User:Opus33/Sandbox

Links to Neue Mozart Ausgabe

"The basic instructions are at {{NMA}}. In this case, I obtained the volume and page numbers for the scores and the critical reports by a) expanding the list for "Serie IV Orchesterwerke" at NMA; b) opening the scores and critical reports for numbers 62 & 63 (Tänze · Band 1 & 2); c) navigating to their respective title page: the page number is then shown in the browser's address box." -- From Michael Bednarek, 10 March 2009

To do

• Books you are mining
  • Cambridge Mozart Encyclopedia
  • Jones 2009a The Life of Haydn
  • Jones 2009b Oxford composer companions: Haydn
  • Heartz Haydn Mozart Beethoven
  • Stafford, Mozart Myths
  • what's his name, Mozart at the Gateway to his Fortune

• Mozart
  • Read it through and fix things.
  • Where did people say his operas are difficult? Deutsch p. 315, the Emperor felt this way.

• Gottfried van Swieten
  • Haydn wanted to switch librettists for his next oratorio, The Last Judgment
  • his symphony performed in the Augarten
  • His taking care of Mozart's kids after their father died. To what extent? Did he renege?

• Shape note and Sacred Harp
  • See if you can find:
    • O'Brien, James Patrick. 1969. An Experimental Study of the Use of Shape Notes in Developing Sight Singing.

Ph.D. dissertation, University of Colorado at Boulder. a followup on Kyme, perhaps providing balance.

• • Various items below that may never get done

• Bartolomeo Cristofori and fortepiano
  • Go back to Pollens and use it to source things more thoroughly.
  • Pollens seems to think that Maffei's diagram was accurate for the time
  • Write an article on the piano before Cristofori. Difficult to title it without committing POV! Source: Pollens's book.
  • Cristofori was part of the Prince's crew of musicians, it would appear - Pollens

• Double variation
  • add incipits?
  • Find and read Sisman's book on the topic.

• article on Rondo variations?
  • e.g. as in Haydn's Gypsy Rondo trio
  • There are quite a few of these, I think.

• Social history of the piano
  • Gershwin's job as a 15-year-old, somewhere (lost it) in Parakilas. Perhaps Google book search would help.

Varia

Personal archive and material in progress.

• User:Opus33/Luchese stuff -- record the problem we had for several years. I deleted the content as unsuitable even for searches, but it's there in the page history.
• User:Opus33/Mozart: geographic key -- quite a large project, hmm...
• User:Opus33/Mozart: concert performances -- quite a large project, hmm...
• User:Opus33/Haydn's London journeys

Sacred Harp: music structure

Sacred Harp music is a tradition of a capella tradition of sacred choral music, rooted in the American South and now sung widely in America and the English-speaking world. Scholars have repeatedly noted a number of important traits of musical structure in this body of music, which are summarized here.

A caveat is needed concerning the observations made here: the music itself is not homogeneous. The earlier portion of the Sacred Harp canon represents 18th-century composers of the "First New England School", who wrote in four-part harmony and were the musical mainstream in their place and time. Later work, from the early to mid 19th century, was the product of the more rural culture in the South, inhabited by B. F. White and Elisha J. King, the compilers of the first edition of The Sacred Harp. These composers knew the New England material from the hymnbooks they owned and used, but when composing they pursued a different path, writing in just three parts (the alto parts sung today were added around the turn of the 20th century), and drawing on new resources, notably folk tunes and camp meeting songs. Later songs, from the second half of the 19th century, represented a further evolution in taste, and in the "Cooper" edition of The Sacred Harp, a layer of songs influenced by gospel music is included. Nevertheless, the entire corpus can in some sense be considered as a single tradition, since each new generation adding to it was familiar with, and strongly influenced by, the styles of the previous ones.

--prevalence of minor tunes: Cobb 34-35

The emphasis on fourths and fifths

In a Sacred Harp song, often the set notes sung at a given moment are separated by the interval of a fourth, a fifth, an octave, or some combination thereof. Thirds and sixths do occur frequently, but they are rarer than in other traditions.

--example, "Amazing Grace" = "New Britain", which could shorten the main Sacred Harp article

--last chord of a minor tune: virtually always leaves out the third

--The Rudiments of Music section of The Sacred Harp: "quartal" harmony; cite and quote

--there are almost no secondary dominants; part of the reason that few accidental signs are needed (cf. Ananias Davison's view). Someone (Marini?) talks about this in describing why gospel music sounded strange to Sacred Harpers, when it was new.

• Lowell Mason's "Shawmut," (Denson book 535) which is not in the idiom, has a secondary dominant, i.e. a V/VI.
• Isaac Smith's "Silver Street" (Denson 311) has a secondary dominant (5th measure, last beat) that was present in the original version but is removed in the Sacred Harp version.

Violations of the traditional laws of voice leading

--Seeger (1940) and his "blue pencil"

Rhythm and music notation

The musicologist Dorothy Horn asserted that a number of songs in The Sacred Harp (as well as in the similar hymnals Southern Harmony and the New Harp of Columbia) are misbarred'. By this she evidently means that a trained musician, listening to a song to detect the strong musical beat, would place the bar lines in different locations than the printed version, in order to respect the general law of music notation that the strongest beat of a measure is the first one.

As an example Horn cites the song "Jackson" (Denson edition, p. 317 on the bottom; xx get Cooper page), whose tenor part is printed thus:

xxx

Horn's preferred barring is thus:

xxx

In support of this barring, Horn notes that it avoids the counterintuitive placement of weak syllables in the verse in the strong positions of the meter. Compare:

Printed version:

 I am a stranger here below
 And what I am is hard to know,
 I am so vile, so prone to sin,
 I fear that I'm not born again.

Horn's rebarred version:

 I am a stranger here below
 And what I am is hard to know,
 I am so vile, so prone to sin,
 I fear that I'm not born again.

[ xxx and there's more: cases of misbarring that to barred correctly would have to mix time signatures, as Cecil Sharp did when transcribing the related Appalachian folk songs ]

References

• Graham, Fred Kimball (2004) "With One Heart and One Voice: A Core Repertory of Hymn Tunes Published for Use in the Methodist Episcopal Church in the United States, 1808-1878. Lanham, MD: Scarecrow Press.
• Horn, Dorothy (1970) Sing to me of Heaven. Gainesville: University of Florida Press.
• Seeger, Charles (1940) "Contrapuntal style in the three-voice shape note hymns," The Musical Quarterly XXVI(4):483-493.

