. Later on, the dynamics shift to piano as Susanna becomes bewildered: “Where am I? What is this” (13). After this, the Count reveals that he investigated Susanna’s cousin’s suspicious behavior (31-36). A recitative conveys the lecture-like quality of this
A married couple may not always be the happiest couple even though it may seem that love is expressed in the relationship. Some marriages are meant to be while some are not. What causes a person to be dissatisfied with their marriage? Or how do external factors play a role on the outcome of a relationship? As for the case in "Holding Things Together" and "The Painted Door"; these short stories have a few similarities, but they also have many contrasting factors to take into consideration on why one couple is successful with there relationship while the other is not.
A sinfonia (Italian for symphony) broadly refers to a number of instrumental works from the Baroque period, including symphonies, sonatas, canzonas, concerti, and Italian opera overtures. Even J.S. Bach titles his “three-part” inventions for harpsichord “Sinfonia”. Torelli’s Sinfonia in D (G.8) is a four-movement “concerto” for trumpet, strings and harpsichord continuo. Unlike a concerto grosso, where a main theme is presented and then reappears in fragments, the main themes of Sinfonia in D are developed rather freely. The second movement (Adagio) is a very short, slow, interlude without trumpet that introduces the third movement (Allegro). Hence, the program shows these two movements as “adagio-allegro” joined together.
John Dowland (1563-1626) was a composer of Renaissance England and considered one of the most prolific and well-known composers of English lute song. A composer and accomplished lutenist, he is probably the most well traveled English composer of his time. Through his travels he was exposed to the musical elements of his Italian, French and German contemporaries. He developed his own musical language, in which he created a unique style for the lute song. As a composer, he focused on the development of melodic material and was able to elegantly blend words and music with a wide range of emotion and technique. For the purpose of this document we will focus on the influence of his Italian travels. John Dowland’s use of chromaticism in his lute songs as can be directly associated with such as “All ye whom love or fortune.” In these pieces, we can see the influence on this genre through his travels to Italy and encounters with such composers as Marenzio.
In order to fully encapsulate Leonardo’s conquest of the almighty heavens it would only be fitting to have the text set to a full orchestra accompanied by a SATB choir. This is the only combination of instrumentation and vocals that will fully capture the piece’s dramatic story (save a Wagnarian music drama). A full orchestra is a glorious medium that can be used to accommodate the full range of emotions embodied in the poem because of the breadth of orchestral timbre. In parallel with the orchestra, a four-person choir is ideal for the lyrical expression of the poem due to the wide range of notes that can be sung by the soprano, the bass and everyone in between. The parts of the poem sung by the full choir would be done in an imitative polyphony texture utilizing malismas on the repeated line “Leonardo, Leonardo, viene á volare” to accentuate the fact that this line is a “siren-song” sung by “the very air itself.” However, the majority of the text would be sung by the tenor to give the piece a story telling quality, with the rest of the choir chiming in for the Italian parts. This will serve to emphasize the contrast between English and Italian that Sylvestri creates in his poem. It seems appropriate to have the orchestra and choir perform a through-composed setting with a change in music for each st...
.... A mad woman makes the audience feels her emotion acutely, and the dance of a mad woman is one of section that leads the audience to fascinate Noh play.
The first composition, "Miserere Mei, Deus", was produced by Gregorio Allegri in 1638. I learned this, as I read along with the well-thought-out program that was given. As we, the audience, looked up to the vocalists, we were entranced by the consuming sound. The room filled with a vibrant melody, in which the harmonization and tone color was spectacular. The emotion conveyed throughout the room was one of absorption and delight. During this piece, the sopranos hit such high notes, that I was astounded. Being a person who participates in concert choir, I understand the level of commitment and talent it takes to reach those notes and stay in tune. This ...
From the Early Renaissance to the High Renaissance, there was a movement from vocal music to a combination of vocal and instrumental music (Brown, 1976). There are seven categories of instrumental music: 1) vocal music played by instruments, 2) settings of pre-existing melodies, 3) variation sets, 4) ricercars, fantasias, and canzonas, 5) preludes, preambles, and toccatas for solo instruments, 6) dance music, and 7) songs composed specifically for lute and solo voice (Brown, 1976). Italy dominated the stage for instrumental music at this time, and it was not until the last decades of the sixteenth century that English instrumental music became popular (Brow...
