One night a mysterious stranger came to his door dressed in gray to hire Mozart to write a requiem mass (a piece of music that choirs perform at funerals). Mozart, who was very afraid of ghosts and extremely superstitious, was terrified of the stranger who kept nagging him to finish the piece. He was already ill, and in his state of mind he became convinced that he was writing music for his own funeral.

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A significant way that Mozart would heighten the drama of a musical line was by his masterly manipulation of the tonic-dominant chord progression. Particularly in his operas, he created moments of tension followed by cathartic release by exploiting the polarization of the consonant and dissonant intervals within these two chords, and also by the shifting of key centers. Equipped with these new musical devices, Mozart could explore the depths of the human psyche in ways that were revolutionary for their time. He was, in some respects, the first modern psychologist of opera, a master of creating mood, drama, and atmosphere in his operatic works. The great facility and ease with which Mozart fused music to mood was perhaps his most important contribution to music.


Wolfgang Amadeus Mozart Mozart - Walter Goehr - Mozart: Violinkonzert Nr. 4 D-dur Kv 218 - Bach: DoppelkonzertWolfgang Amadeus Mozart Mozart - Walter Goehr - Mozart: Violinkonzert Nr. 4 D-dur Kv 218 - Bach: DoppelkonzertWolfgang Amadeus Mozart Mozart - Walter Goehr - Mozart: Violinkonzert Nr. 4 D-dur Kv 218 - Bach: DoppelkonzertWolfgang Amadeus Mozart Mozart - Walter Goehr - Mozart: Violinkonzert Nr. 4 D-dur Kv 218 - Bach: Doppelkonzert

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