---

JSTOR has:

The Alto Parts in the "True Dispersed Harmony" of "The Sacred Harp" Revisions, Wallace McKenzie The Musical Quarterly, Vol. 73, No. 2. (1989), pp. 153-171.

http://links.jstor.org/sici?sici=0027-4631%281989%2973%3A2%3C153%3ATAPIT%22%3E2.0.CO%3B2-2

---

The Tunebook That Roars: The Sound and Style of Sacred Harp Singing James Scholten Music Educators Journal > Vol. 66, No. 6 (Feb., 1980), pp. 32-37+74-75+77

---

Sing to me of heaven, by Dorothy Horn (cited)

---

The spread of Sacred Harp singing

The first Sacred Harp convention to be held outside the South took place on October 2, 1976 at Wesleyan University in Middletown, Connecticut; it was organized by Neely Bruce, Larry Gordon, Poppy Gregory, and Juanita Kyle. Significantly, it was attended by a busload of Southern singers, led by Hugh McGraw; thus, it was an early manifestation of a trend seen throughout the history of the spread of Sacred Harp singing, namely the participation by traditional Southern singers in spreading the customs and traditions of Sacred Harp, in addition to just the music, to new singers.

Media interest

The spread of Sacred Harp singing has probably been facilitated by repeated occasion in which the ongoing phenomenon has been noticed and given prominence in news media and popular culture outlets.

Arise my soul, Moyers? , Rivers of Delight?, Cold Mountain, Time magazine?

---

new tunebooks?

---

Why do people take it up? this gets very speculative, perhaps direct quotation of scholars might be best?

References

Marini, Stephen A. (2003) Sacred Song in America: Religion, Music, and Public Culture. Urbana: University of Illinois Press.

The origin of the songs in The Sacred Harp

[ xxx This is stalled, basically. But it's clear what I ought to do: grab my copy of The Makers of the Sacred Harp, Steel and Hulan's superb study, and mine it thoroughly. Pretty much everything below represent my efforts before this book was published. ]

The tracing of the history of many Sacred Harp songs is a often quite difficult, and in the past various errors have been made. The appearance of a song in a historical hymnbook naturally permits it to be traced back as far as the hymnbook in question, but often the ultimate origin remains obscure.

Songs from before Billings

The musical tradition printed in the pages of the Sacred Harp first came into bloom in America in 1770 with the publication of the New England composer William Billings's The New England Psalm Singer' (see below). However, there is a number of songs [ xxx I keep finding more ] that are older than Billings's work; most originated in England.

Old Hundred

The oldest song in the Sacred Harp is, evidently, the famous hymn "Old Hundred", (C,D 49 top). It is possibly by Louis Bourgeois and dates to a seminal work of Protestant hymnody, the xxxth edition of the Genevan Psalter, 1551. This work comes from the time when the Reformation leader John Calvin created a system in which the congregation sang exclusively the poetry of the Bible, translated metrically into their own vernacular language. The Sacred Harp version is, of course, in English, and does not use the same harmonization as the Geneva original, but is plainly the same tune. As is usual in Sacred Harp music, the melody is found in the tenor, and not in the treble as the original (for the notes of the original version, see Old Hundredth).

Other pre-Billings tunes are mostly English.

• 49b Mear 1720 A Sett of Tunes
• 28b Wells 1724 Holdroyd, Israel
• 84 Amsterdam 1742 Foundery Collection
• 81b Cookham 1760 Harmonia Sacra
• 273 Milford 1760 Stephenson, Joseph
• 73b Arlington 1762 Arne, Thomas A.

[ xxx there are more if you include Cooper book dating. Their pre-Billings tunes are: ]

• Wells Israel Holdroyd 1724
• Portuguese Hymn From John F. Wade's Cantus Diversi; Alto by W.M. Cooper 1751
• Arlington Thomas A. Arne 1762

e.g. they give 1751 for Portuguese hymn

• Another really old one is "Corley", Denson book 510. Arranged by Richard DeLong from this source: "John Wilson, 17th century"

Keith Willard has a nice web essay on fasola.org: [3]

The other seven pre-Billings songs come from England, where during the 18th century a robust traditional of rural church music arose, considered the direct ancestor to the New England tradition. cite Temperley; how many of these does he mention?

xxx but not all of these are from the country parish tradition; Arne ? xxx wrote operas, I think...

• Amsterdam (D. 84). Appears in The Foundery Collection, 1742, [ xxx I think this is an early Methodist hymnal ] and is thus attributed in the 1991 edition. Graham gives the first American versions as A collection of the Best Psalm Tunes, Boston 1764 or The Grounds and Rules of Musick, 8th ed., Boston 1764.
• Aylesbury (D. 28 top). Denson edition gives "A book of Psalmody, 1718; Graham says "in this form" first published in James Green, A Book of Psalm-Tunes, 5th ed., London 1724, and gives the first American printing as Thomas Johnston, untitled collection, Boston ca. 1760.
• Cambridge (D. 287). John Randal (1717-1799). According to Graham (2004, 52) "probable" first appearance is in Stephen Addington, A Collection of Psalm Tunes fo Publick Worship, 6th ed., London 1786. He gives the first American publication as in Nehemiah Shumway, The American Harmony, 2nd ed., Philadelphia 1801. The Denson edition gives the song a date of 1790.
• Mear (D 49 bottom). Irving Lowens traces "Mear" (D 49 bottom) to Simon Browne's Hymns and Spiritual Songs (London, 1720).. The title page of this hymnal, quoted in The Sacred Harp, reads: "A / Sett / of / Tunes in 3 Parts / (Mostly New) / Fitted to the following / Hymns / But may be sung to any / others in the same measure / By Several Hands / Frances Hoffman sculp / Sold by Em Mathews at the Bible in Pater Noster Row.",</ref> [ xxxx add in what Graham says ]
• St. Thomas (D. 34b). Aaron Williams. First published in Thomas Knibb, The Psalm Singer's Help (London, ca. 1769; the Denson edition gives 1770). First American printing in Andrew Law, Select Harmony, Cheshire, Connecticut, 1778.
• Silver Street (D. 311). Isaac Smith (1734-1805). First published in Isaac Smith, A Collecton of Psalm Tunes in Three Parts, London, 1779-1780 First American publication in The Chorister's Companion, 2nd ed., New Haven, 1788.
• Wells (D 28b). Israel Holdroyd (1702-1753). First published in Holdroyd's The Spiritual-Man's Companion, London, ca. 1722 (the Denson edition gives 1724). First American printing in James Lyon's Urania, Philadelphia 1761.
• Sacred Throne [ xxx check who was Hugh Wilson (1764-1824). ] Denson 569

The first New England School

[ xxx cite the article we have on this, list the composers ] Going through Stephen Jenks (1812), there are 97 songs

• Bridgewater (D. 276). Lewis Edson. 1782, The Chorister's Companion, or Church Music Revised, New Haven.
• China (D. 163b). Timothy Swan. 1801, New England Harmony
• Lenox (D. 40). 1782, The Chorister's Companion, or Church Music Revised, New Haven.
• Lisbon (D. 467b). The original version was by Daniel Read and appeared in The American Singing Book (New Haven 1785). Oddly, the original version was a fuging tune in duple time; the current Sacred Harp version is not a fuging tune but an ordinary hymn tune, with the fuging notes compressed into a homonphonic texture; thus the Denson edition describes the work as "arranged from Daniel Read".
• Windham (D. 38b). Daniel Read. First appeared in Read's The American Singing Book, New Haven, 1785. [ xxx Graham says that it's in triple time. Try to find Read's original; SH version is in 4/4. ]

Should something be said about sentimentality?

