@guillote75 Ja ja! Fantastischen..When the quartet begins, the imitative polyphony between voices and orchestra is masterful...Die Zauberflöte is full of mini-fugues, lol: in the overture M. gives us the exposition of a double-fugue, there's a cool antiphonal scene between Tamino, flute, and orchestra near the end of Act 1 ("Wie stark ist deiner Zauberton), as well as the final chorus of the opera (Heil sei euch geweihten!), which moves from majestic chorale to a closing contrapuntal section :)
I love both Bach's opening chorale as well as Mozart's. But I agree, Mozart's counterpoint is really crisp, whilst Bach's is so intellectual and complex that I can only assume that those poor church goers in 1724 cannot have been anything but 'confused after having heard this for the first time.
The melody which is sung by the two armoured is actually tha Chorale "Ach Gott vom Himmel sieh darein". Comparing it with Bach´s opening Chorus of BWV 2 then one gets an idea of what a real crisp counterpoint is.
and the crisp counterpoint! a masterpiece, nothing less could be expected from mozart!
@guillote75 Ja ja! Fantastischen..When the quartet begins, the imitative polyphony between voices and orchestra is masterful...Die Zauberflöte is full of mini-fugues, lol: in the overture M. gives us the exposition of a double-fugue, there's a cool antiphonal scene between Tamino, flute, and orchestra near the end of Act 1 ("Wie stark ist deiner Zauberton), as well as the final chorus of the opera (Heil sei euch geweihten!), which moves from majestic chorale to a closing contrapuntal section :)
I love both Bach's opening chorale as well as Mozart's. But I agree, Mozart's counterpoint is really crisp, whilst Bach's is so intellectual and complex that I can only assume that those poor church goers in 1724 cannot have been anything but 'confused after having heard this for the first time.
The melody which is sung by the two armoured is actually tha Chorale "Ach Gott vom Himmel sieh darein". Comparing it with Bach´s opening Chorus of BWV 2 then one gets an idea of what a real crisp counterpoint is.
It is easier to detect the melody in the Choral prelude BWV 741 than in the Cantata with the similar name.