MOZART: The Magic Flute, Act I no.

4 (Queen of the Night), 5 (Quintet)

Background to opera in the Classical Period

The Classical period (note the capital letter) lasted from c.1750-1810 and Mozart is one of its most
important figures; he remains among the best-known and best-loved composers today. During the
Classical period forms such as the symphony, piano sonata and piano concerto took hold and new
structures became important, e.g. sonata form. Instruments such as the piano and clarinet were first
developed and musical textures changed from very complex Baroque counterpoint to a more
homophonic and balanced style.
In the Baroque period, opera had been a form with rigid structures, consisting almost entirely of a
series of recitatives and da capo arias. Nearly all operas were written in Italian, regardless of the
nationality of the composer.

Wolfgang Amadeus Mozart (1756-91)

Mozart is a pivotal figure in the Classical period. He was at the forefront of musical developments
and, despite a short life, composed over 600 works. He was a child prodigy, as a performer and
composer, and toured all over Europe with his father as a very young child. Later, he settled in
Vienna and composed for the Emperor’s court and theatre, among other works. Despite some great
successes, he died with little money and was buried in a pauper’s grave in Vienna.
He played a significant role in the development of opera. Although most of his operas were in
Italian, he also pioneered the use of the vernacular. He also developed the use of ensembles (such
as duets, trios etc) and a much greater variety of expression and characterisation within the music.
His operas are amongst his greatest works and are still performed all over the world today. The
most important are the later works, The Marriage of Figaro, Cosi fan Tutte and Don Giovanni.
He also composed one of the first Classical operas to be written in German, Die Entführung aus
dem Serail (The Abduction from the Harem).
Other key works by Mozart include his piano concertos, Requiem and piano sonatas.

Die Zauberflöte (The Magic Flute)

This is one of Mozart’s’ final operas and was the last to be performed, receiving its premiere on
30th September 1791, just 9 weeks before his death on 5th December. It is a Singspiel, although it
took the genre to a new level of expressiveness and musical quality. The libretto was written by
Mozart’s friend, the impresario Emanuel Schikaneder, who also played the role of Papageno. Both
Mozart and Schikaneder were Freemasons and there are many references to masonic rituals and
symbolism in the piece; the number 3 is symbolic in masonic society and is an important feature in
the opera. There are also comic and magical elements, both of which helped to ensure its
immediate and continuing success.
The opera is in 2 acts and both our extracts are from Act 1; nos 4 and 5. They show the early stages
of the opera; the hero, Prince Tamino, has just seen a portrait of the heroine, Pamina, and fallen in
love with her. During the opera he must overcome great trials to prove himself worthy of her and
to enter the brotherhood (symbolising the Freemasons). Together the hero and heroine must break
free of her sorceress mother, the Queen of the Night. There is also a comic subplot involving
Papageno, a birdcatcher, and his attempts to find a wife.

Following the score

The score in the Anthology is a vocal score. It is playable on the piano, with the instruments
indicated on the score. The vocal parts are written out in full. Notice that there are no dynamics in
the vocal parts; this is usual for Mozart and the convention is that the singers take dynamics from
those given for the orchestra.

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 No. 4 Recitative and Aria: O zitt’re nicht, mein lieber Sohn
Plot information and text
This is the first appearance of the Queen of the Night, who appears in a great clap of thunder. She
expresses her grief at the loss of her daughter, Pamina, who has been abducted by the ‘evil’
Sarastro. She tells Tamino not to fear her but commands him to rescue her daughter. It is later in
the story that we find that it is the Queen, not Sarastro, who is evil but we can hear some of her
rage and anger in part of the music. Part of Mozart’s genius is in the way his music shows the true
character of each person, regardless of the words they are using (almost as a sub-text).

‘The aria is in the style of late Italian Baroque opera seria, an outdated and frankly obsolete style
by 1791. Characters in Baroque opera were not real—they were stylized and artificial. What’s
more, the Queen of the Night is the only character in The Magic Flute who sings in Baroque-style
recitative. Mozart makes clear through his musical setting that the Queen is not honest and “real”
the way Tamino is. Her story, as she relates it to Tamino, is overly melodramatic, the emotions are
“performed” instead of being sincere, and one can detect already in the music a deception, an
artifice.’

