The career of Mozart Wolfgang - Research Paper Example

?The career of Mozart Wolfgang. Explore how his work is informed by, or reliant on, any aspect of media or technology Wolfgang Amadeus Mozart combined a variety of techniques and employed vested skills, which these are important factors that made him emerge as a successful musician. Particular emphasis should be given on the involvement of Mozart in the promotion of orchestration. The ability of Mozart to use various techniques and instruments for adding orchestral effects to his works has helped Mozart to emerge as one of the most successful musician who owns over 600 musical works under his name. In order to understand the value of orchestration for Mozart’s works it should be necessary to refer primarily to the characteristics of orchestration, as a technique used while performing music pieces with different requirements in terms of their performance environment. In its most common form, orchestration can be described as ‘the division of a musical composition among the instruments of an orchestra for artistic effects’ (Zaslaw 439). These effects are not standardized. For certain composers, such as Mozart, emphasis would be given on the sense of unity of the music piece (Zaslaw 439). Other effects, such as the unexpected change on a music piece’s tone, could be also achieved using orchestration. The first concerns for the potential value of orchestration in regard to the performance of music works have appeared in the 18th century (Keefe 2003). During that period, the need for a technique for increasing the tone effects of music works was made clear. Instrumental effects could be used for securing a ‘grand tone, like a Pindaric one’ (Keefe 93) but up to a point. Moreover, it was proved that by engaging a high variety of instruments, an important advantage could be achieved: the uniqueness of a music work, in terms of its instrumental effects, could be secured. At the same time, the extensive use of instruments when performing a music work promoting a new framework: orchestration (Keefe 93). In the works of Mozart orchestration is primarily reflected in the ‘premier coup d’ archet’ (Keefe 93), a technique for showing the potentials of an orchestra in terms of rhythm and balance while performing a particular music work. The contribution of Mozart in the promotion of orchestration is made clear through the following fact: orchestration, as part of performing music works, was known by the late 18th century (Keefe 93). However, in the past, before Mozart, orchestration was related only to ‘wind instruments’ (Zaslaw 439). Mozart introduced orchestration as a technique for increasing the tone effects of a music piece by engaging all instruments of the orchestra, a practice that has been unknown by then (Zaslaw 439). Indeed, it was just in Paris Symphony of Mozart that the potentials of orchestration were full revealed. During the performance of the above work all instruments of the orchestra were employed for achieving unique, up to then, orchestral effects, such as the sense of ‘unity and of coloristic nuance’ (Zaslaw 439) in regard to all parts of a music piece. At this point, the following issue should be explored: which are the factors that influenced Mozart in choosing orchestration as a key technique for presenting his works to the public? In addition, it should be made clear at what level orchestration has been part of Mozart’s works. Finally, the key tools used by Mozart for promoting orchestration should be presented. Different factors tend to influence composers and performers when having to choose instruments that will be used in performing music works. For example, when composers were asked to develop music works for ‘a powerful person who loved to play a particular music instrument and wished to combine it with others’ (Honigsheim 98), the music work ordered needed to meet the following criterion: it should be based solely on ‘the combination of this instrument with others’ (Honigsheim 98). Mozart has responded to such requests developing music pieces based solely on ‘bassoon and cello’ (Honigsheim 98). Orchestration, as related to classical music, can be characterized as a unique technique. In fact, orchestration has a unique power in reflecting emotions; this characteristic of orchestration seemed to be a key criterion for the adoption of this technique by Mozart. According to Richard Wagner, a popular master of music, Mozart has used his symphonies in order to reflect the thoughts of humans in regard to various issues (Da Ponte 15); in other words, for Mozart, symphonies have replaced ‘the human voice in regard to the expression of a variety of emotions’ (Da Ponte 15). However, symphonies could achieve such target only through the use of appropriate techniques. Orchestral effects, as