Mozart's Die Zauberflöte is related to earlier compositions by Mozart himself and to those by other composers. The opera may be considered as a "pot-pourri." The examples of the "melodic sources and affinities" are virtually endless. An explanation for the extent to which the opera presents a synthesis of musical ideas may involve consideration of the processes of musical creation and musical psychology. Such a consideration can only be speculative as of yet, but it may be noted that Mozart, like Brahms, was steeped in tradition. Furthermore, Mozart possessed an extremely retentive musical memory. Most of the borrowings were probably unconscious. Evidence in the string quartet autographs indicates that Mozart sometimes found it necessary to refer to earlier works as he began a new one; this habit of drawing on earlier works may have become subconscious. Die Zauberflöte is drawn from "the pool of memory and experience" and demonstrates the unity of life and art in the creative genius.

Works: Mozart: Die Zauberflöte.

Sources: Mozart: König Thamos (242, 249, 254), Idomeneo (243-46, 249, 251, 254), Symphony No. 38 in D Major, K. 504, Prague (243), Allegro for Piano, K. 498a (243), Piano Sonata in B-flat Major, K. 570 (243), Le nozze di Figaro (244, 251, 254) Violin Sonata in F Major, K. 377 (244), String Quintet in G Minor, K. 516 (244), Piano Sonata in C Major, K. 279 (244); Haydn: Mondo della Luna (244, 252), Piano Sonata in B-flat Major, Hob. XVI:42 (244); Gluck: Die frühen Gräber (244); Gassmann: I Viaggiatori ridicoli (245); Benda: Ariadne (245); Wranitzky: Oberon (245, 249); Mozart: Die Entführung aus dem Serail (245, 248) String Quintet in E flat Major, K. 614 (246), German Dances, K. 602 (246), Piano Concerto No. 11 in F Major, K. 413 (246); Gluck: Alceste (246); Philidor: Bucheron (246); Mozart: Symphony No. 