The text is translated on page 474 of the Anthology.

Performing forces and their handling

This is a recitative and aria, so is composed for soloist (soprano) and orchestral accompaniment.
Voice
 The Queen of the Night is one of the most technically demanding soprano roles; it is
written for a coloratura soprano.
 The vocal part has a wide range (D above middle C to F over 2 octaves higher).
 In the recitative the range is relatively small and the tessitura lower, to make the text clear.
 The tessitura starts moderately in the larghetto and increases as she describes her distress at
bars 37-40.
 The Queen is the only character in the piece to have a Baroque-style recitative, suggesting
an archaic and stylised character.
 The slow section of the aria is predominantly syllabic and is a simple and elegant melody,
expressing the Queen’s grief at the loss of her daughter.
 The allegro moderato coloratura section (bar 61-98) depict her rage and suggest that she is
a forceful and, possibly, even hysterical character. This music shows her at her most
powerful and uses some of the highest notes in the whole soprano repertoire (bar 92).
 The words are set in the coloratura section to make it the most comfortable vowel on which
to sing the extended melismas (e.g. ‘dann’ bars 79-91).
 The dynamics of each section support the overriding emotions depicted by the music (e.g.
mostly softer in the larghetto, although the forte marking at 32 and 34 for ‘Bösewicht’
[villain] are examples of word-painting).
Orchestra
 The soloist is accompanied by a full Classical period orchestra, consisting of strings, 2
horns, oboes and bassoons (fagotti).
 The orchestra is used in various ways in the different sections of this number, including as
examples of word painting (see Text Setting), a gentle chordal accompaniment in the G
minor section of the aria (bars 20-60) and an energetic and rhythmically driven
accompaniment in the final section.
 In the opening recitative the orchestra has a syncopated introduction that recalls the Sturm
und Drang of the middle Classical period.

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Structure
The whole piece is an accompanied recitative, followed by an aria in 2 sections.
1-20 Opening section.
1-10 Orchestral introduction. Syncopated rhythms give a sense of unease, as do the building
and unsettled dynamics. The introduction ends with a stately dotted-style rhythm,
typical of French Baroque music.

11-20 Accompanied recitative. The Queen tells Tamino not to fear her and that she, as a
grieving mother, needs his help. The text is accompanied by sparse chords and
interspersed with repetitions of the syncopated rhythms from the introduction.

21-60 Larghetto section, accompanied by strings and, later, woodwind and horns. The simple
triple metre is used to depict the Queen’s suffering and Pamina’s abduction.

60-103 Virtuosic allegro moderato section in which the Queen commands Tamino to save
Pamina. The music starts with loud, forceful chords and then builds up from piano. The
fluctuating dynamics and extreme coloratura, which combines scalic and triadic shapes,
create a sense of drama and anger. The piece ends with emphatic and repeated perfect
cadences in the orchestra (bars 100-103).

Tonality
Tonality in the Classical period is diatonic, outlined by functional harmony.
1-20 Starts in the tonic key of Bb major, with tonality firmly established by the tonic chord
and tonic pedal. The tonic chord is reiterated with the opening of the vocal line, which
outlines the Bb major triad. There are transitory modulations to F major (dominant) at
bar 14-15 and Gm at bar 19, each established with a perfect cadence. The recitative
ends with a clear perfect cadence in the relative minor key of Gm. This is reached by a
chromatic chord (Neapolitan 6th) in bar 19.

21-61 The larghetto is in Gm, although there are some shifts of key during the section. There
is a melodic and harmonic sequence that moves into the original tonic key of Bb major
at bar 30. The music then moves briefly through Eb major (bar 37) into Cm (bar 38)
and then chromatically back to Gm to an imperfect cadence at bar 44. There is some
chromaticism at the end of this section, although it fundamentally remains in Gm and
ends with a perfect cadence in that key (bars 60-61)

61-103 Starts in Bb major, with a clear perfect cadence at bars 61-62. It remains in that key,
although there is a brief suggestion of the subdominant (Eb major) from bars 80-82.
From this point it is in the tonic key until the end.

