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Mozart, 2006.
A discussion about the lieder (songs) which Mozart wrote and the influence these compositions had on future composers.
1,726 words (approx. 6.9 pages), 6 sources, MLA, £ 38.95
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Abstract
The paper discusses the sixteen German lieder (songs) which are largely unknown works of Mozart. The paper explains that Mozart was a forerunner for German lieder and that his influence is seen in many of Franz Shubert's early works. The writer describes some of the stories told by Mozart's songs and compares "An Chloe" to "Abendempfindung", written on the same day, yet polar opposites. The writer explains that "An Chloe" is about the love of a shepherd for a shepherdess and "Abendempfindung" is a reflection on death. The paper compares the styles of Mozart and Schubert's songs. In conclusion, the writer posits that Mozart helped build the foundation for German lieder and although his songs are not the most frequently performed in this genre, they were very important in establishing the tradition of German lieder.
From the Paper
"In "An Chloe", Mozart once again crafts the music exquisitely around the poetry. "An Chloe" is a pastoral poem. Damon, a shepherd, is in love with Chloe, a shepherdess. This song has a six-measure introduction closing with a cadence and is primarily in the tonic. There is a measure of dominant in the third system and the first phrase ends in a cadence. The second phrase moves to the dominant and chromatic elements are presented with the introduction of "und ich halte dich... (and I hold you and kiss...)." This is the beginning of the real passion of the song and it is fitting that the chromaticism begins here. The beginning of the song is repeated in measure 28, but begins to be varied chromatically in measure 35 as the shepherd talks about holding Chloe tightly to his breast. The broken rhythms in measures 41-43 show the breathlessness of anticipation before the soaring vocal line for "eine dustre Wolke mir (a gloomy cloud to me)." The same idea of breathlessness is repeated in measures 49-51 and 56-59 before the climax of the song in measures 62-66. This climax has the most operatic vocal lines so far. The shepherd is saying "aber selig neben dir (but blissful beside you)". The song ends with a final cadence."
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Wolfgang Amadeus Mozart, 2002.
An overview of the extraordinary life and achievements of the musical genius, Wolfgang Amadeus Mozart.
1,400 words (approx. 5.6 pages), 5 sources, £ 36.95
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Abstract
Wolfgang Amadeus Mozart was an undeniable genius. Mozart's rejection of court musical life was transparent. Mozart's finances during the Vienna years must be counted a mystery. By the time of Mozart's final illness, he had completed only some of what has become known as "Mozart's Requiem". Considerable evidence suggests that Mozart dabbled in mathematics. In studying Mozart, we can see that his life was anything but ordinary.
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Mozart, 2004.
Argues that Wolfgang Amadeus Mozart's fame is based largely on the man as a stereotype of a great romantic figure.
1,350 words (approx. 5.4 pages), 5 sources, MLA, £ 31.95
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Abstract
This paper argues that Mozart does not deserve to be considered as one of history's most influential people. It argues that, while he was an immensely talented and prolific composer, Mozart's lasting fame seems to be based largely on the ideal of him as a romantic artist, rather than on the body of his work. In addition, Mozart's fame can be attributed also to his family's great influence. The paper states that Mozart's work can be argued to be lacking in many areas, including the lack of depth in his church music, the lack of nature or a sense of fun and whimsy in his work, and flaws within his early work. In addition, Mozart's work fails to show any real innovation in genre or theme, which can be said to be the mark of a truly great or influential musician.
From the Paper
"For instance, Mozart's depiction as sensitive, mercurial, arrogant, and his early death has grabbed the public's imagination much more than the descriptions of the equally talented Hayden, who is often described as calm, kingly, and deliberate, and who lived a longer life (Oldman). Further, Mozart's family was influential and driven, likely playing a large part in Mozart's success, while Hyden's family was much less influential and had meager means, thus likely limiting Hyden's success. Despite these differences in opportunity, Hyden produced material that many consider to be the equal or superior of Mozart's works, and possessing a uniqueness that indicates great artistic maturity (Oldman)."
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Two Mozart Minuets, 2002.
