The Magic Flute Set Work

Recetitive

Opening Recitative is syllabic, but it has areas of melisma

Use of ornamentation such as turns

Mainly syllabic

Aria

Short melodic phrases (3 bars at the begining to demonstrate unsettled nature)

Repeated word 'du' displays and reinforces the Queens controll and power. Rising pitch increases intensity. Bar 64/65

Virtuosic coloratura melismatic sequential passage. High tessatura. Starts bar 79. This is used to intimidate Tamino

Mainly scalic and conjunct, but with some arpegios.

Syncoped Introduction

Large semiquaver passage at bar 79- represents anger

Shivering semiquavers in violins at the start of aria. Word Painting for fear

Word painting with shimmering violins- links to Vaughn Williams

Syncopated quvers links to Ein Feste burg-tied notes used to drive the music forward

Typical classical orchestra.

Fanfare like opening to represent Royalty/the fact she is the Queen

Recetitive

Begins in B flat major because its upbeat/fanfare

Diatonic

1st inversion chords to maintain tonality while avoiding sense of completion

Aria

Begins in G min to represent pain

Bar 47 dim B7 chord used to represent pain and anguish

Mainly diatonic, with some chromatic steps, to represent anguish. Mainly heard in bassons and violas

Chromatic descending phrase used at end to represent pain of leaving

Ends with repeated tonic chords (B flat)

Regular cadences used to reinforce key

Mainly melody dominated homophony.  Thats about it

Duet with Papagano and Tamino

Begins with diatonic, repeated notes and small leaps

Three ladies sing in unison in 8ves in Gminor to instruct Papagano

Fourth of Centitude bar 61/62-comes from Handel Messiah (link!!)

Classical orchestra, Papagano (Bass), Tamino (Tenor) and three Dames.

The orchestra occationally doubled voices. 

Not extragavant extended techniques, unlike Berlioz, however there is pizzicato in the strings.

Very varied, unlike O Zitt're nicht

Melody dominated homophone

2 part counterpoint when Tamino enters

Homophonic when laides enter

Polyphonic at bar 117 

Ends in unison

Begins diatonic

Feminine cadences (1c-V) when 3 ladies enter (weak pft cadences)

Bar 111 Papagano sings tonic pedal which Dame 2 sings 7th, creating dissonance

Augamented 6th to represent fear of Papagano

Chromatiscm in 8ves in bar 158 t represent fear

Chromatiscm at end represents pain of leaving- links to Vaughn Williams where chromatiscm is also used to represent pain

Very simple rhythm

3 ladies first introduce dotted rhythms

Bar 54 homorhythmic

Bar 75 quaver rests used to lighten texture

Example of Singspiel; a form of opera with both words and song

Written 1791. Same year Mozart died.