Texture
 The texture is almost entirely melody-dominated-homophony.
 There is a very short example of imitation at the start of the larghetto, where the violas and
cellos imitate the opening vocal and violin phrase 1 bar later and down an octave (bars 21-
23).
 In the allegro moderato section, the accompaniment often consists of quaver repeated
chords; this adds a sense of impetus and urgency.
 This becomes off-beat, syncopated chords at bars 80 and 91-91, reinforcing this restless
effect.

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Melody
 The melody is mostly diatonic.
 The different moods in each section are characterised by different melodic features.
 The opening recitative melody (bars 11-20) is fragmented, although the rests at bars 18-19
would often not be observed, in keeping with normal recitative conventions.
 The melody is a mixture of conjunct, scalic motion, triadic features and some larger leaps,
used to create specific effects.
 The opening of both the recitative and the allegro moderato outline the tonic triad of Bb
major.
 Examples of expressive intervals include the dim 7th interval on ‘Mutterherz’ at bar 20 and
the dim 5th at ‘Ach helft!’ at bars 46-47 (this example is heightened by being accompanied
by a dim 7th chord.
 Another, less obvious example is the outlining of a dim 7th triad in the vocal line at bar 49.
 The melodic range increases in bars 37-40, as the Queen describes Pamina’s abduction; this
is also the passage where the strings depict her trembling in semiquaver accompaniment
figures.
 There are some sequences, e.g. bars 28-31, where the phrase ‘Durch sie ging all mein
Glück verloren’ is repeated higher for dramatic effect. Another example of a rising
sequence is at bar 81, within the coloratura.
 The coloratura passage (beginning at bars 77-78) is conjunct at the start and has obvious
scalic passages; it later becomes triadic as she approaches the highest notes (bars 84, 92).
 There are some ornaments, including appoggiaturas, (51, 52), a chromatic appoggiatura
(76) and turns (67). Some appoggiaturas are written out in full, some written as grace notes.
The effect of an appoggiatura is that of a sigh.

Harmony
 Most of the harmony is diatonic, although there are occasional passages of chromaticism
(e.g. the bassoon line at the opening, or occasional melodic chromaticism e.g. bar 51).
 Harmony is functional.
 The keys are strengthened and shaped by use of perfect cadences.
 Mostly simple tonic or dominant 7th harmonies.
 Some use of chromatic harmonies include the dim 7th chord at ‘Ach helft’ (bar 47) and the
Neapolitan 6th chord at bar 19. These chords highlight particularly expressive moments.

Tempo, Rhythm and Metre

 Syncopated rhythms in the introduction suggest unease and recall Sturm und Drang. They
are emphasised by the on-beat articulated tonic pedal (bars 1-4).
 The recitative is in Common Time (4/4) and is marked andante maestoso.
 The recitative uses speech rhythms and has elements of free tempo (although an
accompanied recitative cannot be as free as a secco recitative.
 The larghetto is in 3/4, simple triple.
 Some use of dotted rhythms; the stately orchestral rhythms at bar 10 and the setting of
‘Bösewicht’ suggest the French Baroque style.
 The larghetto combines dotted rhythms with smooth, legato crotchet and quaver passages.
 The allegro moderato returns to Common Time.
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  The continuous semiquaver passages in the virtuoso section help lead the music to its
climax and reflect the anger and imperious nature of the character.
 Occasional use of triplets in the accompaniment (e.g. bars 62-63 and 98-99) as upbeats.
 There is another use of energetic upbeat in the string demisemiquavers at bars 32 and 34 to
add emphasis to ‘Bösewicht’.
 At the end of the aria, the fast repeated semiquavers in strings (bars 91-4) give a tremolo
effect.

Word Setting
 Syllabic in the recitative.
 The ‘trembling’ that the Queen describes in bars 36-43 are accompanied by off-beat
semiquavers in a word-painting figure.
 Other examples of word-painting include the rising phrases and diminished 7th chord on
‘Ach helft’ (help) at bars 47-48.
 The word-setting is simple in the larghetto section, in keeping with the melody.
 The sustained F at bars 34-5 on ‘Bösewicht’ show her anger and the importance of the
word.
 The text is set in a much more melismatic style in the allegro moderato section, as the
Queen commands Tamino to rescue her daughter.
 German nouns always start with a capital letter. It is essential to understand the meaning of
the text.