This paper compares Wolfgang Amadeus Mozart's ?Minuet for String? from his ?Quintet in D Major? to his ?Minuet No. 6? and gives background information.
1,145 words (approx. 4.6 pages), 2 sources, MLA, £ 27.95
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Abstract
The author states many music historians believe that Mozart attained his greatest heights as a composer with his string quintets. The paper analyzes the minuet as a musical translation of popular musical dances of the era and compares the two minuets. The paper continues that it is important to recognize that listeners of Mozart today are different from listeners in Mozart?s day. The author concludes that, to understand Mozart?s Minuets, the listener must explore the roots of the form of the piece and the piece?s history.
From the Paper
"Before analyzing the pieces themselves, one must first consider exactly what a minuet is. A minuet is dance in a moderate triple time. It has a light texture. ?Some minuets have a cross-rhythm that makes two bars of 3/4 sound like one bar of 3/2 (as in courante). Unlike other dances, it is often in ternary form. It is one of the only Baroque dance forms that survived into the late symphony of the Classical era, besides the trio.? From a listener?s point of view, this ?light? or ?sprightly? texture translates into an almost humorous, dancing quality to the music."
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Wolfgang Amadeus Mozart, 2004.
Biographical account of the life and works of Wolfgang Amadeus Mozart.
1,147 words (approx. 4.6 pages), 3 sources, MLA, £ 27.95
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Abstract
This paper first talks about Mozart's childhood and adolescent years as a composer and then talks about his compositions during his adult years. The paper discusses Mozart's influence, his technique, his style, and his genius. Several of Mozart's works are cited and described, and the qualities that make them masterpieces are explained.
From the Paper
"Born in Salzburg, Austria, on January 27, 1756, Wolfgang Amadeus Mozart was the son of Leopold Mozart, the second Kapellmeister at the court of the Archbishop. From his earliest childhood, Mozart revealed the most extraordinary musical powers and for a number of years, beginning when he was six years old, Mozart appeared throughout Europe, inspiring awe and adoration wherever he went. His first four violin sonatas were published in Paris when he was eight; his first symphonies were performed in London when he was nine; his first two comic operas were completed when he was twelve, and at the age of fourteen, Mozart wrote on commission his first opera seria, produced in Milan in 1770 during his first tour of Italy."
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Mozart?s Concerto for Violin & Orchestra No. 3, 2001.
Analysis of Movement I - Allegro of Mozart's Concerto for Violin & Orchestra No. 3 in G Major, K. 216.
885 words (approx. 3.5 pages), 2 sources, MLA, £ 21.95
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Abstract
This paper analyzes Mozart's Concerto for Violin & Orchestra No. 3 in G Major, K. 216, Movement I - Allegro. By using time codes to help the reader identify major changes in tempo, soloists and recapitulation, one can listen along to the movement and have a better understanding of Mozart's genius when writing his concertos.
From the Paper
"Mozart?s Concerto No. 3 is in three movements. It was written in 1775 and the main theme played by the orchestra at the beginning of the first movement (Allegro) was borrowed from his Il re pastore (?The Shepherd King?) (Lieberman, par. 2). The movement is set in the conventional sonata form with orchestral ritornellos alternating with the exposition, development, and recapitulation of the primary themes by the violin. The soloist gives a second exposition and the coda does not come until after an extended solo cadenza."
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Mozart's Operas, 2002.
Discusses the history and significance of four of Mozart's most famous operas.
1,150 words (approx. 4.6 pages), 4 sources, £ 30.95
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Abstract
This essay discusses four of Mozart's operas: Le nozze di Figaro (1786), Cosi fan tutte (1790) and The Magic Flute (1791). It describes each of the operas in detail with some historical context, before outlining their significance. The introduction provides some material on Mozart's background and comments on his operatic style as a whole.
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Mozart and da Ponte, 2002.
A discussion of the collaboration of the composer Wolfgang Amadeus Mozart with librettist Lorenzo da Ponte.
