LEONSKAJA MOZART

MOZARTPiano Concerto No.9 in E major “Jeunehomme”

$20 SCHOOLS’ TICKETS PROGRAM RESOURCES

One of the world’s most lauded chamber ensembles, the

Australian Chamber Orchestra is renowned for its inspired programming and unrivalled

virtuosity, energy and individuality.

Its unique programming extends across six centuries,

spanning popular masterworks, adventurous cross-artform

projects and pieces specially commissioned for the

ensemble.

Outstanding Australian violinist Richard Tognetti has been at the helm of the ACO

since 1989.

AUSTRALIAN CHAMBER ORCHESTRA

ABOUT MOZART

Wolfgang Amadeus Mozart (b.1756, d. 1791) was an Austrian born composer whose life’s work had a profound effect on the development of composition and style in the classical era.

Mozart began his performance career at the age of 6, demonstrating an extraordinary level of skill and inventiveness on the keyboard.

His talent for composition was soon brought to light and his father exploited his talents through extravagant tours abroad all through Mozart’s childhood. His ability to compose across all musical genres and forms has made Mozart one of the most important composers in the history of Western Art Music.

Piano Concerto No.9 in Eb major (k271)

Known as the “Jeunehomme”, this work is said to have been composed for a talented soloist who inspired the work by the name of Victoire Jenamy Mozart kept this piece in his personal repertoire for some time as a show piece and it was the first of his concertos to be printed and published in Paris in approx. 1780. The work has a three movement structure although this was the first time Mozart used a minor key in the contrasting 2nd movement. As is often the case, he has surprised the listener with and earlier than expected entry in the opening movement from the soloist as well as the inclusion of a slow paced Menuetto in the middle of the final Rondo movement.

Binary Ternary Rondo

MOVEMENTS

AURAL/ MUSICOLOGY

Each sequence of Lessons provided by the ACO will focus on developing key skills: PERFORMANCE, COMPOSITION and AURAL/MUSICOLOGY This sequence of lessons will focus on MUSICOLOGY by

ANNOTATION

THE CLASSICAL CONCERTO Musical Form

This refers to the overarching structure of

a work or movement. Examples of musical

forms included

Binary (A-B) Ternary (A-B-A) Rondo (A-B-A-C-A)

These & Variation ; Sonata form (exposition-

development- recapitulation)

Sections: Sections within a whole piece help to divide up an entire

work. Sections can be labelled in a number of ways including- movements; according to

characteristic/ style (Minuet & Trio, Andante, Adagio, Presto, etc.)

According to musical function (Tutti; solo; episode, cadenza, coda, etc.)

Finer Details: This refers to the smallest division

of musical material including- phrases

(musical sentances); subject/ motif (musical

idea), bars.

STRUCUTRE • Structure is one of the Concepts of

Music.

• It is an important organisational element of composition and enables a composer to bring form, balance and overall shape to their musical creations.

• Structure was a primary focus during the classical era when so many of the musical forms in Western tradition were established and cemented by great composers such as Mozart, Beethoven, Haydn (just to mention a few).

• There are several layers of structure to examine in musical pieces from broad overarching structures right down to fine details of bars and musical ideas

STRUCTURE OUTLINE OF THE CLASSICAL CONCERTO

1st Movement (fast)

• In Sonata Form with a double exposition (first time played by orchestra, second time the soloist is added).

• 2 musical subjects.

• Bridge section leading into the development section. This is where the two subjects presented earlier are explored and developed by the composer. Much interplay occurs between the soloist and the orchestra in this section.

• Recapitulation where the original subjects are revisited to bring the movement to an end.

• A cadenza is played by the soloist towards the end of the movement. This is an opportunity for the soloist to display their virtuosic skill through intricate and complicated solo (ending in a trill) before the orchestra re-enters for the final coda.

2nd Movement (slow)

• This is a contrasting movement that is often more contemplative/lyrical given the slower tempo.

• A contrasting key (relative major/minor) is often used for this movement.

• Generally a more straightforward structure than the involved sonata form of the first movement. Structure is often ternary, theme & variation or even a simplified sonata form without a development section.

3rd Movement (fast)

• This is usually the fastest movement of the work often with a tempo marking of Presto, Vivace, etc.

