99 1

99 1

i

99 1

ii

iii

Abstract

The main theme of this research is about vocal music works of

Wolfgang Amadeus Mozart . To bet ter understand his masterpieces ,

this paper wil l focus on his whole l i fe , the characteris t ics and

differences among his ar t songs, rel igious songs and operat ic ar ias

as well as reci tal music to explore their composi t ional background,

his torical context , t ranslat ion of lyr ics , specif ic character at t r ibutes ,

repertoire analysis and individual performance interpretat ions .

There are s ix chapters in this paper. Chapter One introduces

including study motivat ion, goal , approach and scope. Chapter Two

is about the l i fe of Wolfgang Amadeus Mozart , such as his

chi ldhood, family educat ion, learning process, music progress , his

enl ightenment, music achievements and his vocal music works.

Chapter Three discusses the analysis of ar t songs including two

songs of Ridente la Calma K.152 and Anchle K.524. Chapter Four

is about the analysis of the re l igious song of Motet te K.165 -- -

Exsultate , jubi late . Chapter Five is about the analysis of operat ic

ar ias including the opera of Le Nozze di Figaro K.492 -- - Porgi amor

qualche r is toro; the opera of Die Zauberflte K.620 --- Der Hlle

Rache kocht in meinem Herzen. Chapter Six is the conclusion.

Keyword: Mozart Opera aria Lied Motet te

iv

- - ---------------------------------------------------------------- i

- - ---------------------------------------------------------------- i i

Abstract -------------------------------------------------------------- i i i

- - ---------------------------------------------------------------- iv

- - ------------------------------------------------------------- vi

- - ------------------------------------------------------------- vi i

- - ------------------------------------- 1

- - ---------------------------------------------- 1

- - ---------------------------------------------- 2

- - ----------------------------- 3

- - ---------------------------------------- 3

- - ------------------------------------- 8

- - --------------------------------- 14

- - ------------------------------- 15

- - --------------------------------------------- 15

- - --------------------------------------------- 15

- - ------------------------------- 16

- - --------------------------------- 21

- - --------------------------------------------- 21

- - --------------------------------------------- 21

- - ------------------------------- 22

v

- - ----------------------- 28

- - --------------------------------------------- 28

- - --------------------------------------------- 29

- - ------------------------------- 31

- - --------------------------------- 45

- - ---------------------- 45

- - --------------------------------------------- 46

- - --------------------------------------------- 47

- - --------------------------------------------- 48

- - --------------------------------------------- 49

- - ------------------------------- 49

- - --------------------------------- 54

- - --------------------------------------------- 54

- - --------------------------------------------- 56

- - --------------------------------------------- 57

- - --------------------------------------------- 58

- - ------------------------------- 59

- - ----------------------------------------------------- 66

- - ---------------------------------------------------------- 69

- - --------------------------------------------- 69

- - --------------------------------------------- 72

- - --------------------------------------------- 73

- - --------------------------------------------- 73

vi

1 - - -------------------------------------- 17

2 -------------------------------------- 20

3 - - ----------------------------------------- 24

4 - - -------------- 32

5 - - ----------------- 33

6 - - -------------- 35

7 - - -------------- 36

8 - - ------------------------ 51

9 - - ------------------------- 61

vii

1 mm. 1-10 ----------------------------------- 18

2 mm. 11-15 ---------------------------------- 19

3 mm. 27-32 ---------------------------------- 19

4 mm. 33-38 ---------------------------------- 20

5 mm. 5-14 -------------------------------------- 25

6 mm. 15-19 ------------------------------------ 26

7 mm. 39-47 ------------------------------------ 26

8 mm. 59-69 ------------------------------------ 27

9 mm. 53-68 --------- 37

10 mm. 116-118 ----- 38

11 mm. 123 ---------- 38

12 mm. 3-5 ---------------- 39

13 mm. 41-52 ------- 40

14 mm. 105-106 ---- 41

15 mm. 51-63 ------- 41

16 mm. 99-119 ------ 42

17 mm. 134-140 ------- 43

18 mm. 141-154 ---- 43

19 mm. 15-23 --------------------- 52

20 mm. 32-38 --------------------- 53

21 mm. 39-47 --------------------- 54

22 mm. 1-8 --------------------- 62

viii

23 mm. 9-18 -------------------- 63

24 mm. 24-34 ------------------ 63

25 mm. 35-46 ------------------ 64

26 mm. 65-79 ------------------ 65

1

(W. A. Mozart , 1756~1791)

