Woody Allen once said that Mozart's Symphony 41 proved the existence of God. Certainly, a symphony of such grandness and scale had, until the summer of 1788, never before been seen in the musical u...
Woody Allen once said that Mozart's Symphony 41 proved the existence of God. Certainly, a symphony of such grandness and scale had, until the summer of 1788, never before been seen in the musical universe. Its implications for the direction of music in the future, and its influence on future composers is immeasurable. What makes Mozart's Jupiter symphony worthy to share the name of the most powerful god of the Roman world?
The answer to this question comes in the Molto Allegro, and more specifically in its coda, (8:09-8:36). In the coda, Mozart takes the five musical themes or melodies that had been developed throughout the final movement, and does something that no one has ever achieved to the extent that he did, not even the illustrious Beethoven.
What Mozart does is take these five themes and combines them to create a fugato in five-part counterpoint. That is, he takes the five melodies and simultaneously plays them in a variety of combinations and permutations. Imagine five separate melodies, all with their own notes, being played simultaneously, but each constantly changing. It's impossible for the human ear to focus on the enormous amount of notes that this simultaneous playing and constant changing entails. The effect is that the music seems to encompass an infinite amount of sound. With lesser two or three-part fugues, it is occasionally possible to sense everything that is going on. Once you get to four voices, it's nearly impossible to detect all of the nuances of the melodies. With five, well, only God could completely grasp its profundity.
This is Jeffrey Tate and the English Chamber Orchestra performing the Molto Allegro of Mozart's Symphony 41 in C Major.
A far greater introduction to this piece than I provide can be found at NPR's website, if you follow this link: http://www.npr.org/templates/story/st... In the audio clip, you will get the chance to hear the five melodies that Mozart used in the coda individually.
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And furthermore, where is this circularity of logic that you refer to. Composition is a craft, there is strong and weak composition, genius and simple - I personally don't see the difficulty in understanding this. You're argument is relativistic, regardless of whatever logic you throw out - there is a difference in something I compose and the genius involved in this coda. To say anything else is ignorant and above all arrogant. I won't be commenting anymore on this video, think what you will.
continued, the melodies and tunes are so good and total effect beautiful. Beyond that, of all composers his music could be said to be the most indestructible, being arranged for modern orchestra, being electronicized, scat-sung, played by rock bands etc. He was a master of emotional expression, and of all the technical requirements of music - contrapuntilist, melodist, harmonist, and of large and small forms. There's no way to accurately describe why Bach is greater compositionally than all
pguitar13: Perhaps, I shall rephrase my query, WITHOUT the mechanics of formal logic:
If there can be a "Best THREE" out of a group of all accomplished composers, these three in your premise being Mozart, Bach and Beethoven (not necessarily in order), wouldn't or shouldn't there be a Best ONE of those three? If so, then who would it be? Difficult? I presume so...perhaps as difficult as determing a Best THREE of ther original group. But please DO give a try...and qualify your final choice.
I can't argue with you, you're argument is purely relativistic - if you think you're more of an authority on the subject than the eleven composers you named, then your mind if already made up. I've posted more than I wanted to say on this video and I'm done, if you can't appreciate Bach, Mozart or Beethoven more than Chopin, Handel and Telemann then I honestly don't know what else to say.
I don't concede my argument and never will, once again to say they're all equal denigrates these 3's work.
pguitard13: I have posed a fairly well-engineered query for you. All you need to do is answer it. One name will suffice. The query I have posed to you is essentially part of a chess game, if you will. I have posed it twice...and still no answer. You know you cannot answer it without destroying the very foundation of your own premise. You have been CHECK-MATED. End of discussion.
Those reading this in the future can bear witness to both that check-mate and the circularity of your logic.
This is my last post regarding this..I would choose Bach. I still don't understand your logic or query, but regardless it's a question of composition. Almost half of Bach's work is regularly preformed today and are acknowledged masterpieces. He was without a doubt a prolific composer in every sense of the word and brought all except one form (opera) to it's ultimate development in his time. His fugues and canons have been loved for generations not for being complex or abstruse but because
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Perhaps, I shall rephrase my query, WITHOUT the mechanics of formal logic:
If there can be a "Best THREE" out of a group of all accomplished composers, these three in your premise being Mozart, Bach and Beethoven (not necessarily in order), wouldn't or shouldn't there be a Best ONE of those three? If so, then who would it be? Difficult? I presume so...perhaps as difficult as determing a Best THREE of ther original group. But please DO give a try...and qualify your final choice.
I don't concede my argument and never will, once again to say they're all equal denigrates these 3's work.
I have posed a fairly well-engineered query for you. All you need to do is answer it. One name will suffice. The query I have posed to you is essentially part of a chess game, if you will. I have posed it twice...and still no answer. You know you cannot answer it without destroying the very foundation of your own premise. You have been CHECK-MATED. End of discussion.
Those reading this in the future can bear witness to both that check-mate and the circularity of your logic.