Mozart's Legacy

In Mozart’s life, he created over 600 works. From preludes and fugues to operas and symphonies, Mozart wrote them all. Specifically though, Mozart changed the game when it comes to developing the piano concerto, the symphony, and the opera. 

Concertos are pieces for a single instrument or instruments that are accompanied by an orchestra. In the 17^th century, concertos were defined as sacred works for voices and orchestra. With this definition, we can kind of imagine what Mozart was thinking when he wrote his concertos. They were something to glorify and highlight. To show all the great things about the instrument, or instruments. In his life, Mozart wrote 27 concertos. Four of them written at the age of 11, during a time when Johann Christian Bach was a great influence to him. Keep in mind that instruments during the baroque period were quite different to the instrument we have today. Mozart most acclaimed concertos, being his piano concertos, were meant to be played on a fortepiano, rather than a pianoforte. The sound would be more muted and not sounding so open. Mozart wrote clarinet concertos and during this time, the clarinet was a newly developed instrument and had yet to show off anything. When we think of clarinets today, they are not as the most pretentious instrument in an orchestra. Nevertheless, Mozart’s concertos are, still to this day, amazing and pieces of greatness. 

Perhaps the best examples of Mozart’s symphonic genius can be attributed to his last three symphonies. These being Mozart Symphonies No. 39, No. 40 and No. 41 which were composed in the year of 1788, three years before his death. Although some may attribute these as his farewell, they are not as Mozart had no idea that in 1791 he would be dead. In fact if he had “lived longer, he would have probably written more symphonies” (Gay 115). What Mozart could have brought to the musical table will be forever unknown but one might assume it would have been extraordinary, bring back the significance of his last three symphonic works. And his final symphony, “Jupiter", had a particular significance with “the repetitions, the cross-references, the themes and their modulations our joys of rare purity; the last movement of the “Jupiter” Symphony concludes with a complicated figure that combines five subjects into a stunning climax” (Gay 117). This fantastic work of art is in no comparison to what was perviously a symphony's purpose — to open a concert rather than be the highlight of a concert. Also, Mozart used multiple musical figures rather than a single melody. Listen to below to hear this particular piece. 

Mozart Symphony No. 41 

However, the ending itself is reflected in works of Haydn, who Mozart knew and was in fact friends with. According to Tom Service, a music writer for the Guardian, “the very same four-note idea used as the basis of a contrapuntal work-out of a symphonic finale” that of Joseph Haydn 1764 13th Symphony. Furthermore, he goes to say the final movement, the “Molto Allegro fuses sonata form with fugue; that’s to say, it fuses the high-watermark of late 18th century practice in instrumental music with the most prestigious, and most compositionally involved, form of counterpoint in earlier music: the fugues of the Baroque, like those by Bach and Handel, that Mozart knew and loved” (Service). Even though many idea in the piece are influenced by pervious composers, what is amazing is the ability to create such masterful musical pieces and make them his own. 

For reference is Haydn 13th below.

In the world of the opera, Mozart had a profound impact. All things considered – he did pass at the age of thirty-five, much sooner than his predecessors who often lived beyond their seventieth year – the magnitude of Mozart’s influence upon the operatic scene is comparable to men like Gluck, Wagner, and Verdi. Mozart’s operas were able to obtain a greater degree of dramatic expression and a stronger human quality than Gluck’s, thus setting the bar for future operas much higher. Prior to Mozart, the majority of operas were centered around themes of “antiquity and mythology, or to the early Christian era.” But Mozart wrote without the restriction of plot or remoteness of character fixed to those themes, and thus his operas featured a warm-hearted, laughter-loving artistic quality that his predecessors lacked. Mozart’s Die Zauberflöte is both tonally simple yet thematically complex. The characters feel like legitimate humans and the theme is often light-hearted and playful. All of Mozart’s operas are rich with amusing incidents amid tragic denouements and jovial yet sinister characters. “In fact it may be said that, in the evolution of opera, Mozart was the first to impart to it a strong human interest with humour playing about it like sunlight". Again, it is necessary to recall that Mozart progressed the opera at least as much as the previous operatic revolutionaries, in less than half the time.

