Transcript leonskaja mozart mozart

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LEONSKAJA MOZART
MOZART
Piano Concerto No.9 in E major “Jeunehomme”
AUSTRALIAN CHAMBER
ORCHESTRA
One of the world’s most lauded
chamber ensembles, the
Australian Chamber Orchestra
is renowned for its inspired
programming and unrivalled
virtuosity, energy and
individuality.
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ACO IN
ACTION
Its unique programming
extends across six centuries,
spanning popular masterworks,
adventurous cross-artform
projects and pieces specially
commissioned for the
ensemble.
Outstanding Australian
violinist Richard Tognetti has
been at the helm of the ACO
since 1989.
ABOUT MOZART
Wolfgang Amadeus Mozart (b.1756, d. 1791)
was an Austrian born composer whose life’s
work had a profound effect on the
development of composition and style in the
classical era.
Mozart began his performance career at the
age of 6, demonstrating an extraordinary level
of skill and inventiveness on the keyboard.
His talent for composition was soon brought
to light and his father exploited his talents
through extravagant tours abroad all through
Mozart’s childhood. His ability to compose
across all musical genres and forms has made
Mozart one of the most important composers
in the history of Western Art Music.
Piano Concerto No.9 in Eb
major (k271)
Known as the “Jeunehomme”, this work is
said to have been composed for a
talented soloist who inspired the work by
the name of Victoire Jenamy
MOVEMENTS
Binary
Ternary
Rondo
Mozart kept this piece in his personal
repertoire for some time as a show piece
and it was the first of his concertos to be
printed and published in Paris in approx.
1780.
The work has a three movement structure
although this was the first time Mozart
used a minor key in the contrasting 2nd
movement. As is often the case, he has
surprised the listener with and earlier
than expected entry in the opening
movement from the soloist as well as the
inclusion of a slow paced Menuetto in the
middle of the final Rondo movement.
AURAL/
MUSICOLOGY
Each sequence of Lessons
provided by the ACO will
focus on developing key
skills: PERFORMANCE,
COMPOSITION and
AURAL/MUSICOLOGY
This sequence of lessons
will focus on
MUSICOLOGY by
ANNOTATION
THE CLASSICAL CONCERTO
Musical Form
Finer Details: This refers
to the smallest division
of musical material
including- phrases
(musical sentances);
subject/ motif (musical
idea), bars.
This refers to the
overarching structure of
a work or movement.
Examples of musical
forms included
Binary (A-B) Ternary (AB-A) Rondo (A-B-A-C-A)
These & Variation ;
Sonata form
(expositiondevelopmentrecapitulation)
Sections: Sections within a whole
piece help to divide up an entire
work. Sections can be labelled in a
number of ways includingmovements; according to
characteristic/ style (Minuet & Trio,
Andante, Adagio, Presto, etc.)
According to musical function (Tutti;
solo; episode, cadenza, coda, etc.)
STRUCUTRE
• Structure is one of the Concepts of
Music.
• It is an important organisational
element of composition and enables
a composer to bring form, balance
and overall shape to their musical
creations.
• Structure was a primary focus during
the classical era when so many of the
musical forms in Western tradition
were established and cemented by
great composers such as Mozart,
Beethoven, Haydn (just to mention a
few).
• There are several layers of structure
to examine in musical pieces from
broad overarching structures right
down to fine details of bars and
musical ideas
STRUCTURE OUTLINE OF THE CLASSICAL
CONCERTO
1st Movement
(fast)
2nd Movement
(slow)
• In Sonata Form with a double exposition (first time played by orchestra, second time the soloist is added).
• 2 musical subjects.
• Bridge section leading into the development section. This is where the two subjects presented earlier are explored
and developed by the composer. Much interplay occurs between the soloist and the orchestra in this section.
• Recapitulation where the original subjects are revisited to bring the movement to an end.
• A cadenza is played by the soloist towards the end of the movement. This is an opportunity for the soloist to display
their virtuosic skill through intricate and complicated solo (ending in a trill) before the orchestra re-enters for the
final coda.
• This is a contrasting movement that is often more contemplative/lyrical given the slower tempo.
• A contrasting key (relative major/minor) is often used for this movement.
• Generally a more straightforward structure than the involved sonata form of the first movement.
Structure is often ternary, theme & variation or even a simplified sonata form without a
development section.
• This is usually the fastest movement of the work often with a tempo
marking of Presto, Vivace, etc.
rd
3 Movement • Rondo form is a typical structure for the final movement (A-B-A-C-A)
(fast)
CHARACTERISTICS
OTHER IMPORTANT CHARACTERISTICS
OF CLASSICAL PERIOD MUSIC:
Homophonic texture is more prevalent.
Balanced phrases are very important.
Question and Answer phrasing used
creating and between soloist and
ensemble or sections within the
orchestra.
Greater use of gradual changes in
dynamics (crescendos and diminuendos).
