Mozart And Haydn Research Paper

1292 Words6 Pages
Wolfgang Amadeus Mozart has always been a name that correlated with musical virtuosity and genius in my mind. When considering Mozart’s life and accomplishments, it is difficult to be surprised that he is regarded so highly in musical history. Born and raised in Salzburg, Austria, Mozart quickly received widespread recognition when he displayed extraordinary musical ability at a very young age. Over his lifetime, Mozart became involved with prominent venues and patrons, a couple of which included the Salzburg court and Austrian Emperor Joseph II. The support and patronage Mozart received over his lifetime from his patrons and local nobility allowed him to compose over 600 works: sonatas, concertos, sonatinas, minuets, librettos, serenades,…show more content…
While there might not be a reliable documented source for the year Mozart and Haydn met each other, there is plenty of evidence that points to their close relationship. In his New York Times article, Robbins Landon indicates that, according to authentic sources, Mozart was an enthusiastic admirer of Haydn and even considered him to be his teacher. Robbins Landon also indicates that Mozart learned and studied Haydn’s structural techniques of his sonata form, which can be simplified as assembling movements around a theme that grows more dramatically complex in the development section and resolved in the recapitulation, all the while being economical with the note count. Mozart’s emulation of Haydn’s structural techniques can be clearly seen in his Eine Kleine Nachtmusik. The piece begins with a simple, homophonic motif that becomes more complex development section by use of tonicization, modal mixture and changing texture, and finally, a cadential confirmation of the themes in a tonic key. Additionally, Mozart Eine Kleine Nachtmusik is a relatively short piece, yet still maintains the tension, drama, contour and structure, demonstrating Mozart’s economical use of notes. This is just one example showing how Mozart’s defining techniques in his works were attributed to his emulation of…show more content…
426, which was composed after his studies of Bach and Handel in 1783. After listening to Fugue in C minor, I understood Mozart’s strong utilization of contrapuntal techniques as well as the intense nature of the piece as a direct result of Mozart’s study of J.S. Bach and his progressive shift from Classical to Baroque style. However, it was only about 5 years later, in 1788, when Mozart added a beginning adagio section to his 1783 fugue in Adagio and Fugue in C minor, K. 546. When I first came across this piece of information it did not alarm me in the slightest, not until I looked at it more closely in comparison to Handel’s music. Adagio and Fugue in C minor, in fact, fits the definition of a French overture, a style that was frequently used by Handel as an opening to his operas and oratorios. According to OnMusic Dictionary, a French overture “is divided into sections, the first being stately and regal, using dotted rhythms, the second section is lively and usually
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