Mozarts Don Giovanni How Music Contributes English Literature Essay Free Essay
Scena one and the gap recitative of scena two of Mozart ‘s Don Giovanni, are used to present the characters of Don Giovanni himself, his servant Leporello, the Commendatore and his girl Donna Anna. The chief dramatic events of these scenas are Don Giovanni ‘s unsuccessful seduction of Donna Anna, and the Commendatore ‘s decease at the custodies of Don Giovanni.
Mozart uses music and phrasing to great consequence in these gap scenas, to set up and distinguish the personalities of each character and to travel the action along. Mozart does non restrict himself to one particular genre, but alternatively follows the category conventions of amusing opera, or opera buffa, whilst disputing them in service to the narrative.
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Leporello is sitting in a walled garden agitating his caput while reading a book, which we subsequently discover to be his maestro Don Giovanni ‘s book of amative conquerings. Leporello is unhappily maintaining guard in the cold and moistness while Don Giovanni indulges himself in an effort to score the lady of the house.
The musical debut to this scene reflects Leporello ‘s temper really good, with low, short, undulating staccato beats followed by high surging Riffs, repeating Leporello ‘s dissatisfaction and choler in a reasonably light hearted and amusing mode. Leporello expresses his defeat with the marked contrast between his humble place and that of his Master, ‘Toiling off dark and twenty-four hours, for one whom nil can delight ‘ ( AV Notes, p. 133 ) . The fortunes of his harangue are equivocal at this point, and Leporello appears to be a typical opera buffa character deploring his batch as retainers do. Leporello tells us of his want to throw off the yolk of servitude and go a gentleman himself, reiterating his desire to function no more, ‘E non voglio pi & A ; ugrave ; servir ‘ ( AV Notes, p. 133 ) . This is played out with blatant aspirational strings and Gallic horn threes, attach toing Leporello ‘s yearning to be more than he presently is. The tune is reasonably simple and pleasant, in maintaining with a low-class character, nevertheless the clip signature is in simple clip ( a metre with 4 beats in a saloon, more normally sung by higher category characters ) , and non in compound clip ( a metre where the beats are divisible by 3, making a skipping consequence ) , which would more usually be used to stand for a retainer. This could be to reenforce Leporello ‘s aspiration to be more, and besides because he is preoccupied with Don Giovanni ‘s current activity. Leporello is really much in the minute, disillusioned with his lookout responsibility while his maestro is warm inside with his ‘bella ‘ . This is illustrated by a letup in the music while Leporello dourly repeats the word ‘sentinella ‘ , the repeat proposing the fixated tarriance of this idea. Leporello so loses himself in his revery once more, before being disturbed by the noise of person approaching.
This gap motion is utile in presenting Leporello as the chief storyteller of the events set to blossom, as he addresses the audience from the gap words. The aria presents the first intimations at Don Giovanni ‘s caddish character and gives a existent sense of Leporello ‘s somewhat cowardly, but finally harmless bitternesss. It is an ‘enclosed ‘ musical motion, in that it starts and coatings in the same key.
Don Giovanni, Donna Anna and Leporello
The individual Leporello hears nearing is his maestro Don Giovanni, who is looking a small disheveled and defeated. Donna Anna follows instantly after in a province of hurt, and it is shortly evident that the attempted seduction was far from consensual. Anna refuses to unhand Giovanni until he reveals his individuality.
The orchestra builds up somewhat on the reaching of Don Giovanni with high strings nearing a crescendo, but so returns rapidly to the amusing phrasing of Leporello ‘s cowardliness as Giovanni comes into apparent sight. This is consistent in conveying the dichotomy of Don Giovanni ‘s character throughout, and besides in service to our impending moral disapproval of him. In consequence, here is a gentleman, but non one to be respected.
The orchestra physiques once more with a transitional phrase to a crescendo and cardinal alteration, which is mirrored in the passage of the onstage action as Donna Anna appears. The three characters so execute what is technically a three, as all three sing together, though Leporello is apart from the action. Anna and Giovanni scuffle physically and spar vocally together, with complex, jumping phrases in simple clip separated by flourishes of strings, meaning the high emotion of this scene and the position of the two characters involved. Anna is declining to unhand Don Giovanni until he reveals his individuality, while Giovanni accuses Anna of being delusional. There is a great minute after the initial vocal turn, where the two parties ‘ feelings are voiced in unison for the first clip: ‘Scellerato ‘ ( Anna ) , and ‘Sconsigliata ‘ ( Giovanni ) . Respectively ‘vile monster ‘ and ‘she ‘s raving ‘ , ( AV Notes, p. 134 ) . The high powerful strings attach toing Anna ‘s entryway are appropriate for the musical proclamation of a high-toned character. Anna ‘s gap phrases are really forceful and complex, interspersed with expansive orchestral flourishes. The consequence is about that of a national anthem, informing the audience that Donna Anna ‘s virtuousness is an as yet unbeaten state. Don Giovanni ‘s responses are a barbarous mocking reverberation of Donna Anna ‘s indignation as he turns off to avoid designation, once more informing us that here is a gentleman, but merely in name.
