Zerlina however shows her weakness in bar 21 where she relies on the V/V chord to support her. She requires the resolution to Don Giovanni’s Dominant. It insinuates that she simply is not strong enough to overcome neither her desire nor his seduction.
Chromaticism in the orchestra in bars 55 in the coda section contrast the libretto of the characters words. “d’un innocente amore” is contradicted by the descending chromaticism of the string section, insinuating that what Don Giovanni and Zerlina speak of is not necessarily true. James Johnson suggests that in this instance it is “a warning that Giovanni’s intentions are not at all innocent.” (Johnson, 2007) Furthermore, Daniel Heartz links that chromatic descent to moments in “Fin ch’han dal
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Mozart incorporates a sliding motif into the oboes which sounds like the turning of page and then he adds the comedy of the chuckling motif in the flutes and the horns, indicative of Leporello’s sheer delight of his account of his master. In this way the winds play a big role in painting the comedic tone in the piece. The constant mild-tempered instrumental winds allow for the culmination of Leporello’s brutal outburst to hold even more tension.
Daniel Barenboim stated that applying the term drama giocoso to Don Giovanni “is at once a contradiction in terms and a definition of the very essence not only of this piece but of music itself”. It is seen that in tempo alone one can see how the playful exists in the tragedy and the seriousness in the comedy. It is this irony in the music that allows Don Giovanni to be an opera buffa. (Barenboim, 2007)
Ironic elements in Là ci darem la mano are numerous. The use of the love key of A major is ironic since the subject matter of the duettino is adultery. Calling it a duettino in itself is diminishing, mocking the status of a duet almost. The chromaticism of “innocente
Comparing Zefferelli's production of Romeo and Juliet with Luhrman Production. In this essay I am going to write about the production of Romeo. In Franco Zeffirelli's production of Romeo and Juliet, the setting and language are of a traditional, realistic nature. This is complete.
Cosi fan Tutte shows that anyone can be deceived or be the deceiver, can love for real, for fake, and desire pride or lust, and fall into a crisis. It is interesting (and certainly amusing) how all of these five words connect with each other. Was love between the two men and two women genuine? Who was the deceiver and deceived? Was it because of the men’s failure to trust, or women’s failure to resist desire? Is there always such a crisis in a relationship? All these questions make one wonder. One thing for sure is that there is a positive and a negative side to these words. Gender does not matter, in the four characters’ situation, both perspectives of the words applied. The five words have shown me that there is a double meaning, or a duality in
Mozart’s Symphony No. 41 was his last and longest symphony he composed. While listening to this breathtaking piece of music, one specific aspect of this piece stood out to me; this being the instrumentation. In this symphony, many different instruments were used. While listening, I recognized many of them. A flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings make up this famous piece that is known world-wide by millions of people.
The comic Part of Measure for Measure is all Episode, and has not Dependence on the principal Subject, which even as Shakespeare has managed it has none of the Requisites of Comedy. Great and flagrant Crimes, such as those of Angelo, in Measure for Measure, are properly the Subject of Tragedy, the Design of which is to show the fatal Consequences of those Crimes and the Punishment that never fails to attend them. The light Follies of a Lucio may be exposed, ridiculed and corrected in Comedy.
...se on both the tenor and alto flute, one an octave higher than the other. While the return of the verse and the flute’s soothing sound give this ending a vague happy feeling, the contrast between the flutes’ pitches and timbres cannot help but leave the listener with a feeling of tension and apprehension over what will ensue.
William Shakespeare's Much Ado About Nothing is a comedy in which he uses one of his more peculiar villains. The antagonist in this play is Don John, the bastard brother of Don Pedro. In this paper I will discuss the role of Don John as well as his motives and the character himself. I will also delve into Shakespeare's use of Don John as the antagonist. I will be comparing Don John to other characters in the play as well as to other villains in Shakespeare's works. While Don John does not spend a great deal of time on the stage in Much Ado About Nothing, he still plays a vital role in the plot of the play. The plan that he sets in motion is one of the two main stories within the play (the battle of wit between Beatrice and Benedict being the other).