incorporated in Mozart’s symphonies, have helped towards the reveal of a high range of emotions (Da Ponte 15). Therefore, the emphasis that Mozart paid on orchestration can be explained by the following fact: for Mozart, the expression of emotions has been a key term of his works. The decision of Mozart to choose orchestration in order to express emotions is considered as fully justified, especially since orchestration has been characterized as a unique technique for emphasizing on emotions (Da Ponte 15). Another factor that has influenced Mozart in regard to the value of orchestration is the following one: orchestration can increase the uniqueness of a music work since it can offer a high variety of tones (Da Ponte 15). In addition, the effects of ‘unity and grandeur’ (Da Ponte 15) which have been a key characteristic of Mozart’s works, cannot be effectively promoted with other similar technique, at least not at the same level as with orchestration. This means that Mozart has also chosen orchestration for its potentials in regard to the achievement of specific artistic effects, as these effects have been closely related to the works of Mozart. Moreover, as noted above, orchestration has been already used in works of classical music of the 18th century (Keefe 93). In this context the decision of Mozart to incorporate orchestration in the performance of his works cannot be characterized as risky at the level that orchestration had been already tested, by other composers and performers, as of its effectiveness. From this point of view, Mozart emphasized on orchestration after identifying its potentials for supporting his works; reference is made especially to the ability of orchestration to express emotions and to add effects that cannot be achieved through other performing techniques (Da Ponte 15). Orchestration has been a key part of Mozart’s work. In fact all symphonies of Mozart are orchestral pieces based on a variety of instruments (Keefe 93). For this reason, theorists and artists who studied the work of Mozart have highlighted the ability of Mozart in incorporating orchestral effects in his works. Reference can be made, as an example, to Leopold who highlighted in 1780 Mozart’s unique ability in urging all members of an orchestra to pay ‘extremely high attention’ (Keefe 93), a practice that was rather unusual in Mozart’s era. In 1798, Niemetschek highlighted the ability of Mozart to identify ‘with accuracy the range and nature of all instruments’ (Keefe 93). It is made clear that Mozart had an excellent view of the potentials and role of all instruments participated in an orchestra and was able to use these instruments in order to achieve specific orchestral effects, as these effects were most appropriate for his works. The excellent knowledge though of music instruments requires the fully awareness of the technology on which these instruments are based. In this context, it can be supported that technology has helped towards the expansion of the popularity of Mozart’s works worldwide. At this point, the techniques used by Mozart for incorporating orchestral effects in his works should be presented. In general, Mozart has focuses on music pieces based on piano. More specifically, it has been proved that Mozart has written a high volume of music pieces suitable for piano, and ‘not for the harpsichord’ (Hoffman 115); the latter was more popular than piano in Mozart’s era. Trying to avoid a conflict with the music traditions of his epoque, Mozart also wrote a series of music pieces that were based on harpsichord (Hoffman 115). Still, piano has been the music instrument on which most of Mozart’s works were based (Hoffman 115). The alternative use of piano and harpsichord when performing Mozart’s music pieces indicates the composer’s awareness of the technological structure and potentials of music instruments. The orchestral effects added in Mozart’s works reveals the composer’s capability to combine different instruments for reaching different tones, as analytically explained below. Mozart used different techniques for adding orchestral effects to his works. At a first level, the composer has employed ensembles based on wind instruments (Radice 59). Ensembles of small size, up to 13 instruments maximum (Radice 60) were preferred since they could offer the following advantage: the instruments included in these ensembles could be carried easier, compared to the extended ensembles which cannot be moved from place to place. In addition, these ensembles were equally effective as the complex ensembles, being able to add to music pieces important sound effects, according to the performance requirements of each piece (Radice 60). Mozart has highly used such ensembles for adding orchestral effects to its works. As of the structure of these ensembles, Mozart preferred