1,421 words (approx. 5.7 pages), 3 sources, MLA, £ 32.95
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Abstract
This paper provides a brief biography of the lives of the composer composer Wolfgang Amadeus Mozart and the librettist Lorenzo da Ponte. It examines how da Ponte composed for Mozart the librettos of the operas "The Marriage of Figaro", "Don Giovanni" and "Cosi Fan Tutte? and analyzes how most of their work has the reoccurring theme of class conflict. It looks at how in ?Don Giovanni,? there is clearly a delineation of social classes whereas ?The Marriage of Figaro? portrays aristocracy as a decadent, lustful, useless class.
From the Paper
"Their next collaboration was ?Don Giovanni,? which appeared in 1787, and followed by Cosi fan tutte, in 1790. It premiered at the National Theater in Prague. Based on the legends of Don Juan, it is set in mid-17th century Seville and uses the folklore surrounding Don Juan to create a story full of social conflict. According to Critic Ernest Newman, Don Giovanni, ?crystallized into a working formula for opera purposes -- the hero-villain and his rascally buffoon of a servant; a dignified victim of Don Juan's sensuality, her aristocratic lover; a lady of somewhat lower social rank, who had been previously seduced and deserted by Juan; a group of peasants with a bride and bridegroom; and, of course, a murdered father , who reappears as the avenging instrument of heaven in the form of a statue in the final scene" (Quoted in Ardoin)."
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Wolfgang Amadeus Mozart, 2005.
A brief examination of the life and works of composer Wolfgang Amadeus Mozart.
1,212 words (approx. 4.8 pages), 3 sources, MLA, £ 28.95
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Abstract
This paper looks at the short but brilliant life of the famous composer, Mozart. It discusses how his family upbringing impacted his talent and looks at some of his many musical achievements. The writer concludes by examining the impact of Mozart's music today.
From the Paper
"Mozart composed every sort of work presented in his day: symphonies, operas, chamber music, minuets, sacred music. Despite that, and the lasting value, Mozart was given only a cheap funeral when he died, and was buried in an unmarked pauper's grave; his body has never been located (Krantz, undated). But his contributions to music are gargantuan, and still vibrant. Today, his work is also regarded as a catalyst to intellectual pursuits, with albums of his works issued specifically to be played to enhance brain function; a quick tour of any large music store will probably reveal 'brain enhancing' collections of Mozart. But his major contribution to music itself is this: Mozart was, by many, considered to be "the central pivotal point in the music of Europe," a man who created "the bridge...between the old world of music and the modern world of music" (Ardoin, 1989)."
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Mozart's "Magic Flute", 2005.
This paper analyzes "The Magic Flute" by Mozart, highlighting the importance of the story's premise.
1,125 words (approx. 4.5 pages), 5 sources, £ 30.95
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Abstract
The paper evaluates the significance of one of Mozart's most stunning operatic pieces, "The Magic Flute." The paper illustrates how this opera presents a number of controversial issues regarding the persecution of females and the Medieval code in historical times. The paper explains how this was supported by a hauntingly beautiful score by Mozart which was composed shortly before his death.
From the Paper
"One of the most famous composers of all time, Wolfgang Amadeus Mozart, created one of the most beloved operas that have ever existed with his masterpiece "The Magic Flute." This work of art has increased in popularity over the past two centuries and for opera lovers the world over, there is much significance and symbolism present in this work. It is evident that "The Magic Flute" signifies different meanings to different people, although the basic premise of the work rings true, regardless of the meanings that are interpreted. The story itself is very complex to understand, yet it provides a magnificent glimpse into the genius of Mozart. The following discussion will evaluate "The Magic Flute" in greater detail, emphasizing the importance of the story's premise and the accompanying music as a means of promoting the story's themes and beauty."
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Mozart, 2005.
A look at the life and works of composer Wolfgang Amadeus Mozart.
1,101 words (approx. 4.4 pages), 5 sources, MLA, £ 26.95
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Abstract
The paper discusses Mozart's life, his compositions, and his importance to the world and the world of music. It explains how Mozart's music is still some of the most popular classical music played today, and his life is still studied because his music is so well-known and liked.