It does seem that weepy stuff became prominent with the later White editions, though I'm not sure how to say this without violating WP:NOR. But look at these titles:

• "The Dying Boy" H.S. Reese 1859, Denson book 398
• "Weeping Mary" J. P. Reese 1859 Denson 408
• "The Dying Californian", Ball and Drinkard 1859, Deson 410
• "The Loved Ones" Arr. E. T. Pound 1859. Denson 413

Songs that are not specifically religious

There are more than you might think. The topics are, naturally enough, closely allied to religion: patriotism, temperance, family.

• "The Loved Ones" Denson 413 is about family
• "O, Come, Come Away!" is a temperance song

Denson, p. 334

O, Come, Come Away!

Denson, p. 334, attributed to William Houser (Hauser?), Hesperian Harp, 1848. [xxx Look up Cooper]

As Horn (1970, xxx) points out, this is originally the German driking song "Krambambuli". Krambambuli is a kind of bright-red liquor made in Germany. It gave rise to a student drinking song, which got imported to America. Then the temperance folk then adopted it with new (opposite!) words, and this got incorporated into various songbooks and ultimately the SH.

For the song, see German Wikipedia: http://de.wikipedia.org/wiki/Krambambuli_%28Getr%C3%A4nk%29, and for the German words (with mp3) see http://www.leonensia.de/lieder.php?id=10

A whole article on its history, by Armin Hadamer: http://www.jstor.org/stable/view/849576?seq=6

Soft Music

This is Denson 323, attributed to B. F. White himself [ xxx look up Cooper page ]. The model is the German son Du, du liegst mir im Herzen, considerably modified.

The Gap

Between 1869 and 1909, only three songs:

• 445 Passing Away 1872 Watson, John A.
• 117 Babylon Is Fallen 1878 Chute, W. E.
• 55 Sister's Farewell 1905 McLendon, A. J.

This was after B. F. White had died, and no new editions were being prepared.

Songs originating in popular music

Popular music is used here in the sense of music prepared and sold aiming at mass consumption. Popular music has overwhelmingly dominate public tastes since the beginning of the last century, and much contemporary religious music adopts its styles and genres. However, in the heyday of Sacred Harp music composition, the technological means for disseminating popular music were primitive; essentially the printing press and the domestic piano. These prevailed more in the cities than in the rural locales where the Sacred Harp tradition and its predecessors flourished; yet it seems that nevertheless there was some inflow of popular music tunes, reset with religious texts, into the Sacred Harp tradition.

Happy Land

This site:

http://www.madras.fife.sch.uk/archive/articles/TheMadrasCollegeAppendix1.html

offers:

"Andrew Young, who was English master from 1840 to 1853, made a great reputation from a hymn he wrote, a hymn which was to become known throughout the English-speaking world and was to be translated into many foreign languages. A popular drawing-room song of the period had these words:

"I've come from a happy land

Where care is unknown :

I've parted a merry band

To make thee mine own.

Haste, haste fly with me !

Where love's banquet waits for thee,

Thine its sweets shall be

Thine, thine alone. "

He liked the tune and thought that the words could be turned into something for use in his Sunday school. The result was the hymn "There is a happy land", the melody of which is still called "Indian Love Song".

Can this be tracked down?

See also

Scottish Church Music: Its Composers and Sources By James Love

on Google books; a visiting lady played the tune to Young on the piano.

Further Googling indicates that the words above come from a play by James Planché.

Sweet Home

also on Home! Sweet Home! and its composer, Henry Bishop. This is a nice example of "Southernization" of harmony and style--the SH version is pleasingly much less treacly.

A book noting the incredible popularity of the song (100,000 copies the first year): xxx

The Dying Californian

Appears to be based on a published song of the 1850's: see Google's copy of Folksongs of the Catskills. But the version in Sacred Harp (originating in the third edition of 1859) is not the same tune.

Portuguese Hymn

Long misattributed. See http://www.hymnsandcarolsofchristmas.com/Hymns_and_Carols/Notes_On_Carols/adeste_fideles.htm

The Denson Edition assigns it no date; Cooper says 1751.

Songs with an origin in classical music

Classical music is the source for a number of songs in the Sacred Harp. These songs typically use the tune of the classical source, but the musical setting is adapted, at least to some degree, to the Sacred Harp style.

[ xxx It's starting to look like there may be scads of these. The two by Pleyel are prominent mainly because the composer's name is acknowledged in the title. And the origin gets obscured because the process of "hymnification" often occurred long before the song was adopted into Sacred Harp. ]

Arlington (C,D 73b)

Originally, this was a minuet, part of the overture to Thomas Arne's opera Artaxerxes. The adaptation to being a hymn tune took place in England. The first appearance in a hymnbook is in Harrison's Sacred Harmony of 1784, and it was shortly thereafter reprinted in America in the Chorister's Companion (1788).

The Denson edition notates the song in 3/2, preserving the original minuet rhythm. The Cooper edition recasts the rhythm into xxx notation, with altered rhythm.

Weeping Savior

According to Horn (1970, 19), the tune was composed by the Ukrainian-Russian composer Dmitry Bortniansky; q.v. for details. The version in The Sacred Harp was prepared by Edmund Dumas in 1869 (1936 ed: 1839); the alto part of the Denson edition was prepared by Seaborn Denson in 1911 (according to the 1936 edition).

A version of Bortniansky's tune may be seen here: [4]. The melody is in the soprano. Dumas clearly modified it considerably, including the refrain in Aramaic in the the last four bars.

Pleyel's Hymn Second

Graham (2004) attributes the melody to "the andante movement of a string quartet in G major published in 1788" by Ignaz Pleyel. It entered hymnody in Arnold and Callicott's Psalms, published in England in 1791 (more available in Graham, which obtain...)

Loving Jesus

Denson p. 361, attributed to "Pietro Guglielmi" 1772, whom investigate.

Sweet Affliction

Denson 145. From the opera Le devin du village by Jean-Jacques Rousseau, according to Horn (1970, 165). See also Denson books description.

Songs of folk origin

These are so hard to verify.