The couplet of Shakespeare serves as continuation of a previous quatrain, summarizing the solution of previously stated problem. Using “O” (23.13) at the beginning of the first line “O learn to read what silent love hath writ.”(23.13) symbolizes the strength of emotions expressed after it. In this line speaker try to convey the young man of his love towards him and asks him to try to hear author’s heart in these silent lines. He says, “To hear with eyes belongs to love’s fine wit,”(23,14) meaning that only love can make WH able to read between author’s lines to fully understand speaker’s feelings. Concluding the sonnet, the persona summarizes all his previous words explaining WH why these sonnets is the perfect ceremony of love’s rit and thus the best way for the speaker to express his feelings.
At the age of the Enlightenment, Antonio Salieri becomes the most triumphant musician in the city of Vienna, however, without any warning his harmonious universe comes to an utter halt. Salieri’s absolute faith in the world, in himself, and in God is all at once diminished by this spontaneous child composer. When the two opposite ends meet, there emerges a fury, a rage, and a passion in Salieri to sabotage the boy that has secured Salieri’s deserved God given talent; to destroy the one pubescent child that has made him so mute and naked now in a world of discordance. Salieri’s entire reputation and boyhood prayer to attain fame thus rests on his ability to annihilate that child prodigy, Wolfgang Amadeus Mozart.In analyzing the two composers, Salieri and Mozart, there is a distinct line that clearly divides them. Salieri’s operas receive astounding receptions, making them the “talk of the city,'; shaking the roofs, buzzing the cafes, and even the name Salieri “sounds throughout all of Europe'; (2,3). The reason for Salieri’s success, as well as many musicians of the eighteenth century, is because they have become enslaved by the well-to-do and hence are “no better than servants'; (1,3). This applies especially to the king. For example, in Amadeus, His Majesty forbid any ballet in his operas. Imperial commands such as this are not to be interpreted in any way, in other words, they are to be merely obeyed without any dispute. Since operas tend to the needs of the high society in order to obtain recognition, the operas must communicate through the language of the nobility, that is, Italian. In addition, since the majority of the audience is made up of the upper class, the subject matter of the operas must consist of elevated themes. Such as, mythological heroes, kings, and queens, and so forth. According to the eighteenth century view, operas are supposed to be a sublime and an aggrandizing art. The elevated subject matter is then chosen in order to venerate and honor the nobility. It’s purpose is to “celebrate the eternal in man'; says Van Swieten (2,4). Meaning that there is an element in a noble person that lasts without any end, like God who is immortal. God represents the everlasting and the eternality of existence, thus God gives inspiration to operas that...
Opera is a unique genre of spoken word and song accompanied by music. The music takes one through ascending and descending ranges of emotions. Mozart's Don Giovanni is a perfect example of how this genre emits a wide variety of feelings and attitudes. This "dark comedy seems to convey Mozart's feeling that events have both comical and serious dimensions…" (Kerman, 205). The opera, as a whole, is neither exclusively comedic nor entirely tragic.
Sartorius, Michael. Baroque Music Perormance: "Authentic" or "Traditional": A discussion of the essential issues involved. Ed. Micahel Sartorius. n.dat. Baroque Music Pages. [17 October 2003] .
The central theme of the song itself is a clue for Bassanio. ). The ominous lyrics “Tell me where is fancy bred” (3.2.63), forewarns Bassanio to choose wisely through the use of words such as “fancy”. In Elizabethan time, fancy was used to describe whimsical and superficial love or infatuation, which is similar to “love at first sight”. Furthermore, the song warns; “[fancy] is engendered in the eyes/with gazing ...
One major theme of The Importance of Being Earnest is the nature of marriage. Throughout the entire play, marriage and morality serve as the catalyst for the play, inspiring the plot and raising speculation about the moral character of each person. Throughout the entire play, the characters are constantly worried about who they are going to marry and why they would marry them. This theme is the most prevalent theme throughout the entire play and shows what impact marriage had on a Victorian society. This essay will prove that marriage is the theme of this play.
...one of the antics at the start play to woo Olivia succeed for Orsino and Viola’s initial plan in the beginning does not blossom. This line concludes the part of Feste’s song in which he is giving a synopsis of the play. The last two stanzas are addressed to the audience and Feste thanks them.
Mozart’s use of melodic contour and repetitive rhythmic motives make this piece feel very connected throughout. He begins with a two eighth note followed by two quarter note pattern. This pattern is repeated twice more until finally at measure four a new melodic and rhythmic motive is introduced. At measure four a retardation occurs using a half note to delay the resolution to the quarter note, drawing out the resolution as much as possible to create a sense of relief upon arrival. This pattern of three measures of motive “A” followed by...