18

2

DVD CD

3

(Wolfgang Amadeus Mozart

) 1756 1 27

(Salzburg)

20 49 42

(Christoph Will ibald von Gluck, 1714~1787)

(Richard Wagne,r 1813~1883) (Giuseppe Verdi, 1813~1901)

(Michael Haydn, 1737~1806) (Ludwig van Beethoven,

1770~1827)

(Requiem )

1

1 4 (

90 ) 7

4

(Maria Anna Mozart, 1751~1829)

(Leopold Mozart , 1719~1787)

(Violin schule) 2

1763

2 (Peggy Woodford) (The

i l lus t ra ted l ives of the grea t composers : Mozar t ) ( 84 ) 3

5

3

(Johann Christian Bach, 1735~1782)

4

(Bologna)

(G. B. Martini , 1706~1784)

14

(Archduke Ferdinand)

(Archbishop Hieronymus, Count of Colloredo,

1732~1812)

3 ( 70 ) 258 4 14

6

1775

5

1777 9

(Mnchen) (Augsburg)

(Mannheim)

5

1778 (Paria)

4

6

1780

5 (Aloysia Weber, 1761~1839)

(Fr ido l in Weber) 1780 10 (A. Lange1751~1831)

6 4 a C F A

7

(Idomeneo,R di Creta, K. 366)

7

8

1782 (Vienna)

(Constanze Weber, 1762~1842)

(Die Entfhrung aus dem Serail K.384)

( Antonio Salieri , 1750~1825)9

(Joseph Haydn 1732~1809)

6

7 (Nober t El ias) (Mozar t : Zur

Sozio logie e ines Genies) ( 94 ) 132 8 ( 94 ) 253 9

8

1785 (Lerenzo da Ponte, 1749~1838)

(Le Nozze

di Figaro, K. 492)

1787 (Prague)

(Don Giovanni, K. 527) 1788

(Christoph Will ibald vonl Glusk, 1714~1787)

1 0

1791 (Die

Zauberfl te , K. 620)

(Requiem, K. 626) 1 1

1791 12 5

1 0 30

1 1 (Franz Xaver S ssmayr 1766~1803)

9

16

(Aria)

(Freemasonry)

9

(Pietro Metastasio, 1698~1782)1 2 18

(Recitativo)

60 (Scena

)1 3

(Non so

donde viene, K. 294) 1778

3 12

1 2 1147 1 3 / (

89 ) 488

10

(Un moto di gioia mi sento, K. 572)

(Ich mchte wonl der Kaiser sein, K. 539)

(Lide)

(Ridente la Calma, K.152) 1 4 (D. Jger,

1762~1802) (Dans un bois soli taire, K. 308)

(A. Houdart de la Motte, 1672~1731)

(Das Veilchen, K. 476) (J. W. von Goethe,

1749~1832) (Anchle, K. 524) (J.

G. Jacobi 1740~1814) (Sehnsusht nach dem Frhlinge,

k. 596) (C. A. Overbeck, 1755~1821)

(Sti le antico) 1 5

60 (Oratorio)

(Cantata)

15 17 (Sonata da

chiesa) (Kyrie) (Gloria)

(Credo) (Offertorium) (Motette)

(Sanctus) (Agnus Dei)

1 4 1 5 / I I (

89 ) 426

11

(vesperae) (l i tanis)1 6

1781

17811783

D (Kyrie, K.341) C (Messe c-Moll ,

K. 427) 1787

1791

(Ave Verum Corpus, K. 618)

(Requiem d-Moll , K. 626)

1785 1791

1 7

18

1 8

1 9

1 6 (

2 4

1 7 / I I 427

1 8 244 (Niccol Picc inni , 1728~1800)

1 9 ( 75 )

12

(opera buffa) 2 0

1767

1780 12 (Neapolitan

school) 1781

8 (Der Schauspieldirektor,

K. 486) (Komdie mit Musik in einem

Akt)

(Opera seria)

1781 (Idomeneo re di Creta, K. 366)

1791 (La Clemenza di Tito, K.,621)

(Opera buffa)

1786 (Le Nozze di Figaro, K .492)

1787 (Don Giovanni, K. 527)

1790 (Cosi Fan Tutte, K. 588)

(Singspiel)

1782 (Die Entfhrung aus dem Serail , K.

