Inspirational_Dev

10/31/2020 HUM-200 - Page 1.4.3 - Hearing Mozart

https://www.webtexts.com/courses/39511-sanderovsky/traditional_book/chapters/4391571-module-one-introduction-to-the-humanities/pages/3861324 1/8

00:00.0 -02:42

Applied Humanities

Learning to Hear Hearing Mozart By Alisha Nypaver 1 Module One: Introduction to the Humanities / Page 1.4.3 Hearing Mozart On this page: 0 of 6 attempted (0%) | 0 of 2 correct (0%) Objective: Apply the musical-analysis techniques outlined in this learning block to an aria by Wolfgang Amadeus Mozart.

To practice the basic strategies for analyzing musical works, we’re going to study another example.

Practice Analyzing a Musical Work

On this page, you will analyze a musical work using the listening strategies outlined in this learning block. Be sure to download the detailed description of the music—it might help you with your analysis.

On this page, we will apply our musical-analysis techniques to another piece sung by a soprano—“Der Hölle Rache” from Mozart’s 1791 opera Die Zauberflöte (The Magic Flute).

Mozart: “Der Hölle Rache”

“Der Hölle Rache kocht in meinem Herzen” from the opera The Magic Flute by Wolfgang Amadeus Mozart. Performed by the RFCM Symphony Orchestra. For a detailed description of the music and the original lyrics, follow the transcript link below.

Read Text Transcript

Having trouble? Try our alternate player.

10/31/2020 HUM-200 - Page 1.4.3 - Hearing Mozart

https://www.webtexts.com/courses/39511-sanderovsky/traditional_book/chapters/4391571-module-one-introduction-to-the-humanities/pages/3861324 2/8

First Listen: Impressions

What emotion do you think the composer is trying to convey? Does the piece have a climax? If so, where? How many sections are there? Looking at the translation in the text version, do you think that the music fits the lyrics?

Multiple-Choice Question

How many distinct sections do you hear in this piece?

one two three five

Second Listen: Contextualization

Compositional Context

Wolfgang Amadeus Mozart (1756–1791) was one of the most important composers of the Classical era. He is best remembered as a child prodigy whose extraordinary skill in musical performance, composition, and sight-reading were apparent at a very young age.

Die Zauberflöte (The Magic Flute) was the last opera Mozart ever wrote. The project was a collaboration between Mozart and his friend Emanuel Schikaneder, an impresario who owned a popular Viennese theater company. Schikaneder was the librettist for this opera, which means that he wrote and edited the lyrics that Mozart set to music. The source material was a compilation of existing plays, fairy tales, and folklore.

The opera was designed as a singspiel, a German-language comedic opera including musical numbers interspersed with spoken dialogue. “Der Hölle Rache” (“Hell’s Vengeance”) is one of this opera’s most famous arias. An aria is a dramatic opera song sung by a soloist that highlights a particular character’s emotional state. This aria is sung by the Queen of the Night, a vengeful woman who is trying to force her daughter,

10/31/2020 HUM-200 - Page 1.4.3 - Hearing Mozart

https://www.webtexts.com/courses/39511-sanderovsky/traditional_book/chapters/4391571-module-one-introduction-to-the-humanities/pages/3861324 3/8

Pamina, to stab Sarastro, the Queen’s rival. Pamina does not want to kill Sarastro, but the Queen threatens to disown her if she does not comply.

“Der Hölle Rache” is one of the most recognizable arias from The Magic Flute. Unlike Schubert’s lieder, which were designed to be accessible enough for a moderately trained singer to perform, this aria is very challenging, requiring a high degree of technical skill. When performed by the right singer, it has the power to dazzle and amaze audiences.

Cultural Context

The opera premiered in September of 1791 at Schikaneder’s theater with Mozart conducting. The role of the Queen of the Night was first performed by Mozart’s sister- in-law, Josepha Hofer. Hofer was a talented soprano who could sing rapid, agile notes in a high vocal range. Mozart wrote “Der Hölle Rache” specifically to showcase Hofer’s unique talents.