No. 5 Quintet: Hm! Hm! Hm! Hm!

Plot information and text
This follows on after the previous aria, with a little dialogue in between. Prince Tamino meets up
with three ladies, the servants of the Queen of the Night, and the comic character Papageno, the
bird catcher. At the start of the quintet, Papageno has his mouth padlocked, as he has lied about his
part in saving Tamino from a serpent (at the start of the opera). That is why he is humming at the
start of the piece.
The 3 ladies release Papageno from the padlock and give each of the men a gift to help them on
their journey to rescue Pamina; Tamino is given a magic flute, which will change the hearts of all
who hear it and will protect him. Papageno is given a set of bells, a magic glockenspiel, that will
give him protection, despite his protestations that he would really rather not be going at all.
Finally, the ladies give their 3rd gift; the adventurers will be guided by 3 spirits (usually played by
3 boys), who will show them the way.
This is an ensemble piece, a typical example of Mozart’s ability to show different emotions and
thought processes during the same music; it is one of the innovations of Classical opera.
This piece reflects the importance of the number 3 in Masonic beliefs (3 sections, 3 gifts, 3 ladies,
3 spirits are mentioned).

The text is translated on page 474-7 of the Anthology.

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Performing forces and their handling
This is a quintet (5 voices) for the 3 ladies (2 sopranos and an alto), Tamino (tenor) and Papageno
(baritone). It is accompanied by the orchestra. The parts are treated in different ways in each
section of the piece. A typical feature of vocal ensembles is that the characters express their
individual thoughts or feelings in solo sections but sing together when they are in agreement.
Voices
 At the start Papageno’s complaining is made ridiculous by his simple hummed phrases.
Tamino’s answering phrases are slightly smoother, mostly through the use of crotchet note
values. Their dialogue takes the form of ever shorter phrases, until they overlap in simple
counterpoint (bars 27-33).
 Papageno’s solo music is always more prosaic and simple (e.g. bars 134-139). He sings in
simple crotchet rhythms a lot of the time but does get more animated when he is trying to
avoid accompanying Tamino on the journey (bars 153-159).
 The ladies often sing phrases in turn, before joining in a 3-part homophonic texture (e.g.
bars 34-52). This homorhythmic effect highlights that they are speaking as one.
 The 1st Lady has a slightly more prominent role than the others; in this number the 3rd Lady
has the least number of solo lines.
 All voices sing together in 5-part homophony to emphasise the moral; this section is
marked sotto voce (bars 54-61). Mozart uses this effect as the performers virtually step out
of character and sing directly to the audience, rather than each other. The sotto voce returns
as all 5 singers express their wonder at the flute. This starts homophonically but has a short
imitative passage from 117-121.
 The dynamics emphasise the meaning and create variety; the use of unison and octaves at
bars 61-64 reinforce this further.
 The voices are often grouped as a 3-2 dialogue (e.g. 218-237), fitting the meaning of the
question and answer dialogue.
Orchestra
 The orchestra has varying roles throughout the piece.
 It acts as a simple accompaniment throughout but has some specific roles as well.
 At times it doubles the voice parts (e.g. the bassoon doubles Papageno at the start).
 It has independent melodic material at times (e.g. 109-116).
 Some vocal phrases end with playful instrumental responses, keeping the light tone of the
ensemble (e.g. bars 141, 143, 145).
 The clarinet appears for the first time in the piece at bar 214, where the music introducing
the 3 boys begins. The clarinet was a new instrument in the Classical period and Mozart
was among the first composers to really exploit its potential.
 At the same time the accompaniment is provided by pizzicato violins, creating a new sound
at this point in the music.

Structure
There are 3 main sections, delineated by the change in dramatic situation or subject matter
of the libretto.
1-79 Opening section with Papageno humming and having a ‘dialogue’ with Tamino; the 3
ladies come and release him from his padlock and they all sing about the importance
of telling the truth. This section is characterised by the men singing in dialogue and
the ladies in a chordal pattern, showing that they speak as one voice. As they reach
the ‘moral’, all 5 sing homophonically together, with occasional passages of unison
and octaves (bar 61.4).