384)

1791 (Die Zauberflte, K.6 20)

18

67-68

2 0 ( 95 ) 12

13

14

2 1 (Bel

Canto)

Rondolfo Cellet t i

a:(hedonism)

b:

c:

d:

e:(castrato)

(travesti)

f:

2 1

(Lied) ( )

15

22

1772 1775 1799 3 25

(Breitkopg & Hrtel)

( )

(D. Jger,

1762~1812) 2 3

Ridente la calma

nell alma si desti ,

ne resti un segno di sdegno e t imor.

Tu vieni frattanto a str inger mio bene,

le dolce catene si grate al mio cor.

2 2 Rodolfo Cel le t t i , A His tory o f Be l Canto , t rans . Freder ick Ful ler

(Oxford : Clarendon Press , 1991) 9 . 2 3 / I I 504

16

Ridente la calma

nell alma si desti ,

ne resti un segno di sdegno e t imor24 .

( )

(Canzonetta)

(Rounded Contious Binary Form)3/8

(Larghetto) A(a+b)+B+A(a+b)A F

B C A

I

A (126 ) F 17

(ne resti un segno

di sdegno e t imor) 22 (Crescendo)

25 1 26

(di sdegno e t imor)

V(V4 2I6 4)vii6 4I6(23 24 )

A F

2 4 / I I 504

Ridente la ca lma

17

V C I B (2940 ) 29 33

(Tu vieni frattanto

a str inger mio bene) 35 41 V

V 36 40

(si grate al mio cor) B

C I 42 A

(Aria da capo)

(Formal Structure) 1

1

1

F

A

a 2-6

7-8

b 9-26

27-28

B 29-40 C

A

a 41-46

F

47-48

b 49-66

67-69

18

( )

A

B A

1 3

2 (

)

1 2 1 2

3 Ri-den-te la cal-ma Ri-den-te Ri den

16 32

4 5 nell al-ma si-de-ati

nell al-ma si-de-ati si

5 6 4 5 1

1 mm. 1-10

19

e i ri-den-te

ri den te sdegno sde

o a 2

2 mm. 11-15

27 29 30 41 C

Tu vieni frattanto a str inger mio bene, le dolce catene si

grate al mio cor.

3

34 le dol-ce ca-te-ne

4

3 mm. 27-32

20

4 mm. 33-38

3 27 29 42

67 1 1

(Long appoggiature)

21 1 (G A) 33 1 (D C) 40 3

(E D)

2

2

6 2 26 42 66

35

6 14 16 40 54 56

7 32

8 26 66

21

1787 9 (Anchle, K. 524)

6 24

(Abendempfindung, K. 523) (Das Veilchen, K. 476)

(Johann Georg Jacobi,

1740~1814) 2 5

Wenn die Lieb aus deinen blauen,

hellen, offnen Augen sieht,

und fr Lust, hinein zu schauen,

mir s im Herzen klopft und glht,

und ich halte dich und ksse

deine Rosenwangen warm,

Liebes Mdchen, und ich schliee

2 5 / I I (

89 ) 504

22

zi t ternd dich in meinen Arm!

Mdchen, Mdchen, und ich drcke

dich an meinen Busen fest ,

der im letzten Augenblicke,

s terbend nur dich von sich l t ;

den berauschten Blick umschattet

eine dstre Wolke mir,

und ich si tze dann ermattet ,

aber selig neben dir.

