Summary Set work revision: Mozart, The Magic Flute
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Course
Unit 3 - Appraising
Institution
PEARSON (PEARSON)
A comprehensive revision resource for the Edexcel Music A-Level set work Mozart, The Magic Flute.
Packed with ALL the content you need to know about the set work and comes with detailed wider listening examples to help you write top essays! Very well-formatted - the perfect revision resource.
Wri...
The Magic Flute: The Magic Flute: ‘Thy hand, William Fidelio: Rigolett
No. 4 Recitative + No. 5 Quintet: Belinda’ and Tell: ‘Jetzt, o: ‘La
Aria: O zitt’re Hm! Hm! Hm! ‘When I am Finale – Alter, jetzt donna e
nicht, mein lieber Hm! (Mozart) laid in Rossini hat es Eile’ mobile’
Sohn (Mozart) earth’ – – – Verdi
Purcell Beethoven
Context Mozart: helped establish Classical style, known as Near end of 1829 Mozart knew Famous
a solo pianist + performer of his own concertos, Dido + Aeneas Everything is Beethoven as a
one of the first to write in the vernacular Queen Dido changing and Singspiel showcase
(language of the people – ie. in German) loves Aeneas, growing ‘Now, old for tenors
Baroque opera: invented at beginning of 17th who falls in love grander in man, we must Topic:
century, all written in Italian, very static, series of with her, but is this place hurry’ women
solo recitatives/arias, very few ensemble songs, tricked into One man are fickle
stylised/artificial characters, more for nobility deserting her offering + men are
Classical opera: more variation of mood in arias, Portrays money to the miserable
duets + larger ensembles become essential desperate state other to kill to trust
The Magic Flute: 1791, immediately successful, a of Dido’s mind someone them
singspiel (play with singing + incorporates before thought ‘dead’ 1851
speech, magic/comedy, exaggeration of good/evil, committing
for middle class), comedy, significant use of suicide
magic, strongly connected with the Freemason Repetition =
movement (partially secret society with great strong
relevance to number 3) emotional unity
Plot: Tamino must undergo a series of masonic- 1680
style tests to prove his worth to marry the heroine
Pamina (only survives due to his magic flute), the
Queen of the Night (Pamina’s mother) defies all,
but her magic in the end fails her + she is sent to
everlasting darkness, so the two can marry
First appearance of Comic character
Queen of the Night (evil, Papageno lied about
some of her rage his part in saving the
appears in music prince from a serpent
foreshadowing Had padlock fitted to
deception detected in his mouth as a
music) punishment
, Expresses grief at
abducted daughter,
soothes Tamino +
commands him to rescue
her
Only Baroque-style recit
Perform Voice 5 singing parts Recit: soprano Full woodwind Tenor,
ing Technically demanding, Same orchestra: (Dido) + + string range of a
written for a coloratura accomp, double voices continuo sections + 10th
Forces
soprano + independent melodic accomp horns (showcase
Range: D above middle material between vocal Aria: soprano Some , but not
C to F over 2 octaves phrases (often (Dido), strings woodwind technicall
higher staccato) + continuo rising quaver y
Orchestral accomp No flutes/bells despite runs in demandin
Full Classical period context rests/long g)
orchestra (strings, 2 Three boys presented: notes Strings:
horns, oboes + clarinets + pizz vlns Mainly plays a
bassoons) (innocence) = more provides ritornello
Different roles: word sombre + Tamino/ accomp between
painting, different Papageno repeat appropriate to vocal
accomps phrases of the Three mood phrases,
Sonority Range + virtuosity of Ladies with cellos, bsns Sonority String during
soprano – showing + horns (lower timbre) change from semiquavers, vocal:
control/skill + distress Sotto voce – sing more quavers (+ oom cha
Elements used to quietly/ undertone intimate triplets) cha
creating contrasting when voices all sing in solos to feature accomp +
sonorities for each homophony grand heavily doubles
section homophonic Old man melody
end generally has
a lower range
Structur Orchestral intro No overall form – Aria: built on 11 2 contrasting Strophic
e Accompanied recit. through composed with statements of sections: Intro,
Aria: larghetto section, 5 sections ground bass solos + verse,
virtuosic allegro A: Tamino unable to (repeating homophonic chorus,
moderato section free Papageno phrase), phrase end of unity – link (intro
(similar to the aria di B: Three Ladies set structures of both use the repeated),
bravura of the Baroque him free bass + voice same melody verse,
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