OTHER SITES TO FIND MORE IN DEPTH
INFORMATION ABOUT THE CLASSICAL
CONCERTO AND THE MOZART
CONCERTO FEATURED IN THIS CONCERT:
Classical Concerto
Mozart Piano Concert No.9
WORDS TO HELP WITH TERMINOLOGY
FOR AURAL OR ANALYSIS TASKS
BRIDGE
VIRTUOSIC
RECAPITULATION
CODA
ANDANTE
RITORNELLO EXPOSITION
EPISODE
ADAGIO
MOTIF
TUTTI
DEVELOPMENT
SUBJECT
INTRICATE
MINUET & TRIO
INTERPLAY
TERNARY
BINARY
PHRASE
PRESTO
RONDO
SECTION
CADENZA
SONATA FORM
SCORE READING/ANNOTATION
ACTIVITY:
Reading through and annotating a
score is an excellent way to gain a
more in-depth understanding of what
is happening in a piece of music. It is
also and clear visual map of
compositional devices and musical
techniques being used by the
composer.
We are going to focus on the
exposition in the first movement of
Mozart’s Piano Concerto No. 9. Using
the Structure Outline and General
Characteristics list above, we are
going to examine parts of the score
more closely to see where and how
Mozart used these in his first
movement.
To help with some details here are the
opening bars of subject 1 (fig.1) and
subject 2 (fig.2) in the first movement
–
Figure 1: b1 Vln 1
Figure 2: b26 Pno
SCORE READING/ ANNOTATION
ACTIVITY:
Using 2 different coloured highlighters, identify and highlight where these ideas are used throughout
the score excerpt.
HINT – They may occur in different parts, in different keys but same contour and rhythm.
Discuss how Mozart uses the subjects in various ways in the score excerpt.
SUBJECT 1: This is known as a split subject because it begins in the orchestra and then the Piano
interrupts to continue with the musical idea. This is evident right from the beginning of the movement
– b1-6, and occurs TWO more times in the excerpt.
Identify where this opening idea reoccurs with the split subject. Annotate it on your excerpt.
SUBJECT 2: This musical idea sounds initially more lyrical than the first subject and is presented for the
first time by the soloist (Piano) at b26.
Identify where this idea is played for the second time AND note on the score how it differs from the
first playing.
DOUBLE EXPOSITION: This movement has a double exposition. Usually the orchestra plays the first and
then the soloist plays the second. In this case, Mozart has chosen to go against this convention. The
second exposition begin at b63.
Compare both expositions (1 – b1-62; 2 – b63-140) and identify 3 things that remain the same and 3
things that differ between the two. Notate these on the score excerpt.
GENERAL CHARACTERISITICS: This excerpt has each of the characteristics of Classical Music identified
previously.
SCORE READING/
ANNOTATION ACTIVITY:
Find and notate on the score excerpt an
example of each in the list
•
Homophonic texture is move prevalent
•
Balanced phrases are very important
•
Question and Answer phrasing used
creating and between soloist and
ensemble or sections within the orchestra
•
Greater use of gradual changes in
dynamics (crescendos and diminuendos)
Continue to work through the score of the
whole movement and annotate details
relating to the Concerto structure AND the
concepts of music. This would be a great
study resource for you to keep.
AT THE CONCERT
When you go to the concert, use the knowledge and skills we
have explored and consider the following questions:
The interplay between the soloist and the orchestra is a major
feature of the Mozart concerto. Listen and watch carefully to
how this is presented in the live performance. Can you find this
technique in the other pieces in the program presented?
Each ensemble for the three works in this program differs in
instrumentation. How does this affect the overall experience
for the concerto goer (YOU)? Did you like the ensemble sound
of one work more than the others? Explain your answer.
TEACHER’S NOTES
Teacher's Notes for reference to the Draft Australian Curriculum: The Arts and
NSW Stage 6 Music 1 & Music 2 Syllabus.
General LIT – Reading the score, writing about the Concepts of Music
Capabilities (CoM).
NUM – Identifying and discussing meter and rhythm.
ICT – Utilising internet resources.
CCT – Critically discussing the set work/s.
PSC – Sharing personal responses to set work/s.
EU – Working collaboratively with peers in group discussions.
ICU – Discussing cultural issues surrounding the set work/s.
Cross-Curriculum Links & English, Humanities and Social Sciences, Mathematics,
Priorities History, Language
Viewpoints 2 – Extend discussions into the links between the repetitive
nature of these works and that of cultural music of Asian
regions (eg; Balinese, Chinese).
TEACHER’S NOTES
NSW Stage 6 Syllabus Links –
MUSIC 1 Music of the 20th & 21st
Topic Links Centuries
Music for Small Ensembles
Music and the Related Arts
(Hermann & Stravinsky)
MUSIC 1 P – 4,5,6,7,8,10,11
Outcome Links H – 4,5,6,7,8,10,11
MUSIC 2 Music 1900 – 1945
Topic Links Music 1945-25 Years Ago
Music of the Last 25 Years
(Although the Tüür work is not
Australian)
MUSIC 2 P – 4,5,6,7,8,10,11
Outcome Links H – 4,5,6,7,8,10,11
OPPORTUNITIES FOR YOUNG
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