D Giovanni-Conflict in Emotion
Don Giovanni: Simultaneous Conflicting Emotions Wolfgang Amadeus Mozart conceals some very complicated techniques of musical emotion in his music for the stage. Among these is his ability to convey not mixed emotions, but separate, conflicting emotions and events involving multiple characters in one scene. An example of this genius is found in his opera "Don Giovanni." I chose the 1977 Glyndebourne Festival Production. I will be analyzing the finale of Act I, score measures 415 to 457. I think it most effective to not skip around in the score, but rather straight through, and you will see that not only does Mozart creates multiple emotions, he also has them overlapping as in the finale of Act I. This scene is a party thrown by Don Giovanni. Starting in measure 415, Leporello is starting the whole group to dance, and his words are conveyed in a smooth, convincing style, so as to keep the general group out of the loop. Donna Elvira comments to Donna Anna that Don Giovanni's voice has given him away, and these words are expressed with short, choppy rhythms, almost recitative-like, indicating a hint of animosity.(mm 417-18) Donna Anna replies, expressing her hurt in a series of long, high descending notes.(mm 418-19) Do
(mm 446) Its music and rhythm is relatively simple and forward, which is reflective of Masetto to this point. I believe Mozart did this for many reasons. Complicated music would not aid Leporello in distracting Masetto. Orchestra II, which is contrapuntal and duet-like in style and motion, enters at the beginning of and represents Don Giovanni and Zerlina's confrontation beneath them on the stage. (mm 423-25) Then Masetto sings triumphantly that in his observation, the evening is going well, too. (mm 446) Finally, Don Giovanni's melody to Zerlina becomes very forceful and choppy, leaning toward the recitative, indicating his lack of patience for Zerlina to make up her own mind. Also notice that in this scene there are three orchestras that have staggered entrances. (mm 454-57) Staging is important in this scene. (mm 429-30) Leporello again uses the melodic, yet convincing style, which is crucial in distracting Masetto. When Don Giovanni realizes this, he quickly commands Leporello to distract Masetto away from Zerlina. The largest of the three is for the general dancing group. In conclusion, I was impressed by the amount of musical emotion Mozart packed into just a few pages of score. (mm 431-33) Don Giovanni then tries to convince Zerlina to go with him in a connected, aria style(mm 433-37), but this will quickly change as we go farther into the scene. (mm 420-21) At this point, Don Giovanni and Leporello comment in a relieved melodic duet that everything is good so far. His work in "Don Giovanni" is a musical example more true to real life than a lot of modern music.
Common topics in this essay:
Masetto Complicated,
Don Giovanni,
Leporello Masetto,
Don Giovanni's,
Amadeus Mozart,
Festival Production,
Giovanni Leporello,
Masetto Zerlina,
Don Ottavio,
Giovanni Starting,
don giovanni,
leporello masetto,
donna anna,
don giovanni's,
musical emotion,
finale act,
donna elvira,
giovanni zerlina,
convincing style,
conflicting emotions,
|
Acceptance Essays
