MUSIC AS A SOCIAL MIRROR

Chapter:

CHAPTER 9 Enlightenment and Reform

Source:

MUSIC IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES

Author(s):

Richard Taruskin

Since it is attached directly to the introduzione, of which it is actually a part—and since, therefore it ends not with a cadence (except in its specially adapted “concert version”) but with a modulation—the overture (or, as Mozart called it, the sinfonia) to Don Giovanni must also figure in our discussion. Like the drama to which it is appended, the sinfonia by Mozart’s day was no longer a little three-movement suite but more often a single quick (Allegro) movement in binary (there-and-back) form. At the beginning, Mozart appended a startling andante that gives a forecast of the plot’s grisly resolution, also forecast in the opera’s subtitle, Il dissoluto punito (The immoralist punished).

Citation (MLA):

Richard Taruskin. "Chapter 9 Enlightenment and Reform." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 8 Dec. 2024. <https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-09009.xml>.

Citation (APA):

Taruskin, R. (n.d.). Chapter 9 Enlightenment and Reform. In Oxford University Press, Music In The Seventeenth And Eighteenth Centuries. New York, USA. Retrieved 8 Dec. 2024, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-09009.xml

Citation (Chicago):

Richard Taruskin. "Chapter 9 Enlightenment and Reform." In Music In The Seventeenth And Eighteenth Centuries, Oxford University Press. (New York, USA, n.d.). Retrieved 8 Dec. 2024, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-09009.xml