• "Joyful", Denson 513, is "The Seven Joys of Mary" -- origin? Arranger was B. F. White
• "The Great Day" Denson 567. Joel Cohen thinks he's spotted the original (see his album mixing Sacred Harp with other genres). Arranged by J. P. Reese in 1859.

References

• Graham, Fred Kimball (2004) "With One Heart and One Voice: A Core Repertory of Hymn Tunes Published for Use in the Methodist Episcopal Church in the United States, 1808-1878. Lanham, MD: Scarecrow Press.
• Horn, Dorothy (1970) Sing to me of Heaven. Gainesville: University of Florida Press.
• Lowens, Irving (1954) "John Tufts' "Introduction to the Singing of Psalm-Tunes" (1721-1744): The First American Music Textbook," Journal of Research in Music Education 2:89-102.

Sacred Harp conventions

[ xxx there is an obvious source for this, namely the page in the Rudiments of Denson. Perhaps Cooper also ]

In the context of Sacred Harp music, the term "convention" has two meanings. First, it may designate a gathering of singers for purposes of singing from their tunebook, The Sacred Harp; normally, "convention" is used to designate only larger gatherings of this kind, lasting two or more days. Second, a convention may be an "organization that sponsors [Sacred Harp] singings".

History

Conventions arose not long after [ xxx ??? surely they preceded? ] the original publication of the first edition of The Sacred Harp by B. F. White in 1844. The first xxx. A few conventions still active today have very long histories; for instance, the Chattahoochee Musical Convention (founded 1852) and the East Texas Musical Convention (1868).

• spread, modern ones. Marini mentions some

Officers and parliamentary procedure

Normally a convention begins with an opening song, then a prayer, then the election of the convention officers. This election follows the forms of parliamentary procedure, but is executed swiftly since normally the officers have already been informally chosen from among those responsible for organizing a convention in a particular year and place. The remainder of the convention also follows parliamentary procedure, in an inconspicuous way (since the great bulk of the time is spent singing, and secondarily socializing during breaks and the main meal). At the end of the convention the committees normally give reports, for instances on whether donations covered expenses, where singers came from, and where the next convention will be held.

On rare occasions the use of parliamentary procedure has been more than a convenient meeting format when conventions have grappled with a difficult decision; for instance, changing to a different edition of the tunebook; this occurred for example in xxx when xxx.

Choice of leaders

The main portion of a convention consists of a sequence of leaders who are asked to "give a lesson". Normally, the "lesson" simply consists of leading one song (occasionally, more than one). Historically, there were often conventions in which the leaders were few, specifically selected for their musical authority; such leaders could more plausibly be considered as teachers of the group. The term persists, however, even in the present era with more widely distributed leading responsibilities

Leaders are chosen by the Arranging Committee, part of the elected leadership of the convention. [ xxx tact in picking leaders; link to the daunting page by an expert ]

Parting and closing songs

Holy Manna 59, Parting Hand 62

Dinner on the grounds

The middle of the day is the time for "dinner on the grounds", a potluck dinner. This is prepared by local singers and is traditionally hearty. Stephen Marini describes the dinner on the grounds for singing he attended in Blount County, Alabama; the foods available clearly emphasized Southern regional cooking.

Six picnic tables were set up end to end in front of the church and laden with homemade dishes. Platter of fried chicken, baked ham, smoked turkey, and barbecued ribs vied for space on the crowded tables with bowls of fried okra, sweet potato pie, black-eyed peas, baked beans, and collard greens. One end of the groaning board was reserve for desserts: peach and cherry cobbler, chess pie, lemon meringue pie, coconut custard pie, chocolate pie. Two ten-gallon urns of iced tea shared space with the desserts.

Refreshments, such as lemonade or iced tea, are also made available at breaks in the singing. It may be noted that Sacred Harp conventions are entirely "dry"; that is, no alcoholic beverages of any kind are served.

Prayer

opening, closing, pre-dinner

memorial lesson

Closing song

Often a convention has a particular song which is sung at the end of the day, during which time handshakes or hugs are exchanged among the singers. Often this song is "Parting Hand" by William Walker (p. 62 of both Cooper and Denson editions).

Minutes

During the convention, the elected convention secretary notes down various aspects of what took place: the convention officers, the sequence of leaders and tunes, and other details such as the memorial lesson or (for example) any singing school that took place as part of the convention. After the convention is over, the secretary trancribese these notes into a standard format for the minutes of a convention; this format is entirely factual and does not include commentary or the secretary's views. Where the tunebook used in the convention was anything other than the 1991 "Denson" edition of the Sacred Harp (the most commonly used tunebook), this is noted. The minutes are sent to the Sacred Harp Musical Heritage Association, headquartered in the South, which publishes the collected minutes of singings, Sacred Harp conventions world-wide, in their annual book series Minutes and Directory of Sacred Harp Singings. For years starting 1995 the minutes have been posted in searchable form on the internet.

References

Marini, Stephen A. (2003) Sacred Song in America: Religion, Music, and Public Culture. Urbana: University of Illinois Press.

Secondary development

A secondary development, in music, is a section that appears in certain musical movements written in sonata form. The secondary development resembles a development section in its musical texture, but is shorter and occurs as a kind of excursion within the recapitulation section.

As described by Rosen

The term was invented by the musical scholar and pianist Charles Rosen, who describes the secondary development as follows:

'The Secondary Development section appears in the great majority of late eighteenth century works soon after the beginning of the recapitulation and often with the second phrase. Sometimes it is only a few bars long, sometimes very extensive indeed.

Rosen also attributes a purpose to the secondary development:

The purpose of this section is to lower harmonic tension without sacrificing interest: it introduces an allusion to the subdominant or to the related "flat" keys.

The "lowering of tension" by means of reference to the subdominant key is related to Rosen's general views on sonata form, in which the exposition section creates a sense of musical tension by moving to the dominant key (which lies upward from the home key by one on the circle of fifths). This tension which is "resolved" in the recapitulation by the return to the tonic. The use of the subdominant in secondary developments, a downward move from the tonic on the circle, provides a sort of balance. The same is true for the "related 'flat' keys" mentioned in the quotation above, which lie even lower on the circle than the subdominant (Rosen 1997, 24). Rosen suggests that "it is the restoration of harmonic equilibrium as well as the need for variation that gives the Secondary Development its function."

The term is widely used in analytic discussions of movements written in sonata form.

