Mozart is considered to be the composer of the airy, cheerful tones, summer energy that cleans the darkness of the human soul and leaves behind a patchwork, cheerfulness, enthusiasm and trembling lightness of being.
However, with careful analysis of some of his “happiest” composition, we discover a new face, namely, the reverse side of the ingenious composer. We remember the mask in “Amadeus” by director Milos Forman, when Mozart wears a mask with two faces. One is smiling, and the other is sad and gloomy. Just as are his compositions.
In music theory, major scales are characterized by cheerfulness, while the minor is characterized by sadness. By careful analysis of some of Mozart’s most famous works, we will find his indispensable commitment to the modulations (Transitioning from one tonality to another) from the dmajor to minor, and rarely the other way around, which is specific to him in relation to other composers.
(Example: Sonata for Piano no 16 in C major, KV 309, 1. movement, allegro con spirito)
Or else, it happens that the main topic, in one of its next repetition, decorating by sharps or flat, is transformed into a mole. So he doesn’t make the whole modulation, but introduces two or three musical changes (alterations), which leads to the minor overtone, while not fully modulated. These are the only sequences of a pair of measures.
Mozart is prone to deceive his listeners, giving them the illusion of absolute availability, and in fact most of his “joyous composition” favors the sadness
Take, for example, the Mass in C Minor, it definitely not wild with hilarity. In one sequence, when the soprano “performs” its part when saying “eleison” as a word from the text of the Mass, he does a lot of experimenting with soprano threading it through multiple octaves. Chorus is adhering to the “height” and is a stable soprano accompaniment. This is an extremely melancholic composition.
In the composition, W.A. Mozart Konzert Fur Zwei pianos and orchestra №10 Es-Dur (KV 365) he also seduces his listener, causing him to think he was on the road of happiness and enlightenment in order to introduce a duel of two pianos with minor characteristics, annulling the previous semblance of humor.
Sonata in A Major has six variations, each of which carries a burden of sadness in it. This is one of his bleakest sonata, although when it comes to Mozart one never knows, because when you listen to the most cheerful peace, it can bear the greatest sorrow in it.
Mozart is “the dark composer”, a prelude to Beethoven, the composer of the mask that, in the end, he took off in his monumental work “Requiem”.