Bulletin of the Transilvania University of Brașov Special Issue [621020]

Bulletin of the Transilvania University of Brașov – Special Issue
Series V III: Performing Arts • Vol. 11 (60) No. 2 – 2018

Unity and Diversity in Mozart’s w ork

Elena -Mihaela MANAFU1, Alina -Maria NAUNCEF2

Abstract: A global perspective on his entire composition works imposes the conclusion
that Mozart was a genius in his expression in absolutely all types of music that exis ted in
his lifetime. If other composers only excelled in sacred music, and others stood out in
instrumental music only, and others were very operatic, Mozart has left us outstanding
works in all these domains. The consequence of the fact that he was divine in all three
great chapters of the music of his time is that we find specific elements from each genre in
every other. This highlights the supremacy of Mozart’s genius. He is great, original, but
individual in his own way, in each of the respective genres .

Keywords: music, sonatas, genres, Mozart, style

1. Introduction

For Mozart, historical time and space had a wholly different meaning as for his
contemporaries; he had an all -encompassing vision about the renewals that
had to be brought to the art of so unds, about the unity of stylistic spheres. His
visionary thinking brimmed with romanticism and modernity.
The exemplary order of Mozart’s universe is reflected in the variety of his
work, starting from instrumental music, instrumental concertos, chamber m usic,
up to operas and symphonies. He is the one who accomplishes the structural
intertwining of the three fundamental styles in the world of classical music:
chamber, theatre, sacred style, making us witnesses to their intercommunication
and interrelation . He equally mastered all composition styles and techniques,
being excellent in every one, above all his contemporaries.
His work stands out through diversity, through the effort regarding melodic
invention, the acute classicisation of the sensitive style and the gallant tone, and
especially through the classical romanticisation of the musical form.

1 Transilvania University of Brașov , [anonimizat]

2 Transilvania University of Brașov , [anonimizat]

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1.1. Instrumental music, sacred music and o pera music, seen as a Unity of all
special directions, between Particular and General

Mozart “shares with Bach the p rivilege to sovereignly succeed in all genres he
approaches” (Dictionary of Great Musicians, Encyclopedic Universe, Bucharest,
2006, p. 334).
All three activity domains of Mozart, instrumental, sacred, and theatrical, are
united through constant renewals, as his creation surpasses the conventions of
general styles; the unity of the three directions is achieved by corroborating
harmonics with counterpoint, leading to an intertwining of the composing manner.
Mozart creates tirelessly, consistently and systematically in all three styles.
Mozart’s work is monitored during four periods: 1762 -1764 (the years of
travels through Europe, of intense study of the various music styles), 1775 -1780
(largely in Salzburg, where he composed the first works in order to make a name at
international level), 1781 -1788 (the time spent in Vienna, the most prolific in
compositions), and the period 1789 -1791 (of the most visionary composing
experiments).
Mozart initially includes his classical act of creation within a unitary pattern
of the requirements of the time: installing a balance between contents and form,
between intention and the achievement of expression, a concern for simplification,
logic, and balance.
His third period, extremely prolific from the perspective of creating, reflects
the stimulus of musical and intellectual richness of the Vienna life. Here, Mozart
feels happy and freed; in his soul, the vivid and constant wish to compose is reborn,
due to the numerous concerts which took place, but also to him coming into
contact with the music of J.S. Bach and Händel at the musical gatherings organized
by Van Swieten.3
The period spent in Vienna represents for Mozart a step toward his growing
mature, far from his father Leopold; the latter does not approve of his son
Wolfgang leaving the service of Archbishop Colloredo. From the correspondence
between Leopold and his son starting with May 1781, the situation reveals itself as
extremely tense; offended and unappreciated by Colloredo, Wolfgang moves to the
Webers (on May 2nd 1781) and, despite his father opposing it, decides to stay in

3 The baron Gottfried Van Swieten (1733- 1803), an enthusiast amateur musician, a diplomat and an
official of the Austrian Empire; remained in history as a patron of many composers from the
Classicism. Since 1782, Mozart will frequently visit him to research and perform the manuscripts of
some works of J.S. Bach and Fr. Händel, which Van Swieten had collected during his office time in
Berlin. He is a typical example o f Maecena for that epoc h.