Other views

Hepakoski and Darcy (2006, 235-237) offer a different view of why so many sonata form movements include secondary developments, based on the purely mechanical function that secondary developments serve. Sonata form expositions always include a modulation, which in major-key works normally moves from the tonic key to the dominant. The later recapitulation section restates the musical material of the exposition, but this time entirely (or almost so) in the tonic key. Thus the passage of the exposition (often quite extensive) that originally carried out the change of key usually cannot remain unaltered in the recapitulation; it must be rewritten in some way that keeps the music in the tonic. Given that the required key shift is downward by a fifth (from dominant to tonic), it is natural that the rewritten material will include reference to the subdominant key (a fifth down from the tonic).

Hepakoski and Darcy's explanation continues: given that the transition zone in question was the only part of the recapitulation that actually required re-composition, it was only natural that it would become established among composers as the "freest available spot for compositional craft and modification within a recapitulation"; particularly "in large-scale or more ambitious works", composers could "take the opportunity for a substantial reshaping of the entire section" For these authors, the substantial character of the secondary development and its use of the subdominant key do not reflect any sort of large-scale need for balance, as in Rosen's view, but emerge as a by-product of the structure and history of sonata form.

Secondary developments elsewhere in the recapitulation

Rosen's original work acknowledged the purely mechanical function of the secondary development in permitting the music to continue in the tonic key, but asserts that this is not the reason why composers included extensive secondary developments. For Rosen, the better explanation is the one given above, involving considerations of balance and tension. In support of this, Rosen notes that when the subdominant key does not appear in the secondary development, it tends to show up elsewhere, such as the development or coda. Moreover, even within the recapitulation, secondary developments are not always located at the place where the key change must be "undone", but comes earlier: "the Secondary Development as often as not returns to one of the themes of the first group, which necessitates a still further change later in the section in order to bring the second group into the tonic." As an example Rosen cites Beethoven's "Waldstein" sonata, op. 53.

Rosen's comments gave rise to a dispute over the facts. Hepakoski and Darcy judge that examples like the "Waldstein" sonata are rare, "from a famously deformational stucture composed in the high-middle period of a composer obsessed with conceptually 'difficult' modifications of standard sonata practice." Their general claim is that Rosen's case for tonal balance is "overstated", being based on unrepresentative works.

Nomenclature

Hepakoski and Darcy suggest (p. 237) that "recapitulatory transition" would be a better term than "secondary development". Caplin (2000, 277) likewise objects to the term: it is "useful as an informal description but potentially misleading: the new sequential passage does not usually resemble the way in which sequences are organized in a real development ... the model of a secondary development is generally short, and sequential activity is rarely modulatory."

References

• Caplin, William E. (2000) Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. Oxford University Press.
• Hepakoski, James and Warren Darcy (2006) Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata. Oxford: Oxford University Press.
• Marshall, Robert Lewis (2003) Eighteenth-century Keyboard Music. Routledge.
• Rosen, Charles (1988). Sonata Forms (2nd edition). W. W. Norton & Co. Ltd. ISBN 978-0393302196.
• Rosen, Charles (1997). The Classical Style, 2nd ed. Norton. ISBN 978-0571228126.
• Sisman, Elaine (1993) Mozart, the "Jupiter" Symphony, No. 41 in C Major, K. 551. Cambridge University Press. ISBN 0521400694, 9780521400695

Category:Music theory

Karl van Beethoven

Karl van Beethoven; anonymous contemporary miniature

Karl van Beethoven was a student, soldier, and xxx. He is remembered to history as the nephew of the composer Ludwig van Beethoven, who had custody over Karl during a substantial portion of his childhood. The two had a loving but difficult relationship, toward the end of which Karl attempted suicide.

Birth and early childhood

He was born 4 September, 1806.

The custody struggle and the period of Ludwig's guardianship

Karl's father Kaspar Karl had intended for Karl to be jointly cared for by Ludwig and Johanna. Yet the two were on very poor terms, and only days after Kaspar Karl's death Ludwig sued in the courts to obtain sole custody, basing his case in part on Johanna's criminal record. In xxx, the court gave Ludwig sole custody over Karl.

Biographers generally state that Ludwig was not a good custodian for his nephew. Lewis Lockwood writes, "After gaining full guardianship of Karl in 1820, Beethoven continued to struggle for the remaining six years of his life to oversee and manage the boy's education and development. At the same time, since he was deeply immersed in his work and had to cope with publishers, his physical and emotional debilitation, and his deafness, he could hardly provide an atmosphere in which the boy could thrive. As the day-to-day difficulties increased over these years, Karl's life with his uncle became increasingly intolerable."

On initially gaining custody Beethoven placed Karl in a private boarding school run by Cajetan Giannatasio del Rio (1764-1828). He also arranged for Karl to be instructed in piano by Karl Czerny, an arrangment that continued at least through 1826.

During the initial period after she had lost custody, Johanna (or one of her servants) appeared at Karl's school daily, seeking to communicate with him or bring him home. The school's director complained to Beethoven, who then obtained a court order (February 20) limiting Johanna's access to Karl: she would visit him only "in his leisure hours, without disturbing the course of his education or the domestic arrangements, in the company of a person to be appointed by the guardian or the director of the educational institution"

On 24 January 1818, Karl left Giannatasio del Rio's boarding school and moved into Ludwig's household, where he was instructed by a private tutor from Vienna University. On 19 of May, the two left Vienna for the summer quarters, following Ludwig's normal practice, in Mödling. Beethoven enrolled Karl in the local school there. On 18 September, Johanna launched her legal counteroffensive intended to get Karl back, appealing to the responsible court, the Landrecht. On December 3, Karl ran away from Beethoven's home, seeking shelter with his mother. Ludwig retrieved him with the assistance of the police. Johanna renew her suit in the Landrecht on December 7, and on the 11th the case was transferred to the xxx, on the grounds that it had never belonged with the Landrecht in the first place (the court was reserved for the aristocracy, and it was wrongly assumed that the "ven" in the Beethoven family name implied a noble title.)

The new court in charge of the case, the Magistrat, was far more sympathetic to Johanna's claims, and awarded her custody on 11 January 1819.

He Karl continued to attend various private schools to age 17 (1823), at which point he went on to university to study philology.

[ xxx sequence of schools, expulsions, clandestine visits by the Mom, bad company and whoring ]

In 1824, Karl decided he wanted to pursue a career as a military officer, and asked his uncle for permission to do so. In fact, we have the very words with which he asked, since Ludwig was quite deaf by this time, and communications to him had to be written down in a conversation book. Karl said (abridged):

I will not become anything without your approval. You will find my choice strange, but I will nevertheless speak freely. And the career I should like to choose is not a common one. On the contrary; it requires study, too; only of another kind; and such as I believe suitable to my inclination: soldier.

Ludwig's reply is not preserved (since it was spoken), but it is known that he turned down Karl's request. He was to change his mind two years later under different circumstances (see below).

