For this session I am lecturing on the final operas of some of my favorite composers trying to figure out what inspired these musicians; what was the message they were trying to convey in their composition; what can we learn from the individual arias and ensembles, the drama and what was happening in the life of the composer.
I began with one of my favorite operas: Die Zauberflote (The Magic Flute). There is so much to discover in this magnificent piece by Wolfgang Amadeus Mozart. Limited by the clock (I have only 50 minutes a session), I chose to explore the importance of key signatures and Mozart's involvement with Freemasonry and its effects on the opera. This was augmented by video clips from the opera.
It is truly such a pleasure to persuade folks that composers are impressing upon the listener (audience) ideas and inspirations right from the first downbeat. The Magic Flute is no exception.
Mozart’s final opera premiered at the end of the eighteenth century (1791), an era in which tonal key associations were of great importance. Certain keys were classified as bright, while others depicted triumph, death, tenderness, etc. All of Mozart’s operas were influenced by these musical standards.
The key of the opera, E-flat major, was the key of prayer, sacred love, and intimacy with God. The three flats of the key signature symbolized the Holy Trinity. The opera begins and ends in E-flat, and Tamino and Pamina both sing of love in E-flat, as well.
C minor was the key of death, and is first heard during the opening scene when Tamino is threatened by the serpent. It returns several times throughout the opera, including the scene in which the Queen of the Night, the Three Ladies, and Monostatos move towards Sarastro's temple.
Papageno, my favorite character in the opera, sings most of his solos in the key of G which was known for its pastoral association. In addition, Papageno's simple nature is reflected in the straightforward structure of the music accompanying his arias.
The key of F belongs to Sarastro and his priests. The key of F is most present in the opening of Act II with the March of the Priests and Sarastro's invocation. When other characters address Sarastro, it is usually in the key of F.
C major, considered the purest key (without sharps or flats), was known for its bright sound and was often used in military music. Since Die Zauberflöte is concerned with the triumph of wisdom through self-discipline, it is not surprising that much of the opera is written in this key. Most significant is the trials of fire and water in Act II, which are written entirely in the key of C.
Papageno, my favorite character in the opera, sings most of his solos in the key of G which was known for its pastoral association. In addition, Papageno's simple nature is reflected in the straightforward structure of the music accompanying his arias.
The key of F belongs to Sarastro and his priests. The key of F is most present in the opening of Act II with the March of the Priests and Sarastro's invocation. When other characters address Sarastro, it is usually in the key of F.
C major, considered the purest key (without sharps or flats), was known for its bright sound and was often used in military music. Since Die Zauberflöte is concerned with the triumph of wisdom through self-discipline, it is not surprising that much of the opera is written in this key. Most significant is the trials of fire and water in Act II, which are written entirely in the key of C.
And what about Freemasonry?
Mozart became a Mason some seven years before his death in Vienna. Knowing that the Masons were soon to be outlawed in that city and throughout Austria, did Mozart realize that The Magic Flute was his last opportunity to ensure that his esoteric knowledge gained through Freemasonry reach the rest of Europe? Was The Magic Flute more than just a folktale? Was Mozart more concerned about the metaphorical journey into the Enlightenment questions and ideals that remained at the time unanswered, yet could be found and resolved through Freemasonry?
I believe it is a stroke of genius that Mozart has Tamino and Pamina undergo the initiation rites together in Act II. The synthesis of Tamino and Pamina, and also that of Papageno and Papagena, represents the creation of the perfect society which Mozart hoped the philosophy of Masonry, the French Revolution, and his own works, would inspire.
What is so wonderful about Die Zauberflote, and so formidable, is that there is always a new layer to be discovered and explored every time we engage the piece. This is why Mozart's offering is timeless and continues to speak to and delight new generations of listeners.
Love One Another - Brian
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