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Vienna. In a letter to Leopold, Mozart motivates his decision: “My honour is more
structure.
The proof of unity in the whole and of impeccable order is revealed in the
manner of approaching the com position for five voices, the string quintet summing
up the greatest possible variety in Classicism in its writing: recitative, dialogue –
monologue, the wonderful leading of the voices, different in timbre and register.
The Mozartian quintet appears through the stylistic classicality of all elements,
reunited in the architecture of the ensemble form of the m onumental cycle of
movements. precious than anything else, and I am convinced it is the same way for
you, too”, calming him regarding his situation in Vienna: “Here I have the most
important acquaintances in the world. I am loved and respected by the most
important families. I am treated with utmost respect and I get paid extra”
(Anderson 1938, 1087) .
Despite the overall impression perpetuated over time regarding Mozart’s so –
called innocence and inability to relate correctly to his contemporaries, Mozart was
permanently connected to the matters of his time. The present stage of Mozartian
research allows us to draw the conclusion that Mozart was much more in volved in
current social, political, and cultural phenomena than has been known until
recently. The letters and correspondence documents talk of a competent and
involved Mozart, a fine judge of interhuman relations in their great complexity.
Mozart was luc ky, ascending to maturity at the same time with change.
“According to the new concept, the new features of the opera of the different
nations could be assimilated within one single opus. A first way of achievement was
to reunite the `serious` Italian music with the French drama level. Another solution
was to transfer the musical techniques from the Italian comic opera, where the
number of styles and structures was increasing, for the sake of a more natural way
of the dramatic presentation, toward the German or French comic opera […] But,
as often as the occasion arose, Mozart used this, leaving to the world not only the
most wonderful Italian operas of the late 18th century, but at the same time, some
might say, the first authentic operatic masterpiece in German” (Robinson 1996) .
In Mozart’s opera works, the relation of literary text and music constituted a
constant concern both at the level of writing, construction, and at that of
performance. Mozart, a good connoisseur of the expressive valences of the mu sic-
word connection, saw the potential of incorporating the text in the design of music.
His passion for reading, for which both Constanze and fragments of his
correspondence with Leopold bear testimony, developed his clear aesthetic criteria
and an acute sense of literary value; it also enhanced his exigence regarding the
librettos of the operas he was composing. We have as a testimony the letter sent

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to his father in May 1783: “I have looked through more than one hundred librettos,
but I hardly found only one I am satisfied with” (Anderson 1938, 1263) .
In Mozart’s opera works, the relation of literary text and music constituted a
constant concern both at the level of writing, construction, and at that of
performance. Mozart, a good connoisseur of the expre ssive valences of the music –
word connection, saw the potential of incorporating the text in the design of music.
His passion for reading, for which both Constanze and fragments of his
correspondence with Leopold bear testimony, developed his clear aestheti c criteria
and an acute sense of literary value; it also enhanced his exigence regarding the
librettos of the operas he was composing. We have as a testimony the letter sent
to his father in May 1783: “I have looked through more than one hundred librettos,
but I hardly found only one I am satisfied with” (Anderson 1938, 1263) .
Regarding instrumental works, Mozart conveys an intense state of mind, he
reflects the interiority of the feeling, of the artistic emotion, which he translates
through dynamic language.
Mozart stresses the thematic principle and tonal stability; he first brings the
thematic balancing to the foreground (in the exposition), its breaking in the “crisis”
of development, and then the reprise and at the same time the remaking of the
balance, in the recapitulation. The themes increase in number, suffer temporary
reversing, polyphonic variation occurs; all reflect the new path – the one of
renewal – regarding the renewed evaluation of the exposition, of the dimensions,
of the main theme subject to graduate, progressive development. Mozart
reintroduces and redefines the form of both fugue and sonata; the fugue now has a
topic taken out of the sphere of sobriety, strongly treated in concerto style, and its
outline stands out through an intensely d eveloping expression.
As to the sonata, it gets to the rank of an independent opera, getting close to
drama; if the solo sonata expresses the experiences and feelings of one person
only, those for two or more instruments must concentrate in only one feeli ng and
experience the sensations felt by all “characters” participating in the eternal re –
creation of the work.
Regarding the instrumental concerto, Mozart brings here the double
thematic exposition for the first time, thus highlighting the importance of d ialogue.
Gradually, the double thematic exposition will also be part of the Mozartian
chamber and symphonic genre, thus testing the stability in outlining the formal
“The symphonic principle and the principles of stage and sacred songs mix
and melt into ea ch other in this high circle -dance of the classical arts. The
personification of the central topics and themes is accomplished in this voyage of
all musical arts, disciplines, domains, and techniques. The osmosis of specific
methods and the intersection of definitory dramaturgies convey the Mozartian