Suicide attempt

The ruins of Rauhenstein Castle

Karl attempted suicide on 31 July, 1826. He had gone to the ruins of Rauhenstein Castle near Vienna and fired two pistols at his head. One misfired, and the other inflicted a non-fatal wound. He was taken to his mother's house and spent about two days there, then transferred (probably under police orders, as suicide was a crime in Austria at the time) to a hospital. After his release from hospital he was sent to the country home of his younger uncle, Johann van Beethoven, to recover further.

Gruneberg (1956, 1963) has made the case that Karl did not seriously intend to kill himself. Instead, basing his claims in part on social science research on unsuccessful suicide attempts, as "a dramatic attempt at communication" Gruneberg notes that "the human scalp is richly supplied with blood vessels, yet we hear of no serious hemorrhage, which would inevitably have been a feature of any really extensive laceration. No sutures seem to have been inserted -- we hear of a simple bandage as the only treatment which was eventually applied. No bullet was removed, so it is unlikely that there had been one retained in the patient's skull." The law dealt with Karl very leniently: he was required to submit to a single visit from a priest for religious instruction (suicide is a mortal sin in Roman Catholicism, the state religion), and this was held to be sufficient; Karl was not further placed in any legal jeopardy. Gruneberg suggests that neither the police nor the people close to Karl felt it likely that he would make another suicide attempt.

After the suicide attempt, those close to Karl quickly set out to rearrange his life for the better. Ludwig instantly changed his mind about a military career for Karl and lobbied his friend the Field Marshal von Stutterheim to admit Karl as an officer cadet into the Army; this attempt was successful.

Ludwig died on xxx, 1827. Karl had become somewhat reconciled to his uncle and, following the will Ludwig made out in January 1827, he was the sole beneficiary of his estate.

Later life

Karl served in an infantry regiment at Jihlava (Iglau) in Moravia. During his service he met his future wife Caroline Barbara Charlotte. When she moved to Vienna in 1831, Karl abandoned his military career, and the two were married in 1832. Karl took a job in an Austrian government office. He lived comfortably, from the legacies of both Ludwig and (after 1848) his other uncle Johann.

He and Caroline had four daughters and one son; they named their boy Ludwig van Beethoven.

Karl lived a quiet life for the remainder of his days and died of liver cancer in 1858, aged 52.

Gruneberg, discussing the aftermath of the suicide attempt, writes:

It is relevant in this context to refer to Karl's subsequent career. He became an officer of blameless record. He married and had five children. Nothing in his adult life stamps him as a serious psychiatric case. The [efforts at] resuscitation and rehabilitation were completely successful.

References

• Davies, Peter J. (1995) Was Beethoven’s Cirrhosis Due to Hemochromatosis? Renal Failure 17:77-86.
• Folsom, Allan and John Suchet (2000) Day of confession (Volume 3 of Last Master). Little, Brown and Company. ISBN 0316882550.
• Gruneberg, R. (1956) Karl van Beethoven's 'Suicide'. The Musical Times Vol. 97, No. 1359, pp. 269-270.
• Gruneberg, R. (1963) Karl van Beethoven's suicide attempt: a reassessment. Musical Times Vol. 104, No. 1441, pp. 180-182.
• Lockwood, Lewis (2005) Beethoven: The Music and the Life. W. W. Norton & Company. ISBN 0393326381.
• Nettl, Paul (1957) Beethoven's grand-nephew in America. Music and Letters 38:260-264.
• Stanley, Glenn (2000) The Cambridge companion to Beethoven. Cambridge University Press. ISBN 0521589347.
• Thayer, Alexander Wheelock (1921) The life of Ludwig van Beethoven, Volume 2. The Beethoven association.

Mozart's ancestors

Other than his father Leopold, none of the ancestors of Wolfgang Amadeus Mozart achieved any form of notability. Nevertheless, Mozart's ancestry has been an active topic among Mozart's biographers, who pose the question of whether there was any evidence of extraordinary creativity among the composer's ancestors.

A common view in the early 20th century was that extraordinary artistic ability appeared in Wolfgang without any evidence of it in earlier generations; that in the words of biographer Arthur Schurig Mozart was 'the sole wonderful flower on an insignificant lowly shrub' Biographer Alfred Einstein wrote "The name [Mozart], which has become a symbol of grace, sometimes took on rougher forms (e.g. Motzert), and rough doubtless were those who bore it-artisans and peasants." To the contrary, King (1973) suggested that a closer look at the occupations of Mozart's ancestors indicate artistic talent; this is discussed below.

Paternal ancestors

Johann Georg Mozart

Johann Georg Mozart (4 May 1679 – 19 February 1736) was a bookbinder who lived in Augsburg, Germany, in the 17th and 18th centuries.

Johann Georg's own ancestors were "artisans and masons", but he pursued a different career, becoming a master bookbinder. He evidently advanced his career when he married the widow (named Anna Maria Banegger) of his former master, and thus obtained his old master's guild license. His first wife bore him no children and died in 1718. His second wife was Anna Maria Sulzer (1696–1766), with whom he had eight children over the years 1719–1735; of these, three boys and two girls survived to adulthood. Leopold, born 14 November 1719, was the oldest.

The family were Catholics and after 1722 lived in a house owned by the Jesuits. They sent their two oldest sons to Jesuit schools.

Neither Johann Georg nor his wife Anna Maria had any direct influence on the life of their celebrated grandson. Johann Georg died 20 years before Wolfgang Amadeus Mozart was born; and Leopold became estranged from his mother following his move in young adulthood to Salzburg (1737); hence there was no contact between grandmother and grandson during the period their lives overlapped.

Another son of Johann Georg, Franz Aloys Mozart (1727–1791), remained in Augsburg and followed his father's career as a bookbinder (he also occasionally published religious tracts). He was the father of Maria Anna Thekla Mozart, Wolfgang's first cousin and friend.

References

• King, Alex Hyatt (1970) Some aspects of recent Mozart research. Proceedings of the Royal Musical Association 100:1-18.
• Solomon, Maynard (1995) Mozart: A Life, Harper Collins.

Joseph Haydn's years as a freelance musician

During the period from about 1749 to about 1753, the composer Joseph Haydn (1732-809) had no full-time position and worked as a freelance musician. During the preceding years, he had worked as a boy soprano, living in the Kapellhaus at St. Stephen's cathedral in Vienna and singing under the direction of Georg Reutter, who was also responsible for his education. Starting (probably) in the year 1757, he had a full time position as Kapellmeister (director of music) for Count Morzin. In between, he struggled to establish his career in music and fill gaps in his musical training. This period of Haydns life is not well documented and what is known consists largely of hard-to-date anecdotes.

