Encountering difficulties is part of our daily life. They test our capacity to resist adversity and make us stronger. Moreover, challenging moments that we face can be compared with a storm, which produces intensive winds and heavy rain causing flooding and disaster but, after it everything returns to normal and the calmness will come. This is because a bad season or a moment in our life cannot last forever. Based on that principle, I interpret the overture of Don Giovanni composed by Wolfgang Amadeus Mozart. The piece has three fundamental elements that contribute to the understanding of the changing moments in someone's life. The first element is harmony, which is chromatic or dissident in the starting part of the piece. Next, a disjunct
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His works are a fundamental part of the music such as, the triumphant opera of Le nozze di Figaro released in Prague in December 1786, which is still one of Mozart's most famous productions. Consequently, Mozart started creating the opera of Don Giovanni, whose work was extended over twelve months before the first performance in May 1788. Moreover, on May 28 Mozart's father, Leopold Mozart died in Salzburg but, whereas his mother's death in Paris in 1778 had considerably disturbed his compositional rhythm, Mozart apparently took his father's death as his stride. Yet this father-son relationship was intense and uneasy; it is deeply ingrained in an earlier opera called Idomeneo, and it may be that the impact of this death tapped some dark force in Mozart's creativity which welled up in Don Giovanni.3 Moreover, the first aspect in Don Giovanni's overture, which begins with the imposing music for the entrance of the ‘stone guest’. Its emergence into the D major Allegro establishes the ambivalence of the opera, its perilous balance of humor and tragedy. The full sonata form has been interpreted as a portrait of Giovanni, or as justice (the heavy five-note figure) pursuing the mercurial seducer. There is no final cadence; the coda modulates to a new key (F major) for the opening
His works are a fundamental part of the music such as, the triumphant opera of Le nozze di Figaro released in Prague in December 1786, which is still one of Mozart's most famous productions. Consequently, Mozart started creating the opera of Don Giovanni, whose work was extended over twelve months before the first performance in May 1788. Moreover, on May 28 Mozart's father, Leopold Mozart died in Salzburg but, whereas his mother's death in Paris in 1778 had considerably disturbed his compositional rhythm, Mozart apparently took his father's death as his stride. Yet this father-son relationship was intense and uneasy; it is deeply ingrained in an earlier opera called Idomeneo, and it may be that the impact of this death tapped some dark force in Mozart's creativity which welled up in Don Giovanni.3 Moreover, the first aspect in Don Giovanni's overture, which begins with the imposing music for the entrance of the ‘stone guest’. Its emergence into the D major Allegro establishes the ambivalence of the opera, its perilous balance of humor and tragedy. The full sonata form has been interpreted as a portrait of Giovanni, or as justice (the heavy five-note figure) pursuing the mercurial seducer. There is no final cadence; the coda modulates to a new key (F major) for the opening