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This site introduces unknown Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.

The Use of Dissonance – Mozart, Monteverdi, and Others

I asked ChatGPT4o about the use of dissonance in Mozart, Haydn, the Mannheim School, and others. The starting point was the following question: "Could Mozart have been influenced by Monteverdi?"

There is little evidence to suggest that Mozart was directly influenced by Monteverdi. Mozart is a representative composer of 18th-century Classical music, while Monteverdi was a pioneer of early 17th-century Baroque music. There is a gap of about 150 years between their active periods, and their musical styles and techniques differ significantly.

Composers who are said to have influenced Mozart include contemporaries like Haydn, J.S. Bach, and C.P.E. Bach, as well as earlier Classical and Baroque composers. Monteverdi is recognized for his significant innovations in opera and sacred music, but it is unlikely that his music directly influenced Mozart.

However, Monteverdiʼs works undoubtedly played an important role in the history of music and contributed to the development of opera. In that sense, Monteverdiʼs innovations may have indirectly influenced the overall musical environment, which could have been reflected in the creative context of later composers like Mozart.

I asked ChatGPT4o: "Monteverdi was criticized by theorists of counterpoint for his extensive use of dissonance and chromaticism. Even if not directly influenced by Monteverdi, didnʼt Mozart also use dissonance and chromaticism more than his contemporaries?"

Mozart skillfully used dissonance and chromaticism, adding depth and expressiveness to his music. His handling of harmony, especially in his later works, shows remarkable progress. For example, in works like "Symphony No. 40," “Requiem,” and “Piano Concerto No. 24,” sophisticated harmonic progressions and bold modulations are characteristic.

Compared to his contemporaries, Mozart pursued a freer and more expressive use of harmony. His works exhibit the following features:

1. Skillful use of modulation: Mozart often made sudden modulations from minor to major keys or vice versa, creating dramatic effects.

2. Use of non-chord tones: He skillfully used passing tones, appoggiaturas, and anticipations, giving flexibility and movement to the melody.

3. Harmonic adventure: Especially in his later works, he used harmonic progressions and dissonances that deviated from the standards of the time, creating complex and emotionally rich music.

Just as Monteverdi was criticized by theorists of counterpoint for his use of dissonance and chromaticism, Mozart was noted in his own time for his innovative use of harmony. Through his musical adventurousness and technique, Mozart brought new life to Classical music and influenced later Romantic music.

Therefore, even without direct influence, it can be said that both Monteverdi and Mozart contributed to the development of music in their respective eras by using innovative methods. Below are specific examples of how Mozart used dissonance and chromaticism:

1. Symphony No. 40 in G minor, K.550:

   • This symphony, especially in the first movement, features bold harmonic progressions. Dissonance is effectively used to emphasize the dramatic effect of the minor key.

2. Piano Concerto No. 24 in C minor, K.491:

   • In this concerto, harmonic progressions and chromaticism are extensively used to emphasize the tragic sound of the minor key. Particularly in the first movement, dissonance creates dramatic tension from the outset.

3. Requiem in D minor, K.626:

   • In Mozartʼs unfinished masterpiece, the Requiem, dissonance is effectively used in sections like “Dies Irae” and “Confutatis” to express dramatic tension and emotional depth.

Mozart excelled in expressing emotions through the complexity of harmony and dissonance, which is one of the attractions of his music. Just as Monteverdi brought innovation to early Baroque music, Mozart demonstrated his talent in Classical music, pursuing new possibilities of expression.

I asked ChatGPT4o: "You have only mentioned minor key pieces, but what about Mozartʼs major key works?"

In Mozartʼs major key works, dissonance and chromaticism are also skillfully used, adding depth and complexity to the music. Here are some examples:

1. Symphony No. 41 in C major, K.551 “Jupiter”:

   • In the finale, contrapuntal writing is used, and the handling of dissonance in the fugal sections is very skillful. Within the complex polyphony, Mozart effectively uses dissonance to create dramatic effects.

2. Piano Sonata No. 16 in C major, K.545:

   • Even within its seemingly simple structure, Mozart adds subtle nuances using fine ornaments and passing tones. Especially in the second movement, temporary modulations to minor keys and chromaticism are interwoven, expressing emotional depth.

