Don Giovanni - Ouverture (score)

00:02 Andante (Re minore)
01:39 Molto allegro (Re maggiore)

[@ryanfrederick3376]

Not bad for a hungover guy writing on the morning of the premier...

[@andrewb.7613]

I came to see a comment like yours, and I found it. You win sir.

[@gracielaagudelo8542]

Maybe you were carousing with him?

[@iam2ko]

Actually he made this the NIGHT before the premiere....... At least that's what my research says

[@mihawkdrakule3869]

He completed on the day but started before.

[@I_am_not_a_rob0t]

xidos vidbud casungo He started at midnight and worked till 3, so technically morning. He hadn’t slept though, so, semantics, I guess.

[@eti313]

The Mozartian version of "pulling an all-nighter."

[@understeerengineering1387]

Dude no he did it in the morning of the overture! Just a couple hours before it started, he isn’t a genius he is a madman

[@lupash]

I can envision Wolfgang in the theatre listening to his own ouverture and being particularly proud when that Bm7 kicks in in bar 9.

[@Apfelstrudl]

I wouldn't consider this chord to be Bm7 at all. The D would, as a third, never have been doubled that much (all oboes, horns, bassoons, timpani and viola!). Bass has a chromatic line downwards and just adds a sixth to a normal D major chord, the secondary dominant to the Gm at bar 10.

[@dzinypinydoroviny]

It's funny that meanwhile this chord progression sounds somewhat modern, it's more of a thing you'd hear in baroque and even renaissance; check for example Carlo Gesualdo da Venosa or Jan Dismas Zelenka.

[@lupash]

@@Apfelstrudl I rest my case, functionally it's clearly a Bm7, no other way to consider it in terms of harmonic functions, specially if you look at the harmonic progression from the beginning. It can't be a D major chord, for it would make no sense. First of all because the progression is in D MINOR; moreover, bass is never just adding a chord extensions as you're claiming, it's always playing a root or inversion note that defines the chord functionally, not melodically, at least at that musical time (but also nowadays in most of our musical forms). The bass goes B, and you can't have a D major chord with a B in the bass, not in a D minor progression, simply because that would become, as I said, a Bm7, and it makes all the functional difference in the world since you could say that's our vi grade of the D major scale, but we're never touching D major; he's just playing around A (V of our D minor), going to its ii7 (Bm7), then it's clear it's still D minor for he goes down chromatically to its iv6 (Gm/Bb), plays more around the V with an aug6 (Bb7), then I46 (Dm/A), V (A) and finally, with some difficulties, it's D minor again.

[@Apfelstrudl]

@@lupash "moreover, bass is never just adding a chord extensions as you're claiming, it's always playing a root or inversion note that defines the chord functionally" where did you get that from? It's not true in general and especially not in a chromatic base line like this. "First of all because the progression is in D MINOR" Because a progression starts in D minor it can't involve a secondary dominant D major, the V of the Gm in bar 10? Also this argument would forbid your own proposed Bm7 as ther is no Bm in Dm but Bdim.

[@lupash]

@@Apfelstrudl it’s functional harmony at least in the common practice period, plus the physiology of the harmonic serie. It’s how chords are built in tonal harmony at least. It’s like you have D - F# - A, would you name it D major or F#m6? Can it be both? Sure, then it’s the grade function defining its name in its tonal context. Per se an added sixth is just an extension not defining its grade function nor the chord nomenclature, bass or not. You can have Bm7 in D minor if you’re reinforcing its dominant (to confirm any grade of the tonality is to confirm its tonality and tonic, this is Schoenberg); Bm7 is A second grade in a perfect cadence, but it’s just a passing moment around the dominant tonality. How do you justify a D major theorically? Randomly going from D minor to D major? Moreover does it sound like a D major to you as to me it clearly sounds as the m7 it is.

[@sofiasanchez8375]

1:15 Intro with creeping, dotted rhythm 1:42 Exposition (Molto Allegro) 2:22 Call and response 3:27 Development 4:02 going back to recapitulation with fast eighth notes 5:33 Finale

[@SeverusSnape70]

"Intro with creeping, dotted rhythm" 😄 You made my day!

[@armandssurins3364]

1:39 Exposition (Molto Allegro) [not 1.42] 2:20 Call and response [not 2.22]

[@PrazimProductions]

Thanks for posting this. I had to do an analysis on the form of this piece and being able to move back and forward with the audio and score helped tremendously. Thanks again

[@TheR3gi]

Did you have a drink before doing the analysis piece, like Mozart did lol

[@oscarestevanortizdemontell4482]

0:02 - 0:07 =MOZART!!! 0:08 - 0:14 = Mozart!!..Forgive your murderer! I killed you, yes, I killed you "Pieta"

[@ClassicHolic]

I mean the introduction is already composed some time before (same music as the Commendatore scene), while the Allegro section is a rather straightforward monothematic sonata structure. I'm sure someone so in command of his own musical language like Mozart could come up with the overture conceivably very fast indeed.

