Objectives : 2, 5, 6
- Identify some of the contrasts and repetitions in the Overture to The Magic Flute, by W.A. Mozart
- Name and discuss possible reasons for musical choices Mozart made
- Listen to the Overture, Patting the rhythm of the main theme while following a listening chart
Materials
- Tape: The Magic Flute: Overture (00:37-07:15)
- Copies of Master #2
Procedures:
- Discuss and list what you know about orchestral overtures.
- List functions of an operatic overture.
- Listen to the Overture to The Magic Flute. Listen to a story.
- Watch the Overture and pay attention to musical choices the composer made in two general areas: contrasts and repetitions.
- Discuss contrasts and repetitions.
- Why does the Overture start off slowly?
- Follow the Listening Chart, a visual representation of the form and the main themes of the Overture. Pat the rhythms of the Allegro theme.
Synopsis
Take an imaginary trip back to that time and place. Imagine yourself in the year, 1791. You live in Vienna, a great city in Austria.
now, imagine also that you are critically ill and very, very poor. You earn your living as a teacher and composer, but do not manage your money well at all. Then, you meet a childhood friend who happens to be in charge of a theater near Vienna. this theater is one that specializes in operas that are big crowd-pleasing spectacles (live animals on stage, funny situations, amazing stage effects, and so on.)
The fans of this theater at the edge of the city are definitely different from the more highly-cultured and dignified patrons of the opera in the center of elegant Vienna, where you are used to having your operas performed; however, when your friend commissions you to write an opera for this theater you gladly accept. You need the money!
There is on important drawback, however. while you are happy to agree to compose a light, comic operatic extravaganza, you happen to be Wolfgang Amadeus Mozart! So, at this stage of your life, you also have some serious messages to get across to the audience - things you feel strongly about - messages about responsibility and courage in the face of serious trouble.
You and your friend talk over these concerns and decide that the new opera can have qualities of both comic entertainment and profound philosophy - making it part-fable, part-fairy tale. You collaborate together to write it. The result is an unheard-of blend of simple folk-like tunes, fantastic arias, exalted choruses, silly situations, profound solos, improbable adventures, tender romance and slap-stick clowning - all in just one opera, improbably set in ancient Egypt. You, of course, love the whole idea, since you adore doing things that have never been done before!
Finally, with the opera completed, you have to decide what the overture for such an opera should be like. You consider carefully your musical choices. Then, you decide you had better get at it and get it done, because you're conducting the premiere in just two more days!
Evaluation:
Why are both contrast and repetition important elements in a musical composition?