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stylistics its special status, which has never had any equal, the glory of evident
uniqueness. The signs of stylistics certify the beauties of music.
The singspiel, the opera buffa and opera seria, as the sere nade and
divertimento, all become wrapped in the cloak of the sonata, and the symphony,
the piano concerto with orchestra accompaniment or the string quartet conquer
the show hall, the stage of public events, taking on the meanings of the drama of
ideas, w hile the mass concentrates and reinvigorates the shining rays of the great
sacred music tradition. Mozartian stylistics is the loyal witness of all existential
situations” (Berger 1991, 9) .

1.2. Vocalising the Music for Instruments and i nstrumentalising t he Vocal music

From time immemorial it has been known that music was organically related to
the word; this close relationship has the role to enhance expressivity. In his
treaty “The Art of Oratory”, Quintilian strengthens the important role of both
word and sound: “in discourse, the raising, lowering, the inflexions of the voice
also intend to awaken feelings in the audience.
Through a certain bar, to use the term from music, when choosing the words
and modulating the voice, we aim to wreath the ire of t he judges, through another,
their compassion” (Quintilian 1974, 15) . Etymologically, the word “rhetoric” comes
from ancient Greek, and means “to flow”, an expression that is connected
inseparably to the ability of music to be fluent, as this feature leads to influencing
our feelings.
“Like nobody else, Mozart knew how to transform the theory of affects into
an aesthetic of composition and into a poetics of performance, involved in the built
work. The cycle of the sonata or variations is structured like an inseparable, organic
whole, complete in its own self. The ratio between part and whole mirrors the
classicality of the concept, the clarity and firmness of the artistic vision. In its
individuality, the instrumental opus casts a light on the distinct dimens ions of the
aesthetic of form and the aesthetic of expression or feeling” (Berger 1991, 9) .
The supreme concept of Mozart’s stylistics is represented by the dialogue of
the voices, by the parable illustrates in the singing of harmoniously intertwined
voice s. Mozart permanently looks for the necessary and adequate means for
expressing a certain affect: the matching literary discourse, the sound support that
is most adequate for this discourse, the performer and the public he addresses.
Mozart is constantly concerned to adapt his writing to the technical and
expressive possibilities of the performers, as many letters from his correspondence
with Leopold show. Mozart’s operatic genius is revealed through the cantability of
melodies, the ability to convey the m eaning and expressiveness of words and