2 6

( )

(Rondo Form) A+B+A +C+A

(1 5 ) A (6 16 ) E B (16 28 )

B A (28 40 ) E C (40 47

2 6 94 4 16 19:00

23

) A f A (47 70 ) E

2/2

(Allegro)

A (7 16 )

V I B (17

28 ) 16 A B

B 4 A 21

A (29 40 ) 28

( B I E V ) E

35 36 30 31 A

A 4 (37 40 )

( sterbend nur dich von sich l t)

C (41 47 ) A

42 f

( den berauschten Blick umschattet)

44 2 ( f IV

B i i )

( eine dstre

Wolke mir) (Word

painting) 47 f IV7 E V7

A A (48 70 ) A

( und ich sitze

dann ermattet , aber selig neben dir)

59

24

(71 74 )

3

3

1-5

E A 6-16

B 17-28

A 29-40

C 41-47 f

A 48-70 E

71-74

( )

13

4

1

6

A 8 blau-en

blau en 9

25

he-len he

len 11 sient 13

schau-en 14 im

15 klopft

k l p f t

5

5 mm. 5-14

17 18 4 5 6

19

6

26

6 mm. 15-19

41 43 45 47

C 7

7 mm. 39-47

62 64 a-ber se-l ig ne-ben dir

64 66

8

27

8 mm. 59-69

27

2 7 12

28

(Motette Exsultate, jubilate

K. 165)

(Sinfonia) 2 8

1770

(Mitridate, rdi Ponto, K. 187)

2 8 / I I (

89 ) 464

29

(V.

Rauzzini , 1746~1810)

1773 1 17

(Tiazino)

2 9

Exsultate, Jubilate,

o vos animae beatae,

Exsultate, Jubilate,

dulcia cantica cantica canendo,

cantui vestro respondendo,

psallant aethera, psallant aethera cum me.

2 9 8 (

86 ) 117

30

Fulget amica dies,

jam fugere et nubile et procellae;

exortus est justis , in exspectata quies.

Undique obscura regnabat nox,

surgite tandem laeti ,

qui t imuistis ad huc,

et jucundi aurorae fortunatae

frondes dextera plena et l i l ia date.

Tu virginum corona,

-

tu nobis pacem dona

tu consolare affectus,

31

unde suspirat cor.

Alleluja

30( )

( )

1 .

(Concerto-Sonata Form) F 4/4 (Allegro)

(1 20 )

F (1 4

) (11 14 )

(21 70 )

21

(21 35 ) F (1 4 ) (21

24 ) (11 14 )

(48 55 )

( cantui vestro respondendo, psallant

aethera cum me) (66 59 ) (60

64 )

3 0 Michael Wu

32

(65 70 ) C

( )

(71 124 )

(71 83 )

(84

85 ) B (86 119

) 98 104

105

108 48

53 123

(124 129 )

F 4

4

120

F

a 2135

b 3647

4865

C 6670

a 7175

7685 F

b 8694

95107 B

33

108129 F

2 .

D 4/4

5

5

A 112 D

3 .

A 3/4

(Larghetto con espress ione)

(23 26 ) (40 44 )

(113 115 ) F

(1 22 )

A

1 6 89 93 7 12

53 59 107 113

34

(23 66 )

(23 39 ) A (23 32 )

- (Tu virginum corona, tu

nobis pacem dona) (33 39 ) (23 32 )

(40 52 )

( tu consolare affectus, unde

suspirat cor) (42 43 )

V I

(45 49 ) 49 A I E IV

50 E (50 52 )

(Overlapping) (52 59 ) (7 12 )

(60 115 )

(60 79 ) E 67

(E I A V ) A 73

(80 106 )

(88 106 )

(107 115 ) A (107

112 ) (7 12 ) 114

(A a I F iii )

6

35

6

122

A 2339

4049

5052 E

5359

6079 A

80106

107115 A

4.

F 2/4

(Allegro non troppo)

Alleluja

(1 8 ) F

A (9 25 ) 9 B

(26 59 ) 33

A (60 85 ) 60

C (95 118 ) A (119 154 )

36

119

( 155 159 ) I

7

7

18

F

A 925

B 2659

A 6085

8694

C 95118

A 119154

155159

( )

1.

5556

e ( 56 ) 16

37

61 2

65

16

9

9 mm. 53-68

38

t r ( )

10

123 Cadenza 11

10 mm. 116-118

11 mm. 23

2.

ex-or-tus est ( 3 4 ) e-xor-tu-sest

12

39

12 mm. 3-5

3.

45 52

46 49

13

40

13 mm. 41-52

105 Cadenzan

14

41

14 mm. 105-106

4.