It was Mozart’s great and innate genius that enabled him to develop so intensely so many different forms of musical expression. His revolutionary advances raised the standard for future musical endeavors in all aspects.

Sources

ArtyClassical. "Mozart - Symphony No. 41 in C Major, "Jupiter" - IV. Molto Allegro (Bohm)." YouTube. YouTube, 21 Nov. 2010. Web. 20 Nov. 2016

ComposersbyNumbers. "F.J. Haydn - Hob I:13 - Symphony No. 13 in D Major (Hogwood)." YouTube. YouTube, 11 May 2014. Web. 20 Nov. 2016.

Forye. "Mozart: Concerto for Piano and Orchestra (d-minor) K.466." YouTube. YouTube, 11 Nov. 2012. Web. 20 Nov. 2016.

Gay, Peter. Mozart. New York: Lipper/ Penguin, 2006. 

Merriam-Webster. Merriam-Webster, n.d. Web. 20 Nov. 2016.

Muzikay. "Mozart: Fortepiano Concerto No. 20 in D Minor, K466. Schoonderwoerd, Ensemble Cristofori." YouTube. YouTube, 21 Mar. 2015. Web. 20 Nov. 2016.

Pérez, Antonio Prieto. "Wolfgang Amadeus Mozart "Die Zauberflöte"" YouTube. YouTube, 21 Feb. 2015. Web. 20 Nov. 2016.

Service, Tom. "Symphony Guide: Mozart's 41st ('Jupiter')." The Guardian. Guardian News and Media, 27 May 2014. Web. 20 Nov. 2016.

"Wolfgang Amadeus Mozart and His Operas." Wolfgang Amadeus Mozart and His Operas. Music With Ease, 2016. Web. 20 Nov. 2016.

Credits

Jonna

• Proofreading 
• Build Blog 

Chase

• Bibliography 
• symphony (why/how complex—compare to previous definition of symphony)

Kailee

• concerto (compare to previous definition of concerto/types of instruments)
• intro

Darek

• opera (compare to previous definitions of opera/historical examples)
• conclusion

Patronage Pays

Patronage in the Mid to late 1700s 

During W.A. Mozart’s time, patronage was the most common form of income for musician. The basic idea being that a musician worked—as servants— for commission and produced songs which met the standards of their bosses. Unlike many composers of his time, Mozart had much more freedom and popularity which made him, as he would feel, above a servant. Not as many during that musical period had the advantage. Haydn at age “29 he went to work for Prince Paul Esterhazy, who died and was succeeded in 1762 by his brother Nikolaus, a passionate music lover. 

Below is a painting  of Haydn by Thomas Hardy.  

Below is a painting of Haydn conducting a string quartet. 

Haydn spent nearly 30 years presiding over the musical activities at the prince’s palace 30 miles outside Vienna, as well as at the summer residence over the border in Hungary” (Tommasini). Often, however, the workload could be immense. Though perfect for Haydn, the time consumption and demands of he tenure could be outrageous. A steady job was perhaps the only benefit of such a workload but “nevertheless, the heavy workload of nearly 3 decades was taking it's toll, especially after the death of princess Maria Elizabeth Nikolaus”(Stapert). He did have the ability for much creativity, whereas others may not have had. That is to say, music lovers, such as Nikolaus, allowed for his compositions to be more bold and impressive. Because of the workload and often times restrictions placed upon composers, those who could survive without patronage did. This being shown as Haydn's "feeling of a insulation was growing stronger. He express[es] that feeling with uncommon openness in letters to Maria Anna Von Genzinger, …[where] so much of the year, opportunities to visit the Genzinger home we're limited…and [he] complain[s] about his unremitting work schedule”(Stapert) Thus, Vienna, where Mozart later lived a worked, became hot spot for musical creativity. By the 1820s, patronage faded away in to the past and musician were no longer servants as they once were. Now they were free to be freelance artists and becoming much more of what we think of musicians and composers as today.

Patronage in Modern Times

When you think of the word “Patronage,” you usually think of an organization that provides support for the arts in the form of money. What patronage is, “the support of encouragement, privilege, or financial aid that an organization or individual bestows to another.” Meaning, patronage can come in any form that is some kind of support for whoever they are sponsoring. Patronage back in the days of Mozart has changed. This essay will highlight these differences to bring into light the obstacles that Mozart had. 