Despite the talented performers, the opera was not an instant success. At the premiere, the audience was a little confused by the variety of musical styles used throughout the opera, which ranged from powerfully dramatic numbers (like “Der Hölle Rache”) to folk-like tunes and moments of slapstick comedy. They were also baffled by the plot, which can be a bit difficult to follow. However, the fantastic music, combined with Schikaneder’s elaborate production, made for a memorable performance that continued to draw crowds. In a little over a year, Schikaneder had given over 100 performances of the opera, although, sadly, Mozart was no longer alive to see it. He died in December of 1791 at the age of 35.

Mozart lived during the formative years of the Enlightenment, a philosophical movement influenced by thinkers such as Voltaire, Jean-Jacques Rousseau, and John Locke. Many of the ideals of the Enlightenment, including the assertion that people were born with natural rights (such as the right to liberty), provided an impetus for the American and French Revolutions. Many Enlightenment themes are reflected in The Magic Flute, including individual freedom, courage, trust in logic and reason, and perseverance in the face of adversity.

Another cultural influence on Mozart’s music was the Freemason movement. Freemasonry is a fraternal institution that promoted many of the same ideals as the Enlightenment thinkers. Mozart joined the organization in 1784, and it had a significant impact on his personal life. This influence can be heard in his music, especially in this opera. In particular, the number three is an important Masonic symbol that appears throughout the opera’s plot and in the music. For instance, the very beginning of the

10/31/2020 HUM-200 - Page 1.4.3 - Hearing Mozart

https://www.webtexts.com/courses/39511-sanderovsky/traditional_book/chapters/4391571-module-one-introduction-to-the-humanities/pages/3861324 4/8

opera opens with three chords, and much of the opera is in the key of E-flat major, which has three flats.

Historical Context

In general, Mozart’s operas were quite popular during his time, and his music had a profound influence on many subsequent composers, especially Germans and Austrians. Beethoven spoke very highly of Die Zauberflöte, even going so far as to call it Mozart’s “greatest work”; this sentiment was echoed by composer Richard Wagner, who described the opera as “the most perfect masterwork of its kind.”

The main themes of The Magic Flute include love, hate, loyalty, and courage in the face of despair—themes that continue to resonate with audiences today. This opera is a masterful and fanciful interpretation of these themes wrapped up in an entertaining story. Its appeal to modern audiences lies in the fact that it can be enjoyed and appreciated on many levels. In one sense, it is a fairy tale, complete with dragons, a damsel in distress, and a handsome prince; however, the story also functions on other levels as a psychological drama that doubles as a social commentary with a dash of political satire and mystic spirituality. Today, it remains one of the most frequently performed operas in the world, and spectacular performances of “Der Hölle Rache” continue to astonish and thrill audiences. In fact, a recording of this aria was selected for inclusion on the Golden Record of the Voyager spacecraft.

The following is an excerpt of the first minute of the piece. As you listen again, think about how thrilling it must have been for the Viennese public to hear Josepha Hofer hit those high notes as you try to find ways that Mozart incorporates the use of the number three in this aria.

10/31/2020 HUM-200 - Page 1.4.3 - Hearing Mozart

https://www.webtexts.com/courses/39511-sanderovsky/traditional_book/chapters/4391571-module-one-introduction-to-the-humanities/pages/3861324 5/8

00:00.0 -01:19

Mozart: “Der Hölle Rache”

A selection from “Der Hölle Rache kocht in meinem Herzen” from the opera The Magic Flute by Wolfgang Amadeus Mozart. Performed by the RFCM Symphony Orchestra. For

a detailed description of the music and the original lyrics, follow the transcript link below.

Read Text Transcript

Having trouble? Try our alternate player.

Multiple-Choice Question

According to the essay, The Magic Flute remains appealing because it can be enjoyed on many different levels. Why is this?

As an opera, it includes both vocal and symphonic elements. Although its action appeals to those who dislike operas, it also explores themes that opera experts can appreciate. It simultaneously functions as a fairy tale, a psychological drama, a social commentary, and political satire. It is typically performed in purpose-built theaters with multiple seating levels.

Third Listen: Analysis

As we analyze this piece, we will focus once again on the six musical elements discussed in the preceding pages.

Timbre

This aria is sung by a soprano, the highest female voice type. She is accompanied by a Classical-era orchestra, which includes string, woodwind, and brass instruments, as well as timpani (large kettle drums). Using a full orchestra allows for a wide variety of

10/31/2020 HUM-200 - Page 1.4.3 - Hearing Mozart

https://www.webtexts.com/courses/39511-sanderovsky/traditional_book/chapters/4391571-module-one-introduction-to-the-humanities/pages/3861324 6/8

timbres to be used throughout the song. Notice how different sections use different combinations of instruments.