• Rondo form is a typical structure for the final movement (A-B-A-C-A)

CHARACTERISTICS OTHER IMPORTANT CHARACTERISTICS OF CLASSICAL PERIOD MUSIC: Homophonic texture is more prevalent. Balanced phrases are very important. Question and Answer phrasing used creating and between soloist and ensemble or sections within the orchestra. Greater use of gradual changes in dynamics (crescendos and diminuendos). OTHER SITES TO FIND MORE IN DEPTH INFORMATION ABOUT THE CLASSICAL CONCERTO AND THE MOZART CONCERTO FEATURED IN THIS CONCERT: Classical Concerto Mozart Piano Concert No.9

WORDS TO HELP WITH TERMINOLOGY FOR AURAL OR ANALYSIS TASKS

BRIDGE PHRASE

EPISODE

EXPOSITION

VIRTUOSIC

SECTION

MINUET & TRIO

DEVELOPMENT

INTERPLAY

RITORNELLO ANDANTE

RECAPITULATION

INTRICATE

TUTTI

ADAGIO

RONDO

MOTIF

CADENZA PRESTO

BINARY

SUBJECT

CODA

SONATA FORM TERNARY

SCORE READING/ANNOTATION ACTIVITY: Reading through and annotating a

score is an excellent way to gain a more in-depth understanding of what is happening in a piece of music. It is also and clear visual map of compositional devices and musical techniques being used by the composer. We are going to focus on the exposition in the first movement of Mozart’s Piano Concerto No. 9. Using the Structure Outline and General Characteristics list above, we are going to examine parts of the score more closely to see where and how Mozart used these in his first movement.

To help with some details here are the opening bars of subject 1 (fig.1) and subject 2 (fig.2) in the first movement – Figure 1: b1 Vln 1 Figure 2: b26 Pno

SCORE READING/ ANNOTATION ACTIVITY:

Using 2 different coloured highlighters, identify and highlight where these ideas are used throughout the score excerpt. HINT – They may occur in different parts, in different keys but same contour and rhythm. Discuss how Mozart uses the subjects in various ways in the score excerpt. SUBJECT 1: This is known as a split subject because it begins in the orchestra and then the Piano interrupts to continue with the musical idea. This is evident right from the beginning of the movement – b1-6, and occurs TWO more times in the excerpt. Identify where this opening idea reoccurs with the split subject. Annotate it on your excerpt. SUBJECT 2: This musical idea sounds initially more lyrical than the first subject and is presented for the first time by the soloist (Piano) at b26. Identify where this idea is played for the second time AND note on the score how it differs from the first playing. DOUBLE EXPOSITION: This movement has a double exposition. Usually the orchestra plays the first and then the soloist plays the second. In this case, Mozart has chosen to go against this convention. The second exposition begin at b63. Compare both expositions (1 – b1-62; 2 – b63-140) and identify 3 things that remain the same and 3 things that differ between the two. Notate these on the score excerpt. GENERAL CHARACTERISITICS: This excerpt has each of the characteristics of Classical Music identified previously.

SCORE READING/ ANNOTATION ACTIVITY:

Find and notate on the score excerpt an example of each in the list • Homophonic texture is move prevalent

• Balanced phrases are very important

• Question and Answer phrasing used

creating and between soloist and ensemble or sections within the orchestra

• Greater use of gradual changes in dynamics (crescendos and diminuendos)

Continue to work through the score of the whole movement and annotate details relating to the Concerto structure AND the concepts of music. This would be a great study resource for you to keep.

AT THE CONCERT When you go to the concert, use the knowledge and skills we have explored and consider the following questions: The interplay between the soloist and the orchestra is a major feature of the Mozart concerto. Listen and watch carefully to how this is presented in the live performance. Can you find this technique in the other pieces in the program presented? Each ensemble for the three works in this program differs in instrumentation. How does this affect the overall experience for the concerto goer (YOU)? Did you like the ensemble sound of one work more than the others? Explain your answer.

TEACHER’S NOTES Teacher's Notes for reference to the Draft Australian Curriculum: The Arts and NSW Stage 6 Music 1 & Music 2 Syllabus.

General

Capabilities

LIT – Reading the score, writing about the Concepts of Music

(CoM).

NUM – Identifying and discussing meter and rhythm.

ICT – Utilising internet resources.

CCT – Critically discussing the set work/s.

PSC – Sharing personal responses to set work/s.

EU – Working collaboratively with peers in group discussions.

ICU – Discussing cultural issues surrounding the set work/s.

Cross-Curriculum Links &

Priorities

English, Humanities and Social Sciences, Mathematics,

History, Language

Viewpoints 2 – Extend discussions into the links between the repetitive

nature of these works and that of cultural music of Asian

regions (eg; Balinese, Chinese).

TEACHER’S NOTES MUSIC 1

Topic Links

Music of the 20th & 21st

Centuries

Music for Small Ensembles

Music and the Related Arts

(Hermann & Stravinsky)

MUSIC 2

Topic Links

Music 1900 – 1945

Music 1945-25 Years Ago

Music of the Last 25 Years

(Although the Tüür work is not

Australian)

MUSIC 1

Outcome Links

P – 4,5,6,7,8,10,11

H – 4,5,6,7,8,10,11

MUSIC 2

Outcome Links

P – 4,5,6,7,8,10,11

H – 4,5,6,7,8,10,11

NSW Stage 6 Syllabus Links –

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