Dismissal from the St. Stephen's choir

The teenaged Haydn, naturally enough, gradually lost the ability to sing soprano that had brought him to Vienna and lauched his career and training as a musician. It was quite inevitable that he would lose his position; though xxx suggests it would have been nicer if his employer Georg Reutter had found him some other position (for example, as a violinist) rather than simply dismissing him. In any event, it is known that Haydn was indeed dismissed, and rather suddenly. Where authorities differ greatly is what happened at the moment he was dropped from the choirs.

An unsettled area in the biography of Joseph Haydn concerns what happened when he lost his position as a choirboy at St. Stephen's cathedral in Vienna in 1749. Both the earliest biographies from Haydn's time, as well as the modern works that rely on them, give strikingly varied accounts, which differ particularly in the pathos of the events they relate.

The early biographers

All choirboys eventually lose their jobs, since male children do not retains their high voice into adulthood. Thus Haydn knew perfectly well that he would not remain in the St. Stephen's ensemble forever. Sources agree that Haydn's dismissal was preceded by a period in which he continued to try to sing soprano but encountered ever more difficulty as his larynx grew towards its manly dimensions. It was during this period that the monarch of Austria, Maria Theresia described the erstwhile fine singer as "crowing".

Sources also generally agree that the actual moment when Haydn was cashiered was prompted by a prank he committed; namely cutting off the pigtail of another chorister. Haydn biographer Albert Christoph Dies describes the results thus:

Reutter called him to account and sentenced him to a caning on the palm of he hand. The moment of punishment arrived. Haydn sought every means to escapte it and ended up declaring that he would rather not be a choirboy any more and would leave immediately if he would not be punished. "That won't work!" Reutter retorted. "First you'll be caned, and then get out!"

It is what happened next where sources differ radically. The main sources that can be consulted are the four biographies written, each by admirers of Haydn, and published not long after his death.

The most dramatic tale is told by xxx Framery, a xxx who is believed to have gotten much of his information second hand, from Haydn's good friend and former pupil Ignatz Pleyel.

The unfortunate Joseph at first didn't know what to do or to whom he could turn for sanctuary; he was forced to spend the first night in the street, where a stone bench served him as a bed. The following day a poor musician whom he knew, named [ xxx ] "Spangler", recognized him when passing by in the street. Haydn told him his sad story in detail, and the good man took pity on him.

This was xxx Spangler, who xxx. Framery goes on to describe Spangler's own crowded accomodations, indicating it was quite generous of him to crowd Haydn, for a time, into his household. Haydn xxx daughter.

Another early biography, Giuseppe Carpani, tells a rather different tale:

Being a little mischievous, like all lively young people, he one day took it into his head to cut off the skirt of one of his comrade's gowns, a crime which was deemed unpardonable. He had sung at St. Stephen's eleven years; and, on the day of his expulsion, his only fortune consisted in his rising talent, a poor resource when it is unknown. He, nevertheless, had an admirer. Obliged to seek for a lodging, chance threw in his way a peruke-maker, named Keller, who had often admired, at the cathedral, the beauty of his voice; and who, in consequence, offered him an asylum. Keller received him as a son, sharing with him his humble fare, and charging his wife with the care of his clothing.

Haydn, freed from all worldly cares, and established in the obscure dwelling of the peruke-maker, was able to pursue his studies without interruption, and to make rapid progress.

It is indeed true that Haydn did indeed at some point fall in love with Keller's younger daughter, and when the latter entered a convent, he married (1760) Keller's older daughter xxx; a marriage that proved to be a very unhappy one. However, no other biographer asserts that Haydn went directly from the St. Stephen's Kapellhaus into Keller's home.

Dies, already quoted above, gives a third version:

Reutter kept his word, and thus the cashiered schoolboy, helpless, without money, outfieed with three miserable shirts and a worn-out coat, stepped into the great and unknown world. His parents were very upset. The tender-hearted mother especiially showed her anxious cares with tears in her eyes. She implored her sone that he might still give in to the wishes and paryers of his parents and dedicate himself to the priesthood.

This would suggest that when dismissed Haydn paid a temporary visit to his home village of Rohrau, where he would have discussed his future with his parents. Dies goes on to describe how Haydn, with difficulty, resisted his mother's wish for him to become a priest. He does not say where Haydn went next, but eventually describes one of his first lodgings in vienna: "a dark little attic five floors up duner the eaves of the Michaelerhaus, in the Kohlmarkt."

A terse, fourth version is given by one other earlier biography, Georg August Griesinger:

Haydn was dismissed fromt he Choir School in his sixteenth year xxx because his voiced has broken. He could not expect the least support from his poor parents an so had to try to make his own way by his talent alone. In Vienna he moved into a wretched little attic room without a stove (in the house at No. 1220 in Michaelerplatz).

Modern biographers

Faced with this conflicting testimony, biographers working after Haydn's time have adopted different courses, particularly concerning (1) whether Haydn was cruelly expelled into the streets; (2) whether he spent a homeless night on a park bench; (3) whether he went home to Rohrau.

An early, widely admired biography by Carl Ferdinand Pohl unskeptically presents Framery's version:

xxx

The Framery tale is also given in a charming version in Hughes's 1950 biography:

xxx

Geiringer

Jones

The historical drift appears to be in the direction of decreasing sentimentality: while it may be pleasant to think that Haydn worked his way to career success from a starting point of homelessness, scrutiny of the four early biographies has shown that they differ in the number of claims they make that are, in light of other historical evidence, clearly false. From such scrutiny a clear hierarchy of reliability emerges, with Framery the least trustable, Carpani the second-least, Dies the third-least, and lastly Griesinger as the most trustworthy source. The drift of modern biographies to the dull-but-inspiring conclusion, "Haydn went home to Rohrau", is perhaps best understood in light of improved understanding of the trustability of the original sources.

away from the Framery versions (and the more sentiment

Vestas Feuer

To do

• Grab the local copy of Westermann and read its front matter. Perhaps Hess by ILL?
• Source the fact that Schikaneder was rehired for a time

The 1808 performance of "The Creation" in honor of Joseph Haydn

The 1808 performance of "The Creation" in honor of Haydn; reproduction of a stationery box lid painted in watercolors by Balthazar Wigand. Click to enlarge.

The last public appearance of the composer Joseph Haydn was at a performance held in his honor of his oratorio The Creation.

Things to cover:

• Haydn's own state of health
• was for his 76th birthday (Webster, [5])
• background on The Creation
• the concert series of which it was the concluding event
• Salieri led
• venue
• the trumpets and drums at his entrance
• translation of libretto into Italian by Carpani
• Those who attended, including homage of younger composers
• The Wigand painting, with idenfication of who is in it
  • channel nice article on it
• Had to leave early, perhaps blessing the audience
• Haydn's final decline and demise

Nice refs:

[6]

• Albrecht, Theodore (2004) The musicians in Balthasar Wigand's depiction of the performance of Haydn's Die Schöpfung, Vienna, 27 March 1808.

