A discussion about the lieder (songs) which Mozart wrote and the influence these compositions had on future composers.
Written in 2006; 1,726 words; 6 sources; MLA; $ 55.95
Paper Summary:
The paper discusses the sixteen German lieder (songs) which are largely unknown works of Mozart. The paper explains that Mozart was a forerunner for German lieder and that his influence is seen in many of Franz Shubert's early works. The writer describes some of the stories told by Mozart's songs and compares "An Chloe" to "Abendempfindung", written on the same day, yet polar opposites. The writer explains that "An Chloe" is about the love of a shepherd for a shepherdess and "Abendempfindung" is a reflection on death. The paper compares the styles of Mozart and Schubert's songs. In conclusion, the writer posits that Mozart helped build the foundation for German lieder and although his songs are not the most frequently performed in this genre, they were very important in establishing the tradition of German lieder.
From the Paper:
"In "An Chloe", Mozart once again crafts the music exquisitely around the poetry. "An Chloe" is a pastoral poem. Damon, a shepherd, is in love with Chloe, a shepherdess. This song has a six-measure introduction closing with a cadence and is primarily in the tonic. There is a measure of dominant in the third system and the first phrase ends in a cadence. The second phrase moves to the dominant and chromatic elements are presented with the introduction of "und ich halte dich... (and I hold you and kiss...)." This is the beginning of the real passion of the song and it is fitting that the chromaticism begins here. The beginning of the song is repeated in measure 28, but begins to be varied chromatically in measure 35 as the shepherd talks about holding Chloe tightly to his breast. The broken rhythms in measures 41-43 show the breathlessness of anticipation before the soaring vocal line for "eine dustre Wolke mir (a gloomy cloud to me)." The same idea of breathlessness is repeated in measures 49-51 and 56-59 before the climax of the song in measures 62-66. This climax has the most operatic vocal lines so far. The shepherd is saying "aber selig neben dir (but blissful beside you)". The song ends with a final cadence."
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