Fluting It Out on Mozart's Die Zauberflöte
Overture
Die Zauberflöte, K. 620, opera in two acts (1791)
Welcome, I'm Mozart, and I'm about to walk you through the Overture to my opera Die Zauberflöte. Near the end, the music seems to finish, only to pause and then rush back home in E-flat major, and that little trick is a joy to catch. My fellow composers and I also coach you on this site to recognize our pieces the moment they begin, so why not test yourself in the Trainer today?
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Ears Open, Shoes Off
Here's how I'd listen to my Overture if you've never sat through a piece of classical music in your life. Don't try to follow everything at once, and just wait for the three slow, solemn chords from the brass at the start, which tell you something important is about to begin. After that, listen for a single little tune that starts alone and then gets picked up again and again, each time by a new voice chasing the one before. If you lose the thread, no harm done, because you can always find your way back to that tune, a bit like following one friend through a crowded market.What's in a Name
I called it an Overture because it's the piece that opens the evening, before a single singer has stepped onto the stage. Its job is to settle the audience, make them curious, and give a first taste of the story's mood, from solemn temple to lighthearted adventure. I wrote it last, and the story goes that I finished it on 28 September 1791, only two days before the premiere. That makes sense to me, because it's easier to introduce a story properly once you know exactly how it ends.Choosing a Shape
Choosing the form for this Overture was an adventure in itself, because I wanted it to feel like a small story of its own rather than a box with a label on it. In the end it has two big parts: a slow, serious opening, and then a lively fugal Allegro that carries most of the piece. Near the end there's a false ending, followed by a return to the home key of E-flat major, so you could say the music goes out for a walk and comes back. I'll only touch on the four sections here, but get ready, because I'm going to take you through them one by one.Section 1: Three Knocks at the Door
The Overture begins in E-flat major, with three solemn chords from the brass, played in a slow adagio. Three is a number that keeps coming back in this opera, with three ladies, three boys and these three chords, and it ties in with the Masonic ideas that Schikaneder and I both cared about. These chords are linked to the priests of the Temple of Wisdom, so the mood is dignified and a little mysterious. Notice how much room I leave around them, because the silence is part of the music.Section 2: The Chase Begins
Then the tempo changes completely, and the music switches from slow to a lively Allegro. This is the fugal part, where one little tune begins and others join in, each playing that same tune in turn, much like a round you might have sung at school. The mood moves from solemn to bright and playful, as if the curtain has gone up on a story full of adventure. Try to pick out the tune each time it enters, because that's the whole game here.Section 3: The Fake-Out
Near the end, I give you a false ending, where the music seems to wind down and you think it's over. Don't reach for the stop button, because that pause is a little trick I'm playing on you. The mood shifts from busy to suspended, as if everyone in the hall were holding their breath. I enjoy fooling an audience for a moment, as long as I make it up to them afterwards.Section 4: Back Home
After the trick, the music returns to the tonic, which is simply the home key of E-flat major where we started. Everything that felt uncertain settles down, and the lively energy carries you to the finish. By now the Overture has told its little story, from a serious temple to a bright adventure and back to a feeling of rest. That sense of arriving home is what I wanted you to carry with you into the opera.Your Turn, Press Play
Now it's your turn to hear my Overture for yourself. Press play, sit back, and let the music carry you along. While you listen, keep an ear out for the three chords, the tune being passed around, and the false ending. I hope the journey feels as thrilling to you as it did to me when I wrote it.---
I hope you enjoyed finding your way through my Overture to Die Zauberflöte with this listen guide. Now that you know what to listen for, those three solemn chords and the lively race that follows should feel a little like old friends. Still, the Overture is only the doorway, and there is much more of Die Zauberflöte waiting for you on the other side. There's the story of Tamino and Pamina, the trials they face, and Sarastro, who turns out to be quite different from what you first expect. There's also the music of the Queen of the Night and of Papageno, and the way I wrote for a theater full of ordinary people as much as for anyone grand. I finished this opera in 1791, and I'm glad to think it is still being listened to and loved. If you're curious to hear more, please click on the links provided and keep exploring Die Zauberflöte at your own pace. Take your time, listen again, and let the music show you something new on every visit.