MOZART AS COURT MUSICIAN

Amadeus

This must be the third time I have watched Amadeus and I think it’s an excellent film.

Some highlights…

When Salieri asks the priest whether he recognises any of his own compositions (that he plays on a clavichord) until he gives in and starts playing ‘Eine Kleine Nachtmusik’ to which the priest finally lights up in recognition.

The very first depiction of the adult Mozart chasing a girl round a palace, his juvenile and scatological humour, his ability to speak words backwards, all in contrast to the rather grand and official surroundings of Archbishop Coloredo’s palace.

The debate over the use of German or Italian language in opera, as well as whether classical myths should be used or more profane subjects were acceptable, the king’s disapproval of ballet and the politics of theatre and opera. The allusion to the upcoming French Revolution and the relationship of Marie-Antoinette to Joseph II (they were siblings).

The success of Salieri’s opera compared to the apparent limited success (at the time) of Mozart’s operas. I don’t think this is historically correct and according to Grove:

‘Contrary to what is often stated, Figaro was generally liked, as is indicated by the emperor’s ban on excessive encores (only arias were to be repeated). There were, however, only nine performances in 1786; the Viennese preferred other works, such as Martín y Soler’s Una cosa rara…’

So it’s a bit of a mixed picture, though there seems little doubt that Salieri’s music was popular at the time

“From a pretty wide examination of the annual reports of the principal German theaters of those days, I draw the conclusion that in the original Italian or in German translations, the more important works of Salieri were far more popular and much oftener given than those of Mozart, while the Grotta di Trofonio was at least as much performed as Mozart’s Entführung…” – Alexander Wheelock Thayer, Salieri: Rival of Mozart

The Magic Flute was clearly a popular work from the outset:

In Vienna, there were 20 performances in the first month, and publication of extracts began in November; Schikaneder had given over 200 performances by 1800…

It’s true that Salieri ended his days in an asylum and may even have tried to end his own life, but as Michael Steen explains:

If indeed he [Mozart] was poisoned, by far the most famous suspect is Salieri, who confessed to this crime in a moment of senile dementia a third of a century later. Like many courtiers, Salieri was a schemer, but he was fundamentally well meaning and tried hard to help other composers; he was, for example, the only teacher Schubert ever acknowledged; and he taught Liszt and Meyerbeer. Mozart’s visit with him to see The Magic Flute was amicable. The myth that he murdered Mozart may reasonably be considered absurd. Steen, Michael. The Lives and Times of the Great Composers (p. 169). Icon Books Ltd. Kindle Edition.

So, Amadeus, a great movie that mixes up fact and fiction to provide an interesting if somewhat fictional storyline.

Steen, Michael. The Lives and Times of the Great Composers (p. 169). Icon Books Ltd. Kindle Edition.

https://musichistorymatters.org/2015/09/07/rivals-mozart-salieri/
https://doi.org/10.1093/gmo/9781561592630.article.O003136
https://doi.org/10.1093/gmo/9781561592630.article.O907810

Review of Amadeus and correction of historical inacuracies in the movie, by Nick Hodges on the History Buffs Youtube channel

Exploring a Graphic Score

I have created a graphic score from a scene of Lord of the Rings, The Fellowship of the Ring where the Fellowship are escaping out of a mountain with their lives, and Gandalf confronts a Balrog on the bridge of Khazad-dûm. I used a mix of software as well as my unfortunately inept (!) drawing.

Lord of the Rings

Film score – A brief analysis.

For clarification this article refers to the first film in the Lord of the Rings Trilogy – The Fellowship of the Ring, directed by Peter Jackson.

The Fellowship of the Ring is scored by Howard Shore, a Canadian composer who has scored a number of Hollywood movies. The score for The Fellowship of the Ring is almost entirely orchestral-based but also uses voices and choir. There are a number of recurring motifs throughout the film. The overall sound of the movie could be described as big and epic though there are at times welcome contrasts. I am going to assume the reader is familiar with the plot.

Even as the logo of the film production company appears and the film begins, there is a synth like sound dropping in pitch inside a cavernous reverberant space. It sounds like wind blowing. Female voices then quietly chant over a low drone note. This eventually morphs into an orchestra which starts playing what will become the familiar theme associated with the Ring. This is played by the strings. As the music plays there is a voice-over explaining the origins of the Rings. There is a sense of foreboding and ancient dark mystery that is enhanced by the music.[00:00:00-00:01:20]

As the film recounts the history of the Rings, the scene shifts to an ancient battle, and the music changes to reflect the new scene. There is use of fortissimo choir and repeated beating of a bass or Taiko drum during battle scenes [00:02:20-00:03:40]. The music reflects the important and brutal nature of the battle. The theme of the Ring eventually returns, played on violins over slow brooding chords whilst its history is told.

The music then shifts mood entirely as the scene changes to the Shire and a new theme starts, played on clarinet [00:06:48-00:07:20]. This will become a theme associated with the Shire, Hobbits, and the quiet countryside. The orchestration becomes sparser and there is the sound of the fiddle and flute which helps to convey the cheerful atmosphere as the Hobbits prepare for a party. This is another theme that will return many times.

At the party itself there is use of Diegetic music. Use of flute and fiddle and some plucked instruments as musical accompaniment for the Hobbits dances. There is also a scene earlier in the film when Gandalf appears for the first time and he is humming a tune to himself.

There is a discussion between Gandalf and Bilbo with regards to the ring. Frequent changes of music accompany the dialogue but quite often slow dark sounding chords are heard when the Ring is mentioned. This helps to convey the dark power of the Ring.

Gandalf departs suddenly to confirm the nature of the Ring, and there are some dissonant chords played as he leaves. In related scenes there is a quickening of the music with rising sequences played by the string section. This quickening technique is used at times to create a sense of anticipation and urgency.

The Scene shifts to a dark place – Mordor. There is cacophonous and dissonant use of horns, brass, and choir as the black horse riders (Nazgul) ride out. The cacophony enhances the sense of chaos and evil.[00:26:30-00:27:03]

As the hobbits leave the Shire, there is the hint of a new theme starting which will eventually develop into something we could call the Fellowship theme. [36:30-37:10]. This is made more obvious later on [1:26:35-1:28:20] and reoccurs several times and is associated with the Fellowship and a sense of heroism.

A new theme is played, predominantly by the brass section, that will become associated with Saruman and his armies [1:01:49-1:02:10].

I have tried to cover the principal themes above. The themes are not so much associated with individual characters, but rather places and concepts and are repeated throughout the film often with different orchestration to convey mood changes.

The film ends and the credits are displayed: the music is quiet, slow and peaceful: string chords with a vocal melody provided by Enya [2:45:00]. Very calming after the epic adventure we have just had for near enough 3 hours!