Music in Art Vol. 29, No. 1/2, (Spring–Fall 2004), pp. 123-133

Joseph Haydn: reception history

During his lifetime, Joseph Haydn was perhaps the most celebrated of composers; his music was very widely played and he received honors and awards from throughout Europe. In the two centuries since his death in 1809, public and critical esteem for Haydn's music has varied, largely following a U-shaped curve: it dropped off considerably during the period from his death to the late 19th century, then rose again from about 1920 to the present.

Decline

It was the onset of the Romantic Era that led to a drop in Haydn's reputation; music was now being written in a very different style and the new composers (several of whom were also critics) understandably wanted to make space on concert programs for new music. Robert Schumann notably patronized Haydn, writing in 1841:

Haydn's music has always been played here often. Today it is impossible to learn anything new from him. He is like a familiar friend of the house whom all greet with pleasure and with esteem but who has ceased to arouse any particular interest.

Curiously, the following year Schumann "rediscovered" Haydn, as it were, embarking on a period of intensive study of the quartets and playing them four-hands on the piano with his wife Clara. His public assessements of Haydn became more positive.

Berlioz and Wagner were both hostile to Haydn's work; Wagner notably complained that Haydn's work is too rhythmically lively (a view that perhaps reflects the oft-sedate pace of Wagner's own compositions). Other views common at the time were that Haydn's music was child-like in outlook, technically very simple, and lacking in emotional depth. Although the continued affection for Haydn's music by audiences led to its continued appearance on programs by 1900 the number of Haydn compositions consistently played had shrunk to just a few and his critical reputation was at a nadir.

Revival

The Haydn revival came from various sources and was gradual. Among the figures Proksch cites as being responsible are Vincent d'Indy, Heinrich Schenker, Arnold Schoenberg, Donald Francis Tovey, and Wanda Landowska. The development of long-playing recordings starting in the mid 20th century made it possible for listeners to hear much more of the composer's vast output; and eventually complete series were recorded of the genres in which Haydn was fecund: symphonies ([[other guy Antal Dorati ] ], 1973, proksch 1969-1972, string quartets (Aeolian Quartet 1976, Proksch 218), piano trios (Beaux Arts Trio, 1978), and eventually the baryton trios (Esterházy Ensemble; 2009). With the late 20th century a fair number of the recordings came to be on historical instruments (see Historically informed performance), and Haydn's reputation rose in tandem with the increased popularity of this approach to performance.

A curious theme of the revival was the conversion of Haydn from a composer suitable for children to one suited to connoisseurs, a term used by Charles Rosen in his The Classical Style, a book that devoted about half of its pages to Haydn xxx check . Schenker wrote, "No doubt that Haydn who today has sunk to the level of child-performers, will one day rise again from the children to the adults, as basically the rarest and most adult people of all belong to his circle.

References

• Proksch, Brian (2015) Reviving Haydn: New Appreciations in the Twentieth Century. Boydell & Brewer.

Didactic poetry

Cairns lists as one of the traits of Viennese popular theater expression of "didactic sentiment", and Rosen writes "Die Zauberflöte develops ... a conception of music as a vehicle for simple moral truths." The most direct reflection of this pattern is the appearance of stretches of didactic poetry in the libretto; i.e. during ensemble scenes, when the characters cease to converse with each other and instead join in singing an edifying lesson to the audience.

One example is found in Scene xxx, just after Monostatos and his slaves dance peaceably off the stage, enchanted by Papageno's magic bells and leaving Pamina and Papageno in freedom. The two celebrate their escape by singing the following.

Könnte jeder brave Mann Solche Glöckchen finden, Seine Feinde würden dann Ohne Mühe schwinden; und er lebte ohne sie in der besten Harmonie, Nur der Freundschaft Harmonie Mildert die Beschwerden, Ohne diese Sympathie Ist kein Glück auf Erden

Could but every brave man Find such bells, His enemies would effortlessly disappear, And he would live without them In the best harmony. Only friendship's harmony Can make burdens easier. Without this sympathy, There is no happiness on earth.

The second act finale begins with a scene framed by didactic poetry. First the Three Boys enter, singing:

Bald prangt, den Morgen zu verkünden Die Sonn' auf goldner Bahn, Bald soll der Aberglaube schwinden, Bald siegt der weise Mann. O, holde Ruhe, steig hernieder, Kehr in der Menschen Herzen wieder, Dann ist die Erd' ein Himmelreich, Und sterbliche sind Göttern gleich.

Soon, to herald the morning, The sun will gleam along its golden path, Soon, superstition will vanish, And the wise man will soon win the victory. O gracious peace, descend hither, Return to the hearts of the people, Then the Earth will become a heavenly kingdom, And mortals like the gods.

The action then shifts to drama and dialogue: Pamina nearly commits suicide but is dissuaded by the Three Boys, who tell her that Tamino loves her and is willing to risk death for her. Pamina, once convinced, ardently sings "Ich möcht' ihn sehen" ("I want to see him") five times; then after a brief pause the four characters sing:

Zwei Herzen, die von Liebe brennen, Kann Menschenohnmacht niemals trennen, Verloren ist der Feinde Müh, Die Götter selbsten schützen sie,

Two hearts that burn with love Can never be separated by human frailty. The enemy's efforts are lost; The gods themselves protect them.

Rosen suggests that not just the words of these passages, but even the music is didactic: "The morality of Die Zauberflöte is sententious, and the music often assumes a squareness rare in Mozart, along with a narrowness of range and an emphasis on a few notes very close together that beautifully illuminate the middle-class philosophy of the text." As an example Rosen cites the music for the passage beginning "Könnte jeder brave Mann", cited above.

The didactic passages in Schikaneder's libretto attracted the admiration of Franz Liszt, who after attending a performance copied down several of them in a personal letter. Ingmar Bergman in his 1975 film of the opera gave special treatment to the didactic poetry by having his characters hoist "a series of placards on which these moral sentiments are carefully lettered.

The passage quoted above beginning "Zwei Herzen" has attracted particular admiration: Heartz called it "the loveliest of all the opera's beautiful moments"; Hermann Abert wrote of "a paradisal radiance unique in this work"; "Pamina's tragic turmoil ends in pure, heartfelt, fairytale happiness." Liszt quoted Schikaneder's verse in his letter and appended, "Amen!".

References

• Cairns, David (2006) Mozart and His Operas. Berkeley and Los Angeles: University of California Press. Quoted material accessible on line at Google Books: [7].
• Heartz, Daniel (
• Rosen, Charles (1997) The Classical Style: Haydn, Mozart, Beethoven. New York: Norton.