The word “patronage” is not really used commonly now days. Most people know the word, but it is hardly ever used in modern conversations. “Sponsorship,” is what can be called the disguise of patronage. Sponsorship is similar, but just more of a common term for it. Sponsors are “a people or organizations that provide funds for a project or activity carried out by another, in particular, or a person who introduces and supports a proposal for legislation.” Sponsorships do not only apply to money, but can also be items. In terms of music and musical groups, sponsors will donate the instruments and sorts in exchange for advertisement. Sponsors now days are just looking for a way to bring more income in, so the authentic feeling of supporting whatever cause is not there. The arts and sports for example. Sponsors will look for the most promising individual or group and will put in money to help them, but those individuals or groups will have to at one point in any public event, mention their sponsors.

In Mozart’s time, patronage was often the primary fuel for professional artists. There simply was, it was believed, not enough money to be made as a freelancer. Certainly, this seemed the most true for sculptors and painters and playwrights, but for musicians as well, whose work was commonly used strictly as background entertainment for parties and gatherings, patronage was perceived with good reason to be the only way for artists and their families to survive. This contrasts with the position of contemporary artists, who are almost entirely freelancers. A handful may commonly deal with museums, making the museums modern patrons, but most deal their art directly with consumers. This is entirely true for musicians. Because live shows are so much more entertaining and bring in significantly greater profits than recorded tracks, musicians often travel to perform for large audiences across the world, as opposed to being “insulated” with an exclusive, “unremitting work schedule.”

However, as a result of musicians being unlikely to settle down while actively performing music, patrons have turned to sponsors. Where patrons were restrictive in where their subjects could perform, sponsors often don’t assume any freedoms from those they sponsor. Patrons were usually wealthy aristocrats, dukes, and princes, whereas sponsors are often businesses and corporations. The shift has gone from individual benefactors who offer their patronage to support the advancement of the arts to large businesses whose contributions are strategically aimed to broaden their brand recognition and encourage future profit. The transition from patronage to sponsorship has reformed the art industries, but it has brought with it a profit-oriented mindset akin to the rise of individualism and capitalism.

Sources

Gay, Peter. Mozart. New York: Lipper/Viking Book, 1999.

Hardy, Thomas. Portrait of Joseph Haydn. 1791. Royal College of Music, London.

Anonymous. Joseph Haydn Playing Quartets. Pre 1790. Vienna Museum, Austria.

Stapert, Calvin. Playing before the Lord: The Life and Work of Joseph Haydn. Grand Rapids, MI: William B. Eerdmans, 2014.

Tommasini, Anthony. "The Big 4 Of Vienna: One Faces Elimination." The New York Times. The New York Times, 10 Jan. 2011. Web. 12 Nov. 2016.

Credits

Jonna

• Proofreading 
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Chase

• Bibliography
• Then 

Kailee

• Now
• Intro

Darek

• Compare and Contrast 
• Conclusion 

TheBomb.com

What is the "Bomb" in Trinidad Traditions?

The “Bomb,” was a steel pan competition that was very popular during the 1950s to 1960s. The competition has now diminished and there are some resources that describe the “bomb” as a classification of steel pan genre. In chapter five of Shannon Dudley’s book, Carnival Music in Trinidad, he explains “[the] Bomb grew out of musical rivalries in which steelbands attempted to outdo one another with performances of foreign songs set in calypso rhythm” (pg 78). Steelbands would play a lot of Latin music, but later they began to adapt classical music. There were some controversies regarding adapting classical music to calypso music during this time. Calypso music tends to be in duple meter, but there were some pieces that were in triple meter and steelbands would transpose those triple meter pieces into duple meter to get that calypso feel. Some thought that this action was ridiculing the original composer or there were comments that this was not “Trinidadian” and that it did not fit the cultural aspect of Carnival. The tradition of the Bomb integrating classical foreign music with calypso shaped steelband repertoire and how people viewed Panorama and other steelband competitions that formed in the 1960's. 

https://www.youtube.com/watch?v=Ss26Y2J_WI0

 In this example, the performer performs Beethoven’s “Fur Elsie,” but changes the rhythm to a more Calypso rhythm.