Alleluja(

) A B A

15 16

15 mm. 51-63

42

16 mm. 99-119

Coda 135

136 137 138

17 Alleluja(

147 154 ) 15

146

43

C 18

17 mm. 134-140

18 mm. 141-154

(G. F. Handel

1685~1759) (J. S. Bach

1685~1750 ) 3 1

3 1 ( )

( 97 5 ) 3

44

45

(Duet)

(Baroque)

3 2

3 3

20 35

(Le Nozze di Figaro, K. 492)

(

)

3 2 (Haro ld C. Schonberg) 1

(The Lives of the Grea t Composers ) ( 82 ) 62

3 3 35

46

18 (opera buffa)

1785

(Lorenzo da Ponte, 1749~1838)

(Pierre- Augustin Caron de Beaumarchais , 1732~1799)

1786 5 1

(Burg)

1787 1

1789 ( )

47

(Il Barbiere di Sivigl ia

(G. Paisi l lo, 1740~1816)

)

(Conte Almaviva )

(Rossina )

3 4

(Figaro )

(Susanna )

(Bartolo )

(Marcell ina )

(Cherubino )

3 4 200 4( 76 ) 181

Ius pr imae noct is

48

( )

49

3 5

( )

Porgi amor qualche r is toro

(Cavatina)

3 6

Porgi amor qualche ristoro

al mio duolo, amiei sospir!

O mi rendi i l mio tesoro,

o mi lascia almen morir.

o mi lascia almen morir.

37

( )

3 5 ( 92 ) 258 3 6 2 ( 88 )

13 3 7

50

A-B (Simply Contious Binary

Form) E 2/4 (Larghetto)

( 1 17 ) , 1 (f)

2 (p) (Staccato)

3 6

A

(Tril l)

A

(18 25 ) E 22 23 24 25

(al mio duolo,

amiei sospir)A V 25 2

( E V B I ) B

B (26 27 ) B (28 45 )

B 35

36 32 34 (o mi

lascia almen morir)

A ( 36 1 ) (morir)

I7 36 1

( B I E V )

E 37

(Porgi amor qualche ristoro)

A A

44

45 48

(o mi lascia almen morir)

51

(50 51 ) 16 17

E I

8

8

1 17 E

A 18 25

26 27 B

B

a 28 36

b 37 45

E 46 49

50 51

( )

17 1 2

18 19 (Porgi

amor) 21 22 (qualche

ristoro) 23 (al mio duolo) 24

25 (amiei sospir)

19

52

19 mm. 15-23

32 36 (o mi lascia almen morir)

35

36 A

36 20

53

20 mm. 32-38

40 43 o mi lascia almen morir 41 la-scia

la F G

42 G

E G E

21

54

21 mm. 39-47

A

(Die Zauberflte, K. 620)

1791 9 30

55

(Auf der Wieden) 1970

(Johann Joseph Schikaneder,

1751~1812)

(

)

(Singspiel )

56

(Jonann Baptist Schenk, 1753~1836)

( -4

200p.240)

(Tamino )

(Knigin der Nacht )

(Papageno )

(Pamina )

(Sarastro )

(Monostatos )

57

(Papagena )

3 8

( )

3 9

( )

Der Hlle

3 8 61-68 3 9 178

58

Rache kocht in meinem Herzen

Der Hlle Rache kocht in meinem Herzen;

Tod und Verzweiflung flammen um mich her!

Fhlt nicht durch dich Sarastro Todesschmerzen,

So bist du meine Tochter nimmermehr,

Verstoen sei auf ewig,

verlassen sei auf ewig,

zertrmmert sein auf ewig

al le Bande der Natur,

Verstoen, verlassen und zertrmmert

59

al le Bande der Natur,

wenn nicht durch dich Sarastro wird erblassen!

Hrt! hrt! hrt! Rachegtter!

Hrt! der Mutter Schwur!

40

( )

A-B (Sectional Binary Form)

d 4/4 (Allegro assai)

A (3 47 ) d (1 2 )

(sf)

5 10

(Tod und

Verzweiflung flammen um mich her) 5

(Tod)

4 0 h t tp : / / tw.knowledge.yahoo.com/quest ion /ques t ion?qid=1405122010877

60

10 d v

11 F (12 16 )

(Fhlt nicht durch dich Sarastro Todesschmerzen) 25

47

47 B (48 52 ) F

I V

52 B

B (53 87 ) F

F

(53 58 ) (Verstoen sei auf

ewig) (verlassen sei auf ewig) (zertrmmert

sein auf ewig) (62 64 ) (Verstoen)

(verlassen) (und zertrmmert)

(59 61 ) (65 67 )

(al le

Bande der Natur) (69 73 )

(74 79 ) 3

vi i i 79 3

(F vi d i ) d 80

(86 87 )

61

87

(88 99 ) d

(Hrt! hrt! hrt! Rachegtter!)