3. Overture to “The Marriage of Figaro”:

   • This opera overture begins in a bright C major but uses dissonance and passing tones skillfully to heighten tension and build anticipation for the entire opera. Even in the fast-paced sections, the changes in harmony are vividly depicted.

4. Divertimento in D major, K.136:

   • This work has a lively and bright atmosphere, but in the second movement, Andante, passing tones and dissonance are interwoven, allowing for delicate emotional expression.

5. Clarinet Concerto in A major, K.622:

   • In the second movement, Adagio, subtle harmonic changes and dissonance are used to highlight the beauty of the theme. This movement has a particularly introspective and moving sound, with chromaticism emphasizing emotional depth.

In his major key works, Mozart was adept at expressing complex emotions not just through simple brightness but through subtle harmonic changes. His skillful use of harmony gives the music rich color and depth, continuing to move audiences.

I asked ChatGPT4o: "In Mozartʼs major key piano concertos, it seems that the second movement is often in a minor key. How are dissonance and chromaticism used in these cases?"

In Mozartʼs major key piano concertos, it is common for the second movement to be in a minor key. This allows for contrast and a wider range of emotions between movements. Dissonance and chromaticism are also used effectively. Here are some examples:

1. Piano Concerto No. 20 in D minor, K.466:

   • The second movement, Romance (B-flat major), has a peaceful and beautiful theme, but the middle section turns to a minor key, presenting a stark contrast. In this middle section, dissonance and chromaticism create tension.[Performance example]

2. Piano Concerto No. 23 in A major, K.488:

   • The second movement (F-sharp minor) has a particularly emotional depth. Mozart uses dissonance to emphasize a melancholic atmosphere, and chromaticism enhances the beauty of the melody.[Performance example]

3. Piano Concerto No. 21 in C major, K.467:

   • The second movement (F major), often known as “Elvira Madigan,” features subtle nuances added through chromaticism, and harmonic progressions give it emotional depth.[Performance example]

4. Piano Concerto No. 24 in C minor, K.491:

   • The second movement (E-flat major) conveys a sense of melancholy hidden within a bright tonality. The use of dissonance and chromaticism emphasizes the beauty of the theme and emotional depth.[Performance example]

As these examples show, Mozart incorporates minor keys in the second movements of his major key piano concertos and skillfully uses dissonance and chromaticism to give the movements deep emotional expression. His handling of harmony brings rich expression and contrast to the music, continuing to captivate audiences.

I asked ChatGPT4o: "In Mozartʼs major key piano concertos, it seems that the second movement is often in a minor key. Are dissonance and chromaticism used more in the minor sections?"

In Mozartʼs major key piano concertos, it is common for the second movement to be in a minor key. In such cases, the minor key movements often make extensive use of dissonance and chromaticism, creating emotional depth and tension. Considering the following points, this tendency becomes clear:

1. Emotional contrast:

   • While major key movements have a bright and lively character, minor key movements often have an introspective and emotionally deep quality. Therefore, minor key movements use more dissonance and chromaticism to emphasize emotional depth and dramatic elements.

2. Richness of harmony:

   • Minor key movements often have more complex and rich harmonic progressions. Mozart uses dissonance and chromaticism extensively in minor key music to heighten harmonic tension.

Here are some specific examples:

1. Piano Concerto No. 20 in D minor, K.466:

   • In the second movement (B-flat major), the middle section turns to a minor key, where dissonance and chromaticism create tension. In the minor sections, the harmonic progressions are complex, emphasizing emotional intensity.

2. Piano Concerto No. 23 in A major, K.488:

   • The second movement (F-sharp minor) is a very introspective and emotional movement. Here, dissonance and chromaticism are extensively used, emphasizing a melancholic atmosphere.

3. Piano Concerto No. 21 in C major, K.467:

   • The second movement (F major) has a bright tonality, but chromaticism is interwoven in the harmonic progressions, adding emotional depth.

4. Piano Concerto No. 24 in C minor, K.491:

   • In the second movement (E-flat major), dissonance and chromaticism are used, emphasizing the beauty of the theme and emotional depth.

As these examples show, Mozart extensively uses dissonance and chromaticism in minor key movements, enriching emotional expression. While these techniques are also used in major key movements, they are particularly prominent in minor key movements.

I asked ChatGPT4o: “What about in symphonies?”

