The author of this book wants students who are studying orchestration to have clear and detailed analysis of Mozart’s famous opera compositions, one of them is ‘The Marriage of Figaro’. This book contains all the four acts of the opera. Figaro and Susanna, two servants of Count Almaviva, get married despite Almiviva’s attempt to seduce Susanna. Figaro and Susanna find their marriage at risk when Marcelina, housekeeper of Dr. Bartolo, who’s in love with Figaro creates a misunderstand between Figaro and Susanna. When the countess finds out about his husband’s philandering habit, she’s convinced by Figaro and Susanna to set up a trap for the count with the help of Cherubino, the page, who loves the countess. The final act ends with the count begging for forgiveness when he realizes that he was trapped by others, Cherubino proclaiming his love for the countess, and finally Figaro and Susanna reuniting despite all their misunderstandings. The elaborate analysis of the opera helps readers understand the genius that Mozart was as a composer.
The author of this book is known for writing biographies of famous music artists such as Beethoven, Wagner, Berlioz and Mozart. In this biography of Mozart, he translated some letters that Mozart exchanged with his family members and peers. The author’s aim was to keep the translation as close as possible to their original context, so the readers have a better understanding of Mozart and the reasoning behind his compositions. In letters dated November, 1785 to end of April 1786, Mozart writes to his father Leopold that the work behind ‘Le Nozze di Figaro’ was keeping him really busy, and that the translation from French was indeed a tiresome work for him. Mozart knew that this opera will be highly critiqued by Salieri’s followers. Salieri was Mozart’s musical rival at the time, and Mozart knew that the success of ‘Le Nozze di Figaro’ opera would a good answer to all the criticisms he faced from other fellow music artists for being esteemed highly for his talent and ability. Even while facing harsh criticisms, Mozart was able to finish the entire composition in six weeks.
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This article analyzes the musical composition of Act IV of ‘The Marriage of Figaro’ in terms of a musical direction to create the concept for a democratic political love. Nussbaum particularly talks about the pauses in the composition in Act IV when the count Almaviva asks for forgiveness from his wife for being unfaithful. The writer of this article argues that the pauses had a lot of underlying meanings and was a planned addition to the composition by Mozart. When the countess takes her time to answer and there’s a musical pause, it makes viewers and/or readers think to themselves what the countess perhaps is thinking. Should she forgive her husband and hope that he would change for better, or should she accept him with his flaws and hope that he will love her again? After the pause when the countess finally reveals her answers and agrees to forgive him saying that she’s nicer than him, it gives a perspective to the men and women relationship. The countess made a brave choice by saying yes and agreeing to love and trust her husband despite all the imperfection, and the composition in that scene resonates with her feelings as it tries to portray that just like the countess most people choose happiness for what it is in this real world rather than the made-up version of ‘love’ in their minds.
The writer of this article explains why the tonal structure of the finale of ‘The Marriage of Figaro’ was never used by Mozart again despite being so unique and exceptional in its creation. According to John’s theory, Mozart has never written an opera buffa that included instrumental music, and because the large finale of the opera required a high degree of instrumental inclusions, it explains Mozart’s choice of utilizing a high-level tonal structure. He also says that the high dramatic exponent of the finale required a planned music movement, and which is why the composition had a symmetrical arrangement of three tonal regions. The writer concludes with the remarks that there’s no other opera buffa like the one in the finale of ‘The Marriage of Figaro’ that could match to the exposition of sonata form in that era.
In this article, the American musicologist, Wye Jamison, argues that the music of Mozart and his contemporaries were greatly influenced by the social practices and dances of their period. According to the writer of this article, Mozart’s music was different that the music created before him since his music was more abstract and they were a wholesome play of key and theme. The article describes how Mozart used a vocabulary integrated with musical rhythms and symbolic gestures to portray the nature and intents of the characters and the differences in social class. The ‘minuet’ form of social dance represented the upper-class status and the ‘gigue’ form represented the peasants. The gestures, form of dance, and the uniqueness of compositions used in Mozart’s creation had specific meanings for the audiences of his time. The writer of this article explains the reasoning the Mozart and Da Ponte’s intention behind setting the stage for ‘Le Nozze di Figaro’ opera. The opera was highly criticized by the conservatives, the radical left and all range of the French politics at the time of its release. Before the release of ‘Le Nozze di Figaro’, operas were meant for the entertainment of the upper class and the protagonists of those plays were from upper class of the hierarchy. Mozart and De Ponte revolutionized the way opera was going to be perceived henceforth by making Figaro, a servant to the Count Almaviva, the protagonist for this opera. The play depicted the unfair hierarchy of the society, freedom of choice, love and lust as some of its main themes. The play showed that love was free for all, even for the lower class. This revolution against the social system at the time made Mozart one of the finest musicians to ever live.
The Encyclopedia gives an overview of the world of music and how it changed starting from ancient civilizations to the evolution of new and different instruments, orchestras and ensembles. Wolfgang Amadeus Mozart is described as a pioneer of music in the classical period, especially for his exceptional works in the field of opera. Despite having composed successful piano concertos in Vienna, Mozart was always inclined towards opera. Opera was a risky genre for any musician since the success and failure in this field was very unpredictable. Mozart decided to do the composition for ‘Le Nozze Di Figaro’, a French play that was highly criticized. The play was a masterpiece in terms of characterization, emotions, music and wit; however, it failed in Vienna. The play conversely became a huge success in Prague where it was appreciated by all opera lovers, giving Mozart a new set of audience to cater to.
This book provides a brief biography of many famous composers including Wolfgang Amadeus Mozart’s. The writer, Kevin Reeves, mentions some instances from Mozart’s childhood that shows that he was a musical prodigy whose talent and ability were way ahead of his time. At the age of 10, Mozart was able to write down Allegri's entire psalm ‘Miserere’ from memory after only hearing it once. From a very young age Mozart was able to form string quartet in his mind and write separate parts before composing the full score. Mozart left behind a legacy of impeccable musical work with having written forty-one symphonies, twenty-five piano concertos and twenty-six string quartets in his lifetime. Mozart was indeed a gifted individual and his works are appreciated by music lovers even to this day.
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