Lecture 16 and 17 
the classical concerto; opera according to Mozart; The Marriage of Figaro
Mozart combines serenity, melancholy, and tragic intensity into one great lyric improvisation.
Over it all hovers the greater spirit that is Mozart's—
the spirit of compassion, of universal love, even of suffering—
a spirit that knows no age, that belongs to all ages. 
—Leonard Bernstein
Instrumental genres; Mozart and opera
since Lectures 16 and 17 are a unit, I have combined them here on this one page. the length of both lectures totals approximately the same as any other 2 lectures, but I've combined them here because they belong together and you are required to go to the Media Center in Doyle Library to view The Marriage of Figaro, which I'm sure you'll want to do in a single visit. 
we finish up our discussion of the various instrumental genres, each one using a variety of forms in its various movements. we then discuss Mozart's contribution to opera, preparing for our viewing of a sizable portion of his opera, The Marriage of Figaro.
Topics covered:
  • the classical concerto
  • double exposition form
  • Mozart and classical opera
  • The Marriage of Figaro
  • Mozart
  • Lebrun
  • understand how the double-exposition form of the classical concerto differs from the usual sonata form.
  • know what a cadenza is when you hear it
  • understand the context of Marriage of Figaro in social / historical context
  • listen and watch these excerpts of The Marriage of Figaro in this lecture and Lecture 17
  • if you don't watch this video, you will miss out on one of the most important experiences of the semester
  • pay attention to what's going on in the story - you'll be tested on some plot points; it's the only way of my knowing that you've actually watched the video
  • watch lectures 16-17 (in multiple parts for quicker download)
  • review previous chapters, as necessary
  • read textbook, Chapter 19
  • As you are reading your textbook, go through the Listening Exercises in textbook sequence, listening to the examples provided.
  • regarding developing listening skills: you should be in the habit of developing your listening skills early in the game - the assignments will get more complex through the semester and you may find yourself unable to keep up. As simple as these early assignments may seem to some of you, they will help to keep you on the right track, and help you develop the skills required for a greater appreciation in listening to music, including the music that you listen to for your own enjoyment. Of course, those objectives are in total sync with the success you hope to have in this class. Remember that your ability to recognize the music on your CDs will be tested and will, of course, impact your grade. 
Audio / Video lecture
  • in this lecture, I would suggest you go online at the Media Center to view both this web page and the DVDs that are a part of this lecture.
  • click lecture segments below in sequence
  • this will alternate with the viewing of the DVDs as instructed below
  • presented in several segments to reduce download time
  • total lecture time: approx. 75 minutes (all segments included) 
  • This link contains instructions for both DVD viewings; 
  • Print it and take it with you or—if you have brought your laptop— 
  • have it handy to guide you through the viewing. 
Lecture 16.1 
The Classical Concerto
Lecture 16.2 
Lebrun; The glass harmonica
Lecture 16.3 
Mozart and Opera
Lecture 16.4 
aria : Se vuol ballare
Lecture 16.5 
Marriage of Figaro, scene 2
16.6 here is where you must put the DVD into the player and begin at Track 12, playing through to the end of Act I (Tracks 12-21). You'll continue with Act II in a moment, but first listen to segment 17.1 for a little commentary by yours truly. Don't forget to turn on the subtitles, so you have a running translation of what they're saying—they are singing in Italian, after all. 
Lecture 17.1 
Marriage of Figaro, Act II
17.2 now continue and watch Act II to its end (track 22-39), and listen to the final short segment of Lecture 17 below
Lecture 17.3 
Marriage of Figaro epilogue



note the differences between double-exposition form and standard sonata form