[@_Athanos]

2:11 just a reminder for myself

[@davemusicinca]

That tempo....!

[@АлександрЯрков-ш2з]

Моцарт гений музыка волшебная чарующая завораживающая браво испытываешь огромное удовольствие от прослушивания

[@cimbassovr]

GENIO UNIVERSALE...MOZART basta la parola❤

[@Bidoni-Entainoe]

Waouh... Incredible...

[@chloeross6559]

UVA 2023 violin excerpt begins at 1:40

[@brunoschiavo]

Stern, yet touching

[@HanKyeolYoon]

Best tempo..

[@madaaa]

Beautiful

[@Dylonely_9274]

5:08 My favorite part.

[@musizieren9267]

Thank you very much. Very interesting.

[@SantosHernandez-xu7cj]

great overture

[@bw6138]

-5:07 to -4:55 is my favorite part. What key is that in? I want to play it.

[@melvinblandin8704]

D major, the rest of the piece is in D minor

[@felixfourcolor]

you mean 0:35 to 0:47

[@lucas5nov]

Gracias!

[@caterscarrots3407]

Is it just me, or does anybody else hear resemblances between the start of the D major Molto Allegro and the second theme of Eine Kleine Nachtmusik? It becomes even more obvious when you hear a piano reduction of both pieces.

[@cyberspeeds]

So simple so complex

[@TomVereecke]

Can someone explain why the timpani part is C and G written but in the legend it says Re and La?

[@rkwittem]

Re and La correspond to D and A respectively. The timpani is sometimes treated as a transposing instrument. Writing in C/G is more to tell the player when to play the tonic and dominant and re/la is for tuning it to the correct key.

[@rkwittem]

Basically, long story short, the timpani gets the same treatment as valveless brass instruments of Mozart's day. Timpani in re-la is timpani tuned up a whole step, in a short. Just as trumpets in re (as here) are written in C with the understanding that they will be tuned to D. Hope that makes sense.

[@Apfelstrudl]

Yeah they always used just two timpani and until Beethoven only with the tonic and dominant tones always written transposed as C and G.

[@virtuoso424]

really helpful thanks!

[@alessiamarangoni9323]

3:36 3:41 3:43 sono le parti migliori

[@sooltastoh8921]

01:12 3:34

[@enelabe]

I have never seen an orchestral score with a transposing timpani part 😳

[@jochanaan58]

I've seen several other scores with transposed timpani parts, all by Mozart.

[@enelabe]

@@jochanaan58 it's so funny cause now I'm studying composition and it's super normal to me already hahaha

[@mirunika.2205]

Legenda spune ca aici se afla elevii romani care au audiție muzicala

[@ryangray575]

Does anyone know who the conductor and orchestra are?

[@augustocarnevale1900]

1:52

YES

[@Ivan_1791]

What is the "clarino"?

[@ClassicHolic]

trumpet

[@Ivan_1791]

@@ClassicHolic Okay, thank you.

[@hjo4104]

measure 10 - bass clef in natural trumpet?

[@natheniel]

probably same as horn old notation, notated one octave lower then it would be when in treble clef

[@Apfelstrudl]

Yeah the lower note is unplayable on modern trumpets (would be a E below the staff for Bb and a D below the staff for C trumpets). Old natural D-Trumpets were just much longer.

[@Sshooter444]

Because who wants to write all those lines?

[@hjo4104]

@@Sshooter444 No, I just thought clarinos couldn't play so low because today's trumpets can't play.

[@heikkinylund8617]

Shouldn't it be "Don Juan", the character being a Spanish charmeur?

[@Claudio3689p]

I feel that this ouverture is a little tragic

[@windmillwilly]

Just a _tiny_ bit, a smidgen

[@GregEckhardt]

bonky

[@Leoptxr]

Too slow D:

[@psalmtone2008]

Really? The andante is pretty standard, and the allegro moves pretty well while allowing articulation.

[@Sshooter444]

@@psalmtone2008 way to catch the sarcasm

[@MozartshouldhavediedearlierGou]

4:20 Mozart is such a garbage composer he can't think of anything besides those lame chromatisms.

[@vayhn]

This isn't about Mozart is it

[@pneumonoultramicroscopicsi9645]

2:50

[@Dylonely_9274]

4:07

[@mary9167]

1:40

[@tashwhimpey8114]

1:39

[@matthewbaek4070]

2:21