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phrases; Mozart gives life to characters, dramatic situations and different types of
character, so that these, although they come from time immemorial, seem both
known and close to us. The upperhand of music or word d epends, in Mozart’s
opinion, of what he wishes to express, and is put to the service of the highest goal,
that of convincing, of moving.
Over time, the technical development of instruments and of pedagogic
didactics allows the achievement of that ideal, wh ose supreme model is the human
voice on the instrument with keys and with hit strings, instrument which was
practically unfit for such a physical operation.
The vocalisation of sound is the gateway to shaping the piano player’s
internal, self- critical musical hearing, the will for sound, for cantilena. It refers to
conveying a cantable ability to the piano – an instrument which is unvocal par
excellence because its tuning is tempered – an artificial operation, a compromise
made by musicians at a certain mom ent in history, when the imperious need to
work with modulation appeared.
„By deepening this feature of Mozart’s instrumental melodic style, Richard
Wagner wrote: He, Mozart, breathes into his instruments the nostalgic breath of
the human voice, toward whi ch his genius feels inclined with predilect love. The
unending flow of rich harmonics leads him to the heart of the melody, as if
permanently concerned with transmitting to the voice the inner warmth and
feelings, which is the feature of the natural human voice, the forever refreshed
source of expression of the deepest corners of the human heart” (Cristian 1958,
108) .
Mozart’s opera works could be described through the perfection of writing,
the richness, originality and permanent renewal of inspiration and the acuteness of
an ever awakened sensitivity; Mozart finds in sung theatre the most direct, purest
expression of his dramatic genius.

I.2.1. Vocal Procedures in Mozart’s Instrumental Music

Mozart’s instrumental works abound in different types of accomp anied melody,
which start from the large vocal genres (song, lied, cantata, oratorio, opera).

Unity and Diversity in Mozart ’s work
187

Fig.1. Opera „Zaide”, Nr. 3 Aria Tempo di Menuetto grazioso (ms. 8 -16)

Fig. 2. Sonata for piano and violin K.301, I Theme (ms. 1 -8)

In the examples above we notice the manifest tendency toward the broadest
expansion and expressiveness of the melody. Mozart expresses his ideas and
feelings through broad melodic lines, intensely expressive, run through by the
pathos of the human voice.
Talking about the vocal procedures we come across in instrumental music,
we also must mention the un -tempered intonation, the timbre colour which the
instrument players imagine and transpose in every different characterial motif.
Each slow theme has a solemn character, embodying grave, thinking characters
who express themselves through the abstract language of instruments.

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2. Acknowledgements

Before Mozart, in drama, music had served for feeling and expressivity (in arias and
duets), while the action was owned by recitatives; music remained essentially an
illustration and an expression of the word, only associated with the action in the
most primitive manner.
The upperhand of text over music asserted itself from the very beginning,
while this aspect meant n ot situating the music in a servile position, but rather
imposing a hierarchy when conveying significations: music performs the text, and
the text interprets the action, and the words stay between music and drama in
almost every case.
In Mozart, the connec tion between language and composing style is a
feature, and it is noticed that the rhythm in spoken language influences the musical
rhythm.We cannot discuss the vocal effects in Mozart’s instrumental music without
also watching the phonetic language.
Like linguistics has a branch that studies the production, acoustic structure,
transmission, audition and evolution of the sounds of articulate language, musical
phonetics concerns the articulate musical language (articulation of sounds). Thus,
according to th e linguistic model, we can classify the various forms of articulating
the musical discourse depending on the consonants and vocals in spoken language.
This is a form of verbalising the musical text, which leads to an ever- greater
closeness to the inflexio ns of the human voice.

References

Anderson, Emily. 1938. The Letters of Mozart & his Family . London: Macmillan and
Co., Limited St. Martin`s Street.
Berger, Georg Wilhelm. 1991. Mozart. Culture and Style . Bucharest: Musical
Publishing House of the Assoc iation of Composers and Musicologists in
Romania.
Cristian, Vasile. 1958. Wolfgang Amadeus Mozart. Bucharest: Musical Publishing
House of the Association of Composers and Musicologists in Romania.
***2006. Dictionary of Great Musicians . Bucharest: Encyclo pedic Universe.
Quintilian, Marcus Fabius. 1974. Art of Oratory , vol. 2. Bucharest: Minerva
Publishing House.
Robinson, Michael F. 1996. The Origins of Mozart`s Style. Opera. The Mozart
Compendium. London: Thames and Hudson.