While this affray is continuing, Leporello is turn toing the audience in a enduring mode. He tells us that his maestro is in problem once more, ‘Il padron nuovi guai ‘ ( AV Notes, p. 134 ) , connoting that this is far from the first clip that Don Giovanni ‘s obsessional desire has dragged his retainer into the quag with him. In a agile counterpoint quaver tune and a contrastingly cheerful tone, Leporello laments the apparently familiar anticipated radioactive dust, reiterating over and over, ‘You ‘ll see the villain will set down me in problem ‘ ( AV Notes, p. 134 ) . This amusing, about gay repeat of Leporello ‘s angst is reasonably incongruous alongside the attempted molestation of a high-born adult female on Don Giovanni ‘s portion. But merely when this contrast of wickedness and levity could go uncomfortable, high, piercing quavering strings create a minute of suspended tenseness denoting the reaching of Donna Anna ‘s male parent, the Commendatore.
Death of the Commendatore
The Commendatore appears and demands that Don Giovanni defend himself. A battle ensues in which Giovanni fatally wounds the Commendatore.
The Commendatore enters amid angry, pulsating threading beats and baleful, discordant flutes as he takes in the scene. Don Giovanni meets the Commendatore ‘s challenge with cool disdain and a contemptuous manus gesture, take a firm standing, ‘it would non be proper for me to contend you ‘ ( AV Notes, p. 134 ) . Giovanni is steadfast but comparatively restrained here, trying to bluff his manner out of things with the saddle sore of false righteousness. This angers the Commendatore further, arousing prodigious, fanfare-like challenges amidst similar musical concomitant, ‘You think to get away me therefore ‘ ( AV Notes, p. 134 ) , while Leporello can merely mournfully show his want to be anyplace else but here. There is a pregnant silence as Don Giovanni realises that his lone agencies of flight is to accept the challenge of the Commendatore and fight his manner out of his misbehaviors. Don Giovanni so returns the Commendatore ‘s challenge with equal ostentation and bluster, one time once more fall backing to the mocking apery of his equals.
The challenges and counter challenge between the Commendatore and Don Giovanni about fall into accompanied recitative here, or recitative accompagnato, due to the more fractured, back and 4th nature of the phrasing with the duologue ordering the limited vocal tune. This is still technically a Sung three nevertheless, with full orchestral backup and Leporello ‘s fearful echoing of his maestro ‘s phrasing underpinning the two chief supporters. The Moment that Don Giovanni eventually shows his dentition, ‘stay so, if you truly wish to decease ‘ ( AV Notes, p. 135 ) , is emphasised by the endangering resoluteness of the orchestral concomitant, and we are left in small uncertainty of the at hand result and the effects that must certainly follow.
Giovanni ‘s challenge leads into a really jerky, dramatic subdivision of music, with many fast paced key alterations attach toing the affaire d’honneur. The flood tide of this is a lessened 7th chord as Giovanni administers the fatal blow. The usage of the lessened 7th here for the fatal work stoppage is really effectual, as it has a acute, discordant quality, and is sustained for an uncomfortably long clip in order to let us to take in the full gravitation of what has merely occurred.
It is clear instantly after, that Don Giovanni had no purpose or outlook that things would travel this far. The orchestra dramas subdued, falling, sepulchral phrases as the Commendatore breathes his last. Don Giovanni seems shocked by his actions for the first clip, and joins the Commendatore in narrating his death, ‘I experience my ( I see his ) life ebbing off ‘ ( AV Notes, p. 135 ) , while Leporello is now in echt panic, ‘I do n’t cognize what to make or state ‘ ( AV Notes, p. 135 ) . It is important that Leporello sings in compound clip here in his attach toing function within the simple clip signature, as he is now concentrating wholly on ego for the first clip. Not depicting his maestro ‘s feats or draw a bead oning to be a higher category, as in the debut, but conveying the really existent and personal torment that he feels as a retainer who has merely witnessed his maestro slaying another baronial. The attach toing music here ebbs and flows in a really redolent mode.
Following the decease of the Commendatore, Giovanni and Leporello enter into a simple or semplice recitative accompanied by cembalo. Leporello is so aghast that he uncharacteristically rebukes Giovanni, before being slapped down once more with a curt menace that he will be following. The cembalo is hardly hearable while they argue in soft voices. This recitative blurs the societal lines still farther, with Leporello taking the function of Giovanni ‘s absent scruples before falling back in line and both issue phase left.