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80-213 Longer middle section in which the ladies give the gifts of the magic flute and the
bells to Tamino and Papageno. Each gift is given separately; Tamino is presented
with the flute and all sing about its magical properties (bars 111-132). Then Papageno
tries to leave but is told that he is to accompany Tamino on his journey; when he tries
to refuse, he is given the bells as his protection (173-183) and all comment on this
gift. The section ends as the men ask how they will find the way.

214-247 The final section is a magical moment, as the ladies describe the 3 boys who will
guide Tamino and Papageno on their way. They sing in simple harmonies, echoed by
the men, before all 5 sing their farewells; there is a very simple 2-bar ending.

Tonality
1-78 Opens in Bb major and remains there until bar 34, where the 1st Lady enters; here it
modulates to the dominant (F major). It stays in F until bar 61.3, when there is an
abrupt modulation to a stern Gm for the warning of the consequences of lying. It
reverts to F major for the answering phrase at bar 65; this pattern is then repeated in
bars 69-77. This section ends with a short passage of octaves, leading up to chord V7
in Bb major at bar 80.

80-213 The next section of the piece begins, once again, in Bb major, with a chord that
completes a perfect cadence, following from the V7 ending the previous section. It
modulates briefly to the dominant at bar 96 but returns to Bb at bar 103, with a
perfect cadence in that key at bars 104-5. There is a short circle of 5ths from bars
118-121, which culminates in an inconclusive perfect cadence in Bb major at bar 124
(inconclusive because it uses chord Ib), finally reaching its conclusion at bar 132.
There follows a passage in Gm (from bar 133) as Papageno tries to leave. This key is
maintained until a short diversion to Dm at bars 142-163, before returning to Gm in
time for bar 166.
At bars 172-3, as Papageno is presented with the magic bells, the key moves to a
warm Eb major (subdominant of the original tonic). There is a series of perfect
cadences reinforcing the key (bars 174-179), before it moves (quickly) through Bb
major and to F major at 182-3.
The ‘Silberglöckchen, Zauberflöten’ (starting at bar 184) re-establishes Bb major as
they all sing their farewells. However, as Tamino and Papageno question how they
will know where to go, the music passes very briefly through Gm and back to F,
ending the section on what could be a perfect cadence in F major but which also
sounds like an imperfect cadence in Bb major.

214-247 The final section begins in Bb major and remains there, with no modulations, until the
end of the piece.

Texture
By definition, the number of singers and characters in an operatic ensemble give a larger scope for
variations in texture, even within the Classical period framework.
 The texture is largely melody-dominated-homophony, although there are variations within
the piece.
 The 3 Ladies are often in a 3-part chordal texture (e.g. bars 96-107).

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  Tamino and Papageno are treated at times as a 2-part texture, which is contrasted with the
ladies’ 3-part grouping (e.g. bas 217-237).
 When all are in agreement, there is a 5-part chordal texture (e.g. bars 111-117).
 Some use of homorhythm as part of the homophonic texture, as above.
 For added emphasis, Mozart uses unisons and octaves (bar 61).
 Occasional use of imitative contrapuntal textures (e.g. 117-121).
 Other simple counterpoint includes the conclusion of the dialogue between the tenor and
baritone at the start (bars 27-33).
 This opening section also includes a ‘dialogue’ section, where they alternate phrases (bars
3-27).
 The instrumental texture changes completely at bar 214, as the ‘bass line’ is provided by
pizzicato violins.