One of the most interesting challenges in operatic composition , is composing for all the specific characters. A composer has to distinguish between characters through his music. Jan can’t sound like Fran , and Dan can’t sound like Stan. Each character must have his or her own traits. Mozart’s opera , Don Giovanni , provides us with many different characters to compare and contrast. One scene in particular lends itself to the comparison of Don Giovanni , Leporello , and The Commendator. Scene fifteen of Act two, places all three characters in close interaction with each other , making it easy to compare and find out how Mozart and his Librettist Lorenzo da Ponte brought them all to life.
The song has an intriguing melody that makes me think of London in Europe, maybe it is just because I watched a movie that takes the setting of London or maybe it was the beat of the percussion and the brass, maybe more other instruments, but it created a nice light and deep feeling within the sound. The opening of the song was greatly influential releasing a great amount of energy to the audience. In the middle of the song, it was going down, but then the energy returned and renewed, propelling the overture to the finish. At the same time, it creates an opening for some kind of curtains onstage to drop down dramatically. Having the string and woodwind to act as the cushion of the song being dark and downhill while the brass and the percussion act as a representation of the beating heart of all living things. In the beginning of the song, it was in allegro but throughout the song, it goes downward with the beat being downbeat but once it hit adagio the song become more upbeat and the tempo become vivace. With the brass, woodwind playing vivace and the percussion breaking up the parts each second. Until near the ending, all instruments hit their big parts that would come as a dramatic timing. This song was a classic and I believe it was in many comedy animations back in the good old
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.
Countless dozens of Ph.D. theses must be written about Mozart's The Magic Flute, and yet it is so lively with elements of fantasy and free-flying imagination that it is often the first opera to which children are taken. It has a plot of such complexity that it takes several viewings for all but the most studious opera buffs to sort out the characters and follow the ins and outs of the multilevel story. At the same time, it has so much easily accessible charm and so many glorious Mozart tunes that even the novice will be captivated. There is a large cast of characters including the priest Sarastro (a very serious, proselytizing basso), the Queen of the Night (a mean, angry, scheming coloratura), and her daughter, the beautiful and courageous Pamina. There is the handsome hero, Tamino, on the quintessential road trip, and his cohort in misadventure, the bird seller, Papageno.
The brass plays an ascending sequence, followed by pizzicato notes played by the strings, and an ascending and descending scale on the harp. Strings and oboe play the rhythmic melody, whilst the trumpet plays fanfares in syncopation. The oboe is then replaced by the flute. There is an ascending scale played by the strings, then the brass section repeats the string and oboe melody with cymbal crashes at cadence points. The orchestra then plays a loud melody with cymbal crashes and drum rolls. There is an interrupted cadence, followed by crescendo with cymbal crashes and a brass ostinato. The piece ends with a perfect cadence.
And a musical genius Mozart was indeed! As I analyzed this piece, I was continually struck by his following of major voice leading and counterpoint rules. The times Mozart did break away from the standard were masterfully done, engaging to the ear, and he was always able to bring us back home. In this paper I will share with you what I learned about Mozart’s Requiem, Domine Jesu measures 1 through 43. I will start with the big picture and whittle it down to the minute details.
... then plays allegro passages of semi quavers, accompanied by timpani and descending scales in the woodwind. The clarinet, takes over the main melody whilst the cello accompanies with sequences. The French horn takes over the melody, accompanied by the strings. The flute briefly plays the melody before the cello plays octaves, accompanying the woodwind as they play a reprise of the DSCH theme and the timpani crashes. Repeating the themes in the first movement, the cello plays the DSCH motif followed by the "tate ta, tate ta" rhythm in the strings. The horn then plays the theme in augmentation, whilst the cello plays passages of ascending and descending scales, and the theme is heard again in the strings. The movement builds up with the motif appearing increasingly often in the woodwind and strings and climaxes with octaves by the soloist and a boom from the timpani.
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.
...this far-fetched setting but the overall theme is in real life. Love is a necessity in everyone’s life to feel like a hole and sometimes people get mixed up between love and lust. Through out the story the author focused on Giovanni’s point of view and mostly his thinking process. The emotional exchanges between Giovanni and Beatrice start as two variables, which are simply, and pure attraction and they have no deep understanding for each other. Later on in the story, the changes of true love and an emotional attachment due to more communication. The author’s message is straightforward and was about love being complicated and comes in many different forms and in some cases does not always have a happy ending. The end result of Giovanni and Beatrice’s odd relationship and circumstances led to the understanding that love is sweet and in some cases love becomes bitter.