specific music instruments, such as ‘oboes, clarinets and bassoons’ (Radice 60). Traditional wind instruments, such as the ‘English horn’ (Radice 60), have been also included in the ensembles used by Mozart for promoting orchestration. It should be noted that the involvement of small ensembles in Mozart’s work pieces has not lasted for long; in fact, it was only up to 1781 that Mozart’s preference for small ensembles for achieving orchestral effects has been clear (Radice 60). It was the period that Mozart lived in Salzburg where such ensembles have been a common performing practice. After moving to Vienna, in 1781, Mozart was able to use small ensembles incorporating a higher range of wind instruments including clarinets, which were absent in Salzburg’s small ensembles (Radice 60). One of the tools that Mozart used for promoting orchestration has been the ‘premier coup d’ archet’ (Zaslow 439), a technique referring to the following phenomenon: all instruments participating in the orchestra start to play a music piece together, i.e. simultaneously. In this way, two important effects, grandeur and unity were achieved in regard to the music piece involved (Zaslow 439). The particular technique was commonly developed in the following way: the first violin of the orchestra sets the tempo and the style that will be used in the performance of the particular music piece (Zaslow 439); the rest of the orchestra’s instruments need to follow these guidelines without being differentiated neither in terms of tempo nor in terms of style (Zaslow 439). A different technique has been used by Mozart in order to add ‘effects of variety and nuance’ (Zaslow 470). Using one type of musical instrument for performing one or more parts of a music piece has been a common practice for adding the above effects. For example, in Paris Symphony of Mozart the three violins have been used alone for developing a particular part of the piece (Zaslow 470). The result has been unique, in terms of the contrast between the sound of violins and that of the rest instruments, as used in the rest parts of the specific piece. It should be noted that in the above piece, Mozart has managed to maximize contrast by avoiding unison in regard to violins’ performance and by preferring the octaves (Zaslow 470). In Paris Symphony Mozart employed another technique for securing variety and nuance: in certain parts of the Symphony the use of basso has been avoided preferring the use of other musical instruments for covering the piece’s needs in terms of ‘bass line’ (Zaslow 470). Indeed, violins have been occasionally used instead of basso at the level of bass line (Zaslow 470). According to the issues discussed above, Mozart has employed different techniques for promoting orchestration. Primarily ensembles based on wind instruments have been used by Mozart for achieving specific orchestral effects. Then, more complex ensembles have been necessary, probably because of the increase of the audience’s demands in regards to orchestration. In any case, it has been revealed that Mozart’s ability to create quite effective orchestral effects has been related to his awareness of the technology on which musical instruments are based. In addition, the success of Mozart in promoting orchestration can be considered as the result of the composer’s ability to understand and to value emotions. Of course, orchestration, as a practice for adding artistic effects to music pieces, has not invented by Mozart. Still, the role of Mozart in the promotion of orchestration has been critical, at the level that the above composer incorporated orchestral effects in most of his works. On the other hand, orchestration contributed in the uniqueness of Mozart’s music pieces compared to the similar pieces of other, popular, composers of Mozart’s era. From this point of view it could be noted that the use of orchestral effects in Mozart’s works has benefited both the orchestration, increasing its popularity, and the composer. Works Cited Da Ponte, Lorenzo. Mozart's Da Ponte Operas: The Marriage of Figaro, Don Giovanni, Cosi Fan Tutte. Florida: Opera Journeys Publishing, 2007. Pg 15 Hoffman, Miles. The Npr Classical Music Companion: An Essential Guide for Enlightened Listening. New York: Houghton Mifflin Harcourt, 2005. Pg 115 Honigsheim, Paul. Sociologists and Music: An Introduction to the Study of Music and Society. New Jersey: Transaction Publishers, 1989. Pg 98 Keefe, Simon. The Cambridge Companion to Mozart. Cambridge: Cambridge University Press, 2003. Pg 93 Radice, Mark. Chamber Music: An Essential History. Ann Arbor: University of Michigan Press, 2012. Pg 59-60 Zaslaw, Neal. The Birth of the Orchestra: History of an Institution, 1650-1815: History of an Institution, 1650-1815. Oxford: Oxford University Press, 2005. Pg 439, 470 Read More