93

96

V I

97

16

9

9

A 1-10 d

11-47

F 48-52

B 53-79

80-87 d

88-99

( )

(Allegro assai)

Der Hlle Rache kocht

in meinen Herzen um mich her!

62

224 1 13

15 23

22 mm. 1-8

4 1 Emanuel Schikaneder, and Car l Ludwic Giesecke , The Magic Flu te ,

vers ion by Ruth and Thomas Mar t in(New York: G. Secured , Inc ,1951) ,99-102

63

23 mm. 9-18

24 31 24 35 42 25

24 mm. 24-34

64

25 mm. 35-46

68 78

26

65

26 mm. 64-78

F D

6 4

6 9

7 4

66

17

( )

( )

( )

67

( )

( )

( )

( )

( )

( )

( )

68

( )

( ) tr.

(Samuel Smiles)

69

( )

4

90

2

88

8 88

83

200 4 92

200 4 76

( )

97 5

( (Vaccaj) )

90

95

88

82

100 7

70

93

92

84

90

73

94

76

89

89

94

90

83

( )

(Elias, Norbert) (Mozart : Zur

Soziologie eines Genies) 94

(Woodford, Peggy) (The

Il lustrated Lives of the Great Composers: Mozart )

89

(Miller, Hugh M., Taylor, Paul & Will iams,

Edgar)

88

(Kerst , F. , Krehbiel , H. ) (Mozart:

the man and the art ist) 84

(Salaman, Esther) (Unlocking

71

Your Voice Freedom to Sing)

84

(Hines, Jerome) (Great Singers on Great

Singing) 85

(Parouty, Michel)

83

7

86

8

86

/ II

89

(Schonberg, Harold C.) 1

(The Lives of the Great Composers)

82

(McLean, Ian ) (Great Composers-Mozart)

81

75

(Willaschek, W.) 50 (Klassiler Opera)

93

(Gay, Peter) (Mozart)

95

( )

72

95 12 )

( )

60

82 3

60 82 3

( )

94 4 16 19:00

Anderson, Emily. The Letters of Mozart and His Family , New York:

London, W. W. Norton & Company, 1990.

Cellett i , Rodolfo A History of Bel Canto , t rans. Fuller, Frederick.

Oxford: Clarendon Press, 1991.

Einstein, Alfred. Mozart: His character His Work . t rans. Arthur

Mendel and Nathan Broder. London: Cassell , 1959.

Eisen, Cliff . The New Grove Mozart , London: Macmillan Publicher

Limited, 2002.

Gossett , Phil ip. The New Grove: Masters of I talian Opera . Hong Kong:

Norton, 1983.

Schikaneder, Emanuel and Giesecke, Carl Ludwic. The Magic Flute ,

version by Ruth and Thomas Martin. NY: G. Secured, Inc,1951.

Schikaneder, Emanuel, Giesecke, Carl Ludwic. The Magic Flute ,

version by Ruth and Martin, Thomas. New York: G. Secured, Inc,

1951

73

Zaslaw, Neal. The Compleat Mozart: A Guide to the Musical Works of

Wolgang Amadeus Mozart . London: W. W. Norton & Company,

1990.

Bartoli , Cecil l ia. Italian Songs: Canzoni. London, 1993.

Batt le, Kathleen. Kathleen Battle at Carnegie Hall . Hamburg , 1992.

Berger, Ema. Berger. Membran Music,2005.

Gheorghiu, Angela. Angela Gheorghiu l ive from Covent Garden. EMI,

Jo, Sumi. La Promessa. Erato Disques, 1998.

Kiri Te Kanawa. Legend: Kiri Te Kanawa Popular Arias. EMI, 1990.

Mozart , W. A.. Die Entfhrung aus dem Serail; Exsultate, Jubilate

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