From the Paper
"Most experts, musicians, and biographers agree that Wolfgang Amadeus Mozart was a true genius. He was born in 1756, his father taught him to play the harpsichord, organ, and violin at a very young age, and he was composing his first music before he was five. When he was six, his father sent him on a musical tour of European cities with his older sister. He was extremely prolific in music at a very young age. This article notes, "His progress as a composer was amazing; by the age of 13 he had written concertos, sonatas, symphonies, a German operetta, Bastien und Bastienne, and an Italian opera buffa, La finta semplice" ("Mozart, Wolfgang Amadeus"). This is one of the things that has added to his fame and popularity, and has made him such a legend. He was a great composer, and began at a very young age."
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Wolfgang Amadeus Mozart, 2006.
A review of the life and accomplishments of Wolfgang Amadeus Mozart.
1,125 words (approx. 4.5 pages), 5 sources, £ 30.95
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Abstract
This paper considers the life and works of Wolfgang Amadeus Mozart and how they fit with his era, showing the nature of the time in which he lived and how he affected music in that period. The paper notes how Mozart was always dependent on the largesse of patrons meaning political and social leaders of the era who funded artists and musicians and who often demanded certain types of art or music from their artists and composers.
From the Paper
"Wolfgang Amadeus Mozart left behind a large body of work in spite of his death at a relatively young age. He stands with Bach and Beethoven as one of the giants of music, in his case from the Classical era in the eighteenth century, an era marking a change from the earlier Baroque era and leading later to the beginning of the Romantic era. Mozart's work demonstrates many of the intellectual forces of his time and also shows the political influences on music and on the artist in that era. Mozart was always dependent on the largesse of patrons, meaning political and social leaders of the era who funded artists and musicians and who often demanded certain types of art or music from their artists and composers."
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Mozart and Schumann, 2002.
A review of two classical music pieces, Mozart's Symphony no. 39 in E-flat and Schumann's Quartet in A-minor, op 41, no1.
633 words (approx. 2.5 pages), 2 sources, APA, £ 15.95
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Abstract
This paper is in two sections. The first part examines Mozart's Symphony no. 39 in E-flat and the second, Schumann's Quartet in A-minor, op 41, no 1. It discusses how Mozart's music was reflective of his life and his friendships and interwoven in this symphony are chords that resonate harmony and plays on the dynamics of sound to create a musical piece that slowly marches into a series of discords. In contrast it shows how Robert Schumann's music has often been identified with his love of poetry, painting and indicative of his personal moods and how many of his compositions mention characters or refer to scenes from poems, novels and plays.
From the Paper
"E-flat was a one of his favorite keys. As in the rites of the opera, three solemn knocks on the portal of truth are evoked in the commanding chords upon which the Adagio introduction opens the symphony. Certain musical details of this exalted work have been viewed as Masonic elements: parallel thirds, symbolizing fraternity; the striking role of the clarinet, then a newcomer to the symphonic ensemble but commonly heard at Masonic gatherings and in the opera house; and even slurred notes, whose ties suggest friendship."
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Wolfgang Mozart, 2002.
A biography of the life and the theories behind the death of the composer Wolfgang Mozart.
2,136 words (approx. 8.5 pages), 12 sources, MLA, £ 45.95
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Abstract
This examines the life, works and death of the famous music composer Wolfgang Mozart, who died in 1791 at the age of thirty five. It concentrates on the theories that have been put together regarding what may have killed the composer. He was one of the most prolific and talented composers in history and his fame at such a young age touched the chord of envy in many. It discusses how modern science has been trying to determine the exact cause of death but it will probably never be resolved and how other theories include a cheating wife, a jealous peer and plain old bad pork.
From the Paper
"Today rheumatic fever is rare but in the composer?s life it was a common ailment(Sleuth, 2000). He died during a historically noted epidemic of the illness around Europe and scientist believe this is what killed the music genius. Because it is known that Mozart had the disease several times as a child it does not surprise the advocates of this theory that scientists have opened the possibility of the disease damaging his heart and then later in his life being the cause of his death. This theory sounds plausible based on the rash and the fever for rheumatic fever and the swollen limbs which point to a commonly known byproduct of heart failure."
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