Melody
 The melodies are linked with character in this piece.
 The melodies change with each section.
 As is typical in the Classical period, melodies are in periodic phrasing.
 The opening dialogue (bars 3-33) consists of simple diatonic phrases, becoming ever
shorter and built around mostly tonic and dominant chords.
 Tamino’s phrases are slightly smoother and Papageno’s are more rushed and clumsy.
 The 1st Lady introduces a new section, now in the dominant (bar 35).
 As the other ladies join in, the phrases are short and interspersed either with comments
from Papageno or short orchestral phrases.
 The comments about the follies of lying (bars 62-77) consist of unison/octave scales in Gm
depicting the lies and smoother, harmonised phrases in F depicting the consequences of
truth; these alternate with short, descending scales in the oboe.
 Another new theme appears at bar 80, as the 1st Lady introduces the flute; again, this is
simple and diatonic, with a mixture of disjunct (at the start) and conjunct phrases.
 As all 5 voices come together to sing about the flute (bar 111) there is a new descending
scale figure in the violins.
 More new material (bar 134) as Papageno tries to leave. This melody is characterised by
repeated notes and this feature also appears in the ladies’ response to him ((bars 139-147).
 Some slight chromaticisim in the melodies at 158-160, as Papageno expresses his fears and
they are dismissed by the ladies.
 More diatonic again as the music moves to Eb major (bar 173) and becomes more
reassuring. The ladies’ music relates to bars 141-2 but now in a more diatonic
harmonisation, creating a positive musical effect.
 Completely new theme for the final section (starting at bar 214). This is, once again, very
simple and diatonic, outlining the harmonic shape (see Harmony).
 The final phrases have some hints of chromaticism, depicting the sorrow of farewells and
departing.

Harmony
 Diatonic almost throughout the piece.
 Reinforced by lots of tonic-dominant harmony and perfect cadences (e.g. bars 1-33).
 Each modulation is established by clear cadences (e.g. bars 34-35).
 Feminine cadence at bar 84 (Ic-V).

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  The section from bar 80-109 has a series of perfect cadences (some with V7) in either Bb
major or F major.
 Tonic pedal (articulated) from bars 111-117.1, over which all 5 voices sing in homophony
about the flute and the violin scalic figure appears.
 Bars 118-121 have a short circle of 5ths accompanying the contrapuntal section; it goes
through C7-F7-Bb7-Eb chords.
 Papageno’s fear of the journey is expressed using chromaticism (e.g. augmented 6th chords
at bars 150-157 and the ensuing chromatically ascending line at 158-159).
 When this melodic idea is repeated by the 3 ladies (bars 177-183) the augmented 6ths are
replaced by dominant 7ths, creating a more reassuring effect.
 New harmonic feature at bar 214 for the final section. There is a descending bass line in
pizzicato violins in Bb major, outlining the progression I-Vb-vi-iiib-IV-Ib-viib-I-V; this is a
simple 4-bar phrase culminating in an imperfect cadence.
 The final harmonies are all simple but include some chromatic passing notes.

Tempo, Rhythm and Metre

 The movement starts in 2/2 (cut common time); this is simple duple time, with 2 minim
beats.
 The opening section is marked allegro.
 Note values mainly crotchets and quavers with some minims, creating a very simple
rhythmic approach.
 Some use of staccato breaks up the rhythmic effect (e.g. bars 184-185).
 The tempo and metre change to andante and common time (4/4) at bar 214 for the final
section; this highlights the significance and the magical effect of this new music.
 The separated quaver chords, sung sotto voce¸ create a sense of magic.

Word Setting
 Almost entirely syllabic.
 The setting of the text ‘Silberglöckchen, Zauberflöten’ is staccato chords, sung sotto voce,
creating a magical effect (bars 184-187).
 The separation of the quavers at bars 217-219 highlights the importance of the text at this
point.
 Papageno’s music is simple and less smooth than that of Tamino in the opening dialogue.
 The 3 ladies are often treated as speaking with 1 voice, when they sing in homophonic
chordal texture.
 The characters are grouped into 2 and 3 for much of the piece but do come together on
occasions (e.g. bars 111-117).
 The slight chromaticism at the end expresses the pain of parting at the start of the journey.

