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The Magic Flute
Opera overtures typically introduce thematic material that reappears later in the work. The overture to Mozart's "The Magic Flute" is one of the most recognizable and best-loved opera overtures, but melodically, it seems to have almost nothing to do with the music that follows. In fact, the three bold opening chords are the only element of the overture which later return. Estimated Performance Time: 3:50 Technical Notes: Note to the conductor: The tempos for both the "Adagio" and the "Allegro" sections are very much subject to the director's preference. The arranger has indicated suggested tempos in the score, but Mozart's own were less specific. Reviewing a number of recordings shows that conductors have had widely varying views as to what the proper tempos should be. While some directors of professional orchestras take the "Allegro" section of the overture at a very brisk tempo indeed, younger groups should use a tempo which encourages the clean, accurate playing that would be appropriate in the classical era. Young groups sometimes have a tendency to rush the sets of four 16th notes. They must be aware that these 16ths may take quite a lot of methodical practice and must not be rushed or uneven. Those who are very familiar with this overture will notice that measures two and three were preceded by a 16th note pick-up in Mozart's original score rather than the quarter note found in this arrangement. On careful study, the arranger found fine professional interpretations of those pick-ups, which actually sound as if they are quarter notes with a distinct separation from the following chords. Conversely, some conductors treat them almost as grace notes. The arranger feels that this wide variation of acceptable interpretations allows the latitude to indicate the pick-ups in this particular arrangement as quarter notes, thus keeping the opening measures well accessible to young bands. You may choose to use a solo 1st clarinet part in measures 3 through 15 rather than unison 1st clarinets. While parts for bass drum, snare drum, and crash cymbals are included, you may consider using timpani as the only drums in your performance for the sake of authenticity. The timpani part is almost exactly as Mozart wrote it for these sections of the overture, and like most classical orchestra pieces, there were no snare drum, bass drum, or cymbal parts in the original overture score. As an interesting alternative idea for a contrast piece, you can use this as a woodwind ensemble arrangement. An essentially complete performance is possible with woodwinds alone, as long as you have complete representation in that portion of your band. If you choose to perform the overture using just a woodwind ensemble, the addition of a timpanist is advisable. In the interest of education, it would be good to have the band listen to a quality orchestral recording of Mozart's original overture. Equally interesting, perhaps, may be a perusal of Muzio Clementi's "Sonata In B Flat, Op. 24, No. 2", keeping in mind that it was written years before Mozart composed the overture to "The Magic Flute". Composer(s): This piece was composed by W. A. Mozart. Arranger(s): This piece was arranged by Mike Hannickel. Publisher: This piece was published by Curnow Music Press. Series: This piece is part of the series "Curnow Sinfonia Series".
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