Response Board Use three adjectives to describe the singer’s voice.

No response saved yet.

Texture

This piece has a much thicker texture than Schubert’s lieder, but there are still basically two main layers: melody and harmony. The voice has the melody and the orchestra has the harmony. Sometimes, especially between vocal phrases, the orchestra has a more melodic role.

Short-Answer Question

Where can you hear this melodic role most prominently?

No response saved yet.

The texture of this aria moves from thick to thin. At the beginning, the texture is at its thickest, including timpani, woodwinds, brass, and strings that combine for a dramatic opening. When the singer goes up to the highest notes on the word “nimmermehr,” the texture thins out as she is accompanied by only the high woodwinds and violins. There are even moments when the orchestra drops out completely.

Pitch

One of the most notable things about this aria is that it requires a singer to have a high vocal range. Many of the most dramatic moments of the aria are sung using high pitches, and one of the most challenging passages requires the soprano to sing a pitch that is six notes higher than the average soprano’s comfortable vocal range.

Notice the interaction between the orchestra and the singer. There is a fair amount of call-and-response between these layers, especially at the ends of vocal phrases. For example, listen to the moment at 2:07 when the Queen sings “Wenn nicht durch dich Sarastro wird erblassen”—each phrase is echoed in the orchestra.

Share your thoughts with your peers...

10/31/2020 HUM-200 - Page 1.4.3 - Hearing Mozart

https://www.webtexts.com/courses/39511-sanderovsky/traditional_book/chapters/4391571-module-one-introduction-to-the-humanities/pages/3861324 7/8

Another tool Mozart uses for dramatic effect is called melisma, which occurs when a singer holds out one syllable of a lyric (such as the syllable “mehr”) over several different pitches. Check out a few contemporary examples of melisma.

Short-Answer Question

In which part of the aria do you hear the longest melisma?

No response saved yet.

Mozart also creates drama by having the singer repeat the same word in increasingly higher pitches. For example, when the Queen demands that her daughter listen to her proclamation, she exclaims the word “hear” (hört) three times, each time on a higher pitch.

Overall, the aria is in the minor mode, reflecting the evil nature of the Queen and the horrible promise of disownment with which she threatens her daughter.

Rhythm

For the most part, this piece has a steady, driving rhythm that helps to show the Queen’s fury. There are several moments when the rhythmic momentum breaks, such as at the end of the song when the Queen demands that her daughter attend to the oath she swears to the gods of vengeance (“Rachegötter! Hört der Mutter Schwur!”).

Dynamics

The overall dynamic level of this aria is loud, or forte. Notice how the music seems quieter when the texture thins out.

Form

There are three parts to this aria: two main sections and a closing section. In the first section, the Queen tells her daughter what she wants her to do, and then threatens her with the promise that if she fails, she will be disowned (“so bist du meine Tochter nimmermehr”). In the second section, the Queen reinforces that threat (“Disowned! Forsaken!”). This section has a different melody and uses even more minor chords than the first. In the closing section, the Queen turns her threats into a sworn oath to

10/31/2020 HUM-200 - Page 1.4.3 - Hearing Mozart

https://www.webtexts.com/courses/39511-sanderovsky/traditional_book/chapters/4391571-module-one-introduction-to-the-humanities/pages/3861324 8/8

00:00.0 -00:53

the gods of vengeance. Notice how the music becomes increasingly dramatic in each section as the Queen’s anger rises.

The following selection is from 1:34 to 2:27 of the audio. Listen to the piece a third time, focusing on hearing these different musical elements. You may have to listen a few times to hear them all.

Mozart: “Der Hölle Rache”

A selection from “Der Hölle Rache kocht in meinem Herzen” from the opera The Magic Flute by Wolfgang Amadeus Mozart. Performed by the RFCM Symphony Orchestra. For

a detailed description of the music and the original lyrics, follow the transcript link below.

Read Text Transcript

Having trouble? Try our alternate player.

Response Board Now that you know the background of this piece, is it easier to hear the emotions Mozart wants you to hear?

No response saved yet.

close

Share your thoughts with your peers...