Essay Sample: Mozart's Creative in Soundtrack for the Amadeus Movie

Amadeus which is an American drama film represents various soundtracks that are used to represent various accessions in a music and film. The soundtracks are recorded in music to show the presence of the synchronized image of books, program, and video games. The soundtracks are recorded in a systematic manner that represents Mozart's work. There are numerous soundtracks that follow the Mozart's work in in the Film Amadeus that are represented in a systematic manner. This paper analyzes two pieces of Mozart's work that are represented in the Amadeus film which are Symphony No.25 in G minor, K. 183 and the Great Mass in C minor, K. 427.

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Symphony No. 25 in G minor K is a piece of Mozart's work that history claims that was written by Wolfgang Amadeus Mozart in about 1773. In the film Amadeus, it is used to open the film and it is found at the very beginning of the video and this is not an exception in the film Amadeus as it becomes the first sound that marks welcome other soundtracks. It is among the symphonies Mozart that composes G minor symphony and most of the time this group of the symphony is referred to the as little G-minor symphony. It marks number twenty-five in the order at which they were completed by Mozart.

Most of the time, symphony number twenty-five little G minor is used for the opening of the music and films. The symphony can be well-thought-out to be the Mozart's first "tragic" symphony. It was written in the Sturm und Drang style of movements. The Sturm und Drag is translated as storm and stress respectively. The movement in music shows dramatic and emotional extremes which are most of the time represented by the minor key. This is confirmed in this symphony as it represented by little G minor key (Riley 20). It also represented by a sudden change in tempo which is dramatic.

The changes are also accompanied by the rapid change in expressive music element and dynamics as it comes together with effects such as tremolo. The symphony can be identified by its use of forms that are typical for it and are written in classical time. The forms here are; Allegro con brio which is very fast and lively and goes with vigor. The second one is andante which has a slow movement followed by menuetto and Trio which compose of a minuet dance.

The last form for this symphony is allegro which is also fast and lively. In every form, there is a section that is allocated for it in the soundtrack. The first and the last which are both Allegro are written in sonata form. In the film Amadeus and any other form of film and music that symphony number twenty-five little G minor is presented, the listeners hear different themes that are introduced by the orchestra as these movements begin. Mozart develops them in different ways throughout the movement. The type of compositional development is a typical characteristic of a form known as a sonata. The second movement Andante is slower and is in the form of an operatic aria. The third movement forms a three-part dance which is known as minuet and trio. The symphony was written in four horns, two oboes, string instrument and two bassoons that can be heard which catches the attention.

Among various symphonies that the film Amadeus represents, the second one that is of interest is Great Mass in C minor, K. 427, act III, which a common name of some of the last set of mass that was composed by Wolfgang Amadeus Mozart in Vienna between 1782 and 1783. It is the eighth sound after Concerto for Two Pianos in E-flat major, K. 365, 3rd movement in disk one of the film Amadeus and it is followed by Symphonie Concertante in E-flat major, K. 364, 1st movement. This was mainly composed for gospel symphony and was composed in a church called Salzburg Cathedral. Most of the sound from the soundtrack that portrays this piece of work in the form of a symphony is a sound of a Missa Solemnis, which provides a score of two soprano soloists, one ten and one bass (McCaldin 499). There is also a presence of double chorus and a large orchestra. Great Mass in C minor, K. 427 remains unfinished hence missing large portions of complete Agnus Dei and Credo. It, therefore, shows that Mozart did not finish the great C minor choral works.

The structure of this piece of work by Mozart is Kyrie that is Andante moderato which represents chorus. This structure is made up of five sections. The first section is a chorus in soprano and one soloist. That second part is soprano flowed by Alto then Tenor and finally bass in the sequential order. The chorus is in Allegro vivace as the soprano two is in allegro aperto. The order of soundtrack in the film Amadeus is followed by another chorus which is in the form of the Adagio. The fifth sound that is heard from the soundtrack is a combination of soprano one and soprano two in the form of allegro moderato. This is followed by a double choir in the Largo form. At the end of the piece of work that marks great G minor K, 427 there are two forms of sound that are heard, these are a combination of soprano I and soprano II, together with tenor that is in the form of allegro and the last bit is depicted by chorus in the form of adagio.

The work, therefore, is of great importance in the music as it embodies pomp and solemnity influences in the film or musical work. Solemnity is associated mostly with the Salzburg tradition that was most common by the time Mozart wrote this piece of work. Similarly, the symphonic masses of Joseph Haydn are represented in the form of solo choral sharing. The masses in the symphonic represent the influence of Bach together with Handel, who was the mentor of Mozart and he was studying their music by the time he wrote Great Mass in C minor, K. 427. Solemnity and pomp are that main factors that catches in this piece of work by Mozart. The film, Amadeus as a total of thirty sounds, twenty of which are common to score the film and ten of them are those that are common to music. The soundtracks when properly employed in either music or film adds the message to both the viewers and listeners. In both music and the film, the soundtracks create the atmosphere and set a rhythm of the either of them which intern changes that perception of the audience as it underlines the necessary movement that is required.

Works Cited

McCaldin, D. "Mass in C minor (K.427/417a)." Music and Letters, vol. 87, no. 3, 2016, pp. 498-500.

Riley, Matthew. "The Viennese Minor-Key Symphony." The Viennese Minor-Key Symphony in the Age of Haydn and Mozart, vol. 23, no. 5, 2014, pp. 1-38.