       The “bomb” origins are reflected the performance of the steel drums during carnival. Fierce competition led to the excellence of the players and acceleration of steel pans as a national instrument for Trinidad and Tobago rather than just an outlet for national music. The bomb — which allowed for the more competitive players to show off their skills — created a safe outlet for Trinidadians to compete. Time consuming as it is, “bomb” players have to secretly practice to create a “WOW” factor for the audience. Pieces must be recognizable, which is of course an important feature not to be forgotten, because it is basis for the fierce competition. If a song is not recognizable, it has less of an impact for the listener. In the beginning, classical pieces allowed for the audiences to be amazed at what may be called the complexity of these “bomb” works.  In its heyday, the “bomb” would take these pieces so they could be danced to instead of the European way where a performance was in large sitting only venues.

In an essay by Shannon Dudley entitled “Creativity and Politics in the Steelband Music of Ray Holman, 1959 — 1972”, he quotes Ray Holman on the important role of danceability. Holman states that  "There was a great respect for classical music. So if a band play that in the road, it used to sound nice. You know this tune, and you could dance to it; because in the Queens Hall you can't dance to it. So the same nice tune, the same nice melody and chords, you're getting it that you could dance. And Trinidadians love to dance. So it was more appreciated.” American jazz tunes could be included in this too not just of the classical variety. Songs like Nat “King” Cole’s “Unforgettable” are even played. Here below is an example.

https://www.youtube.com/watch?v=Ryke7paQqmA

The “bomb” allowed for musical competitiveness to become a huge part of Trinidad’s Carnival season. Players could and still do use the historic need to fight for what is theirs. From the long fight for independence to the stiff competition is ‘bomb’ performances, the spirit of Trinidadians is reflected in each pieces rendition of a tune. 

The fierceness of the Bomb inspired a competition rife with cunning and surprise. The transformations of classical music into the calypso style for the road in attempts to upstage the next band on Carnival Monday grew out of musical rivalries between steelbands. Much like those rivalries that fueled warriors like Fisheye, a character from Earl Lovelace’s The Dragon Can’t Dance, these competitions were incendiary and there were many opportunities for sabotage and combat between nemeses. To prevent this and therefore evoke greater awe and surprise on the road, bands would rehearse in secret. Fisheye was always looking for a fight, and was only in a band because it sated his appetite for combat. He desired to feel like a warrior, a gladiator, a champion against an enemy band. In a similar way, steelbands would work to drop the greatest bomb and would only rehearse privately and competitively to feel as the superior band the moment their bomb was better than their rival’s. The sparring of a steelband battle is like the dropping of a bomb on Monday. Philo, too, would write down his thoughts for his calypsos in order to gain the upper hand when he performed. If he could inspire greater awe and surprise than his competitors than he would feel superior, as if he had just dropped a bomb himself.

Credits

Jonna

• Proofreading 
• Build Blog 

Chase

• Bibliography
• What does it mean? Why do we care?

Kailee

• What is it? History?

Darek

• Tie To the novel
• What would the characters think/feel about “The Bomb”

Sources

Dudley, Shannon. Carnival Music in Trinidad: Experiencing Music, Expressing Culture. New  York: Oxford UP, 2004.

Dudley, Shannon. "Creativity and Politics in the Steelband Music of Ray Holman, 1959 —  1972." Ed. Phillip P. Scher. Trinidad Carnival: The Cultural Politics of a Transnational  Festival. Ed. Garth L. Green. Bloomington: Indiana UP, 2007. 161-77.

Lovelace, Earl. The Dragon Can't Dance: A Novel. New York: Persea, 1998.

Noel4729. "Island Rhythms Steel Drum & Calypso Band. Performing Beethoven's Fur Elise."  YouTube. YouTube, 26 June 2014. Web. 06 Nov. 2016.

Panoridim. "Unforgettable [Bomb Style Steelpan Cover]." YouTube. YouTube, 24 Jan. 2009.  Web. 06 Nov. 2016.