Glossary
Allegro moderato Tempo indication of moderately fast.
Andante maestoso Tempo indication of at a majestic walking pace.
Appoggiatura Ornament consisting of an added note either 1 step higher (more usual) or
lower than the note which follows it. It is a dissonance which is resolved
when the note moves on to the ‘correct’ harmony note.
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Aria Solo song in an opera or oratorio, accompanied by orchestra.
Coloratura Elaborate decoration of a (usually vocal) melody, with lots of ornaments
and trills. Coloratura roles are mostly very technically challenging.
Conjunct Description of music that moves by step.
Da capo aria Aria with an ABA form; the piece is written out with the term ‘da capo’ at
the end, meaning ‘go back to the beginning and play until the word fine’.
The 2 different sections usually have different moods and very contrasting
music. This is most typical of Baroque opera.
Homorhythm A texture where all parts share the same rhythm.
Larghetto Tempo indication of somewhat slowly (not as slow as largo but slower
than andante.
Libretto The lyrics of an opera.
Melisma Word setting style with more than 1 note for a given syllable.
Neapolitan 6th Chromatic chord consisting of a 1st inversion chord on the flattened
supertonic (2nd degree) of a scale.
Periodic phrasing Balanced (Q&A style) phrasing, associated most commonly with the
Classical period.
pizzicato Technique where orchestral stringed instruments are plucked, rather than
played with a bow.
Recitative A rhythmically free vocal style, in which the rhythms of natural speech
are reflected and there is no sense of structure or strong melody.
Secco recitative Recitative accompanied only by continuo. Usually freer and less
expressive than an accompanied recitative.
Singspiel A form of popular opera that combines arias, ensembles, choruses and
spoken dialogue, written in the vernacular (German). It was a considered
a middle-class, rather than an aristocratic, entertainment.
Sotto voce (Literally ‘under the voice’) A direction to sing quietly, in an undertone.
Sturm und Drang (Literally ‘Storm and stress’) A middle Classical period style of
symphonic music in which minor keys, syncopated rhythms and relatively
dissonant harmonies indicate unease or tension. Most typical in the
middle symphonies of Haydn.
Syllabic Word-setting technique with 1 note per word/syllable.
Tremolo Rapid repetition of a single note, or a pair of notes, on a stringed
instrument, giving a ‘trembling’ effect.
Triadic Description of a melody that mostly uses the notes of a given triad.
Turn Ornament consisting of 4 notes that are performed around the main note,
starting with the note above, then the main note, the note below and
finally the main note again. Sign is .
Vernacular The language of the audience for a musical work (e.g. German, when
composing in Germany, or English, for an English composer).
Virtuoso (Adj: virtuosic) Displaying outstanding technical ability. A virtuosic
passage will be extremely difficult.
Vocal score A reduced score of an opera, where the vocal parts are shown in full but
the orchestral accompaniment parts are ‘reduced’ so that they can be
played on the piano. It is the kind of score used in rehearsals and when
studying by singers.

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Practice Exam Questions
There are two sections in the written exam for Component 3: Appraising Music. Your set works
will come up in both sections.

Section A set works questions (Q1-3) will require you to analyse selections of the set works in
detail and to know the details of the score and the musical analysis you have done. Practice
questions for this section of the exam will be done in class. They will include aural listening
questions with skeleton scores, short answer responses and multiple choice questions.

Section B questions on set works (Q6) will be worth 30 marks and will be in essay format. Note
the format of each question and the way that every question asks you to refer to other relevant
music in your answer.

Example questions for Section B (Q6):

1. Evaluate Mozart’s use of melody, forces and rhythm in Die Zauberflöte Act 1, No. 4, Recit
and Aria: ‘O Zittre nich, mein lieber Sohn’ in relation to other operatic music of the
Classical period. Relate your discussion to other relevant works. These may include set
works, wider listening or other music. (30)

2. Evaluate the use of melody, vocal forces and structure in Die Zauberflöte Act 1, No. 5,
Quintet: ‘Hm! Hm! Hm! Hm!’ showing how these elements create a piece of dramatic
music. Relate your discussion to other relevant works. These may include set works, wider
listening or other music. (30)

3. Evaluate Mozart’s use of rhythm, metre and sonority in the Quintet from Die Zauberflöte,
in relation to other operatic vocal ensembles. Relate your discussion to other relevant
works. These may include set works, wider listening or other music. (30)

4. Evaluate Mozart’s use of texture, melody and rhythm in Die Zauberflöte Act 1, No. 5,
Quintet: ‘Hm! Hm! Hm! Hm!’ in relation to other operatic works of the late Classical
period. Relate your discussion to other relevant works. These may include set works, wider
listening or other music. (30)

5. Evaluate Mozart’s use of vocal writing, structure and melody in Die Zauberflöte Act 1, No.
4, Recit and Aria: ‘O Zittre nich, mein lieber Sohn’ in relation to other operatic arias of the
Classical period. Relate your discussion to other relevant works. These may include set
works, wider listening or other music. (30)

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