THE ORIGIN OF VIRTUOSITY IN THE CONCERT ARIAS OF W. A. MOZART
DOI:
https://doi.org/10.32782/art/2024.2.2Keywords:
concert aria, opera art, vocal, singing, concert venue, mass, composerAbstract
The article explores significant moments regarding the formation of the concept of the concert aria in the works of the distinguished Austrian music master Wolfgang Amadeus Mozart. It is noted that such a direction during the composer’s time was not distinguished as a separate category. However, this area of activity occupied a noticeable place in his musical creativity. The study highlights the names of prominent scholars who focused their research on various aspects of the composer’s activity. It was found that Mozart, being extremely sensitive to traditions and wishes, relied on the best examples, traditions, and achievements. This is especially true for Italian opera music. The “concert aria” did not have such a name during the composer’s time. This type of opera performance functionally differed from the traditional opera number. It has been proven that this type of performance enjoyed immense popularity, was complex, but not a new form of art. It was discovered that Mozart’s “insertion numbers” were in great demand throughout his creative life. These parts were gladly included in the most famous and popular operas of the time. It is noted that in concert arias, the composer used not only virtuoso vocal performance but also virtuoso instrumental accompaniment. It is argued that this direction of Mozart’s activity was popular and in demand at artistic events of that time. The article presents the names of performers who were stars of concert halls and theaters. Over time, and at the request of Leopold Mozart, they engaged in singing with the young performer and composer. The significance of this genre in Mozart’s compositional legacy is emphasized. Important moments for understanding Mozart’s Italian vocal art are considered. The importance of the practical skills acquired, which his father considered necessary for the future compositional profession, is proven. It is noted that the knowledge Mozart gained in childhood was useful in his later work. It is emphasized that a large number of people, including vocalists, event organizers, private individuals, used Mozart’s services. Other composers who saw the positive impact of such musical parts on their operas were not an exception.
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