Mozart The 18th century principal ideas radically changed the route of music. The time of Enlightenment resulted in the now broadly accepted rules of parity and reason into the public understanding throughout most of European countries. These ideas were as well the philosophical foundation for the creation of the United States of America. American Declaration of Independence commences with the audacious claim that all men are created equal and endowed with certain unalienable rights. Enlightenment and its controversial assumptions formed a great part of Wolfgang Amadeus Mozarts musical masterpieces. Mozarts career inaugurated with serving to the Archbishop of Salzburg. However, up that period of time, people composing music like Mozart were frequently simply professional valets for the church or regal courts.
Nevertheless Mozart became defenceless to the notions of parity and independence after visiting England and France. He was looking for a strict duty to the covert hierarchy that used his services very rigorously. Ultimately, Mozart faced fewer restrictions in Vienna, where he assisted himself with general performances through promoting engagements. One of the most famous Mozarts opera The Marriage of Figaro recapitulated the fresh ideas by presenting servants play a central role. Before, people serving were funny personages people laughed at; although they were forming the main morals and ideas of the play. In the opera The Marriage of Figaro the one can see a pure consciousness of the customs of people unspoken throughout comedy and a growing self-consciousness concerning the part shaped by that operatic and theatrical performances of that social order to confirm it, or subvert it (Liebner, 37-38).
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Nevertheless, some people picture Mozart as the typical compositor of the era of Enlightenment: notably judicious, representing an accurate excellence in all he mastered.
A more precise presentation of Mozart according to his biography as well as some critics, in other words that is what people remember about him throughout his life and his music, opens up that he was not even close to the tormented early Romantic or a calm, judicious, impartial servant of the Enlightenment aristocrats. He was a part of a intermediate era in the late Enlightenment. At that time when composers that in the past used to work for a single church or noble patron taking a role of in-house artist of musician, commenced to write and play for a more capitalistic listeners stopped being dependent assistants to intellectual life. This move in the course of intellectual liberty became a main part of the Enlightenment, especially at the end of the Enlightenment period, during the second part of the eighteenth century (Bronner, 115).
Mozart, himself, living in the intellectual and social atmosphere of the Enlightenment, had a quite controversial attitude in regards to it. Even though his proportional phrases, forms never made asymmetrical and pure verdicts showed a penetrating and pure believing in the ideas of Enlightenment that represented prudence and organization. Other parts in his work indicated an powerfull strong will to overthrow these ideas.
The Enlightenment came in a new era promoting sexual liberty by easing the control of the religion (church) on morals and creation of numerous expedient arguments, in other words rationalizations, for more active and diverse sexuality (Bronner, 81).
However, there was something vacant and weird in all this, and Mozart captures the oddness of freedom in Leporellos well-known catalogue aria, where he opens up to one of Don Giovannis heartbroken subjugations, Donna Elvira, that he keeps a precise listing of all his masters love occurrences, that were formed by the origin country. However, Mozart never simply associated himself with empty sex and statue. He proves that through his last opera, The Magic Flute, which is a happy testament to the ability to gain wisdom and transcend outmoded ways of thinking, including both the rigidity of feudal and religious dogma and the barren abstractions of extreme Enlightenment rationality. The main point of these weird contradictions is the heart of The Magic Flute. The magic, is, as understood, music, and its beauty lies neither in cold rationalism nor in hot emotion, but in the combination of passion and form that Mozart so amply demonstrates the more spectacular moments of The Magic Flute. From the critical point of view, Wolfgang Amadeus Mozart was the greatest figure of the Enlightenment.
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Mozart’s music combines a total mastery of form with a perfect freedom of expression. The formal mastery includes particular characteristics much beloved and praised by Enlightenment thinkers such as symmetry and balance (Liebner, 63).
Every other topic in Mozart is fully articulated, every motif related to every other and to the whole. In Mozarts art there is a feeling of control which never weakens, no matter how profound the emotion of the music. In this he perfectly anticipated Wordsworths definition of poetry as “emotion recollected in tranquility” (Leeson, 21).
However, Mozart’s music is about beauty.
Albert Einstein, who was a good amateur violinist, once commented that Beethoven created some of the most beautiful melodies. He also said that Mozart wrote music that would always have existed in the universe. Mozart, Einstein claimed, actually heard what astronomers like Kepler called “the music of the spheres” (Leeson, 18).
During the 18th century, the Enlightenment epoch with its extraordinary philosophy, politics and art significantly contributed to the change that music experienced. Therefore, the emergence of unique Mozarts music art to the very degree was influenced by that epoch: it absorbed Enlightenments pivotal ideas, its core and its ultimate peculiarity, and transformed from conventional music into magic and sublime. Bibliography Bronner S.E. Reclaiming the Enlightenment.
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Columbia University Press, 2004 Liebner J. Mozart on the Stage, Aarhus University Press, 1980 Leeson D. Opus Ultimum: the Story of the Mozart Requiem, Algora, 2004.