In Mozartʼs symphonies, the use of dissonance and chromaticism is particularly prominent in minor key movements, but they are also skillfully used in major key movements. Here are some examples from his symphonies:

Use of dissonance and chromaticism in major key symphonies

1. Symphony No. 41 in C major, K.551 “Jupiter”

   • In the fugal sections of the finale, contrapuntal techniques are employed, and dissonance is abundantly used. This effectively expresses tension and resolution within the complex polyphony.

2. Symphony No. 39 in E-flat major, K.543

   • In the first movementʼs development section, dissonance and chromaticism are extensively used, and the theme is reproduced in various forms. This adds a dramatic element to the piece.

3. Symphony No. 38 in D major, K.504 “Prague”

   • In the first movementʼs development section, dissonance and chromaticism are used, showcasing harmonic adventure. This enhances the energy and tension of the piece.

Use of dissonance and chromaticism in minor key movements

1. Symphony No. 40 in G minor, K.550

   • This symphony, being entirely in a minor key, features dissonance and chromaticism throughout. Particularly in the first movementʼs development section and the second movementʼs middle section, the harmonic progressions carry tension, emphasizing emotional depth.

2. Symphony No. 25 in G minor, K.183

   • In the first movement, dissonance creates dramatic tension, dominating the overall atmosphere. The harmonic changes in the development section are impressive, conveying emotional intensity.

Minor episodes in major key movements

1. Symphony No. 35 in D major, K.385 “Haffner”

   • In the second movement (Andante), a minor episode is inserted, and dissonance and chromaticism highlight the emotional contrast.

2. Symphony No. 29 in A major, K.201

   • In the second movement (Andante), there is also a minor section, and dissonance and chromaticism are interwoven in the harmonic progressions, expressing emotional depth.

Summary

In Mozartʼs symphonies, his harmonic techniques are very rich, and he skillfully uses dissonance and chromaticism to enhance the expressiveness of the music. In minor key movements or sections, these techniques are particularly prominent, emphasizing tension and emotional depth, but they also play an important role in major key movements.

I asked ChatGPT4o: "How did Haydn use dissonance and chromaticism in his symphonies and piano concertos?"

Haydn also skillfully used dissonance and chromaticism, adding unique expressiveness and depth to his symphonies and piano concertos. Here are some specific examples:

Use of dissonance and chromaticism in symphonies

1. Symphony No. 45 in F-sharp minor “Farewell”

   • The first movement of this symphony is particularly rich in dissonance and chromaticism, creating a dramatic effect. Especially in the development section, the harmonic progressions heighten tension and express emotional intensity.

2. Symphony No. 94 in G major “Surprise”

   • In the second movement, Andante, before reaching the famous “surprise” chord, chromaticism is used to heighten harmonic anticipation and expectation. Throughout the movement, Haydn effectively uses dissonance to create musical surprises.

3. Symphony No. 88 in G major

   • In the second movement (Largo), the theme includes delicate chromaticism, and the harmonic progressions are beautifully expressed. In the middle section, the key modulates to minor, and dissonance creates tension.

4. Symphony No. 104 in D major “London”

   • In the first movementʼs development section, dissonance and chromaticism are skillfully used, creating a dramatic effect. This allows the theme to be reproduced in multiple facets, sustaining harmonic interest.

Use of dissonance and chromaticism in piano concertos

1. Piano Concerto in D major, Hob. XVIII:11

   • The second movement (Una Largo) is particularly emotional, with dissonance and chromaticism beautifully interwoven. The harmonic changes enhance the expressiveness of the melody, drawing out deep emotions.

2. Piano Concerto in C major, Hob. XVIII:12

   • In this concerto, too, in the second movement (Andante), Haydn uses subtle chromaticism, adding rich nuances to the harmonic progressions. Throughout the movement, dissonance is delicately placed, enriching the flow of the melody.

Summary

Haydn skillfully used dissonance and chromaticism to give his symphonies and piano concertos deep expressiveness. Particularly in minor key movements or sections, these techniques emphasize tension and emotional depth. In major key movements, Haydn successfully engages the audience by providing surprise and anticipation through harmonic changes. His harmonic techniques are one of the attractions of his music, and their influence extends to later composers.

I asked ChatGPT4o: "If Mozart and Haydn used fewer dissonances and chromaticisms in major sections compared to minor sections, did they use any techniques to compensate for this in major sections?"

Even in major key movements, Mozart and Haydn employed a variety of techniques to add richness and interest to the music. Even if the use of dissonance and chromaticism is less compared to minor sections, they used the following techniques to give major sections depth and dynamism.

Techniques used by Mozart and Haydn in major sections

1. Mozart

   • Variation and ornamentation:

     • Mozart frequently used delicate ornamentation and improvisational variations to add brilliance to major sections. For example, in the first movement of Piano Concerto No. 21, K.467, ornaments are added each time the theme is repeated, bringing diversity to the music.

   • Counterpoint:

     • Even in major sections, contrapuntal writing is used to give the music depth and complexity. In the finale of Symphony No. 41, K.551 “Jupiter,” a fugue is developed, employing advanced counterpoint within a major key.

   • Dynamic rhythm:

     • Mozart pursued rhythmic diversity, using syncopation and changes in accents to give major movements lively motion. In the first movement of Symphony No. 35, K.385 “Haffner,” rhythmic energy drives the music.

2. Haydn

   • Humor and surprise elements:

     • Haydn often entertained audiences with humor and unexpected harmonic progressions. In the second movement of Symphony No. 94 “Surprise,” sudden fortes create a “surprise” effect, bringing surprise within a major key.

   • Theme development:

     • Haydn excelled at taking simple themes and developing them in various forms. In the first movement of Symphony No. 88, the theme is reproduced in multiple facets through various variations and developments, containing rich musical content even in major sections.

   • Dynamic orchestration:

     • Haydn skillfully varied the roles of each instrument in orchestration, adding color and contrast to the music. In the first movement of Symphony No. 104 “London,” the combination and arrangement of instruments are devised, giving diversity and energy to the music in a major key.

Summary

Mozart and Haydn employed various techniques to enrich the music in major key movements. Even if dissonance and chromaticism are less compared to minor sections, they draw out the charm and interest of major key music through variation and ornamentation, counterpoint, dynamic rhythm, humor, theme development, and dynamic orchestration. As a result, their works are filled with diverse emotions and expressions.

I asked ChatGPT4o: "Did composers of the Mannheim School use dissonance and chromaticism?"

Composers of the Mannheim School used dissonance and chromaticism to bring rich expressiveness and dramatic effects to their music. The Mannheim School was active in the late 18th century and played an important role in the development of the symphony. Their music is characterized by the extensive use of dynamics, dramatic expression, and innovations in orchestral techniques.

Main features and techniques of the Mannheim School

1. Mannheim Rocket:

   • This is a rapid ascending scale used at the beginning of pieces or important sections to create dramatic effects. This technique involves sudden changes in rhythm and volume, making a strong impact.

2. Mannheim Crescendo:

   • This is a technique of gradually increasing volume, enhancing tension over long note values. This technique brings dynamic breadth and drama to the music.

3. Mannheim Sizzle:

   • This involves the use of rapid tremolos, particularly in string performances, to enhance tension and energy.

Representative composers of the Mannheim School and examples of techniques

1. Johann Stamitz (1717-1757):

   • Stamitz was a pioneer of the Mannheim School, and his symphonies extensively use the Mannheim Rocket and Mannheim Crescendo. His music effectively uses dissonance and chromaticism to heighten tension.
   • Example: In his Symphony in D major, rapid ascending scales and crescendos are characteristic, creating dramatic effects.

2. Carl Stamitz (1745-1801):

   • The son of Johann Stamitz, he also inherited and further developed the characteristics of the Mannheim School. His music, especially in slow movements, uses dissonance and chromaticism to add emotional depth.
   • Example: In his Clarinet Concerto No. 3, dissonance is used in the slow movement, enriching emotional expression.

3. Franz Xaver Richter (1709-1789):

   • Richter was also active as a member of the Mannheim School, and his symphonies exhibit dynamic effects and harmonic adventure. He uses dissonance and chromaticism to give his music unique tension and depth.
   • Example: In his Symphony in D minor, the harmonic progressions are characterized by tension, and the use of dissonance creates dramatic effects.

Summary

Composers of the Mannheim School effectively used dissonance and chromaticism to bring dramatic expression and emotional depth to their music. Their techniques had a significant impact on the development of the symphony, playing an important role in laying the foundation for later Classical music. Through diverse changes in dynamics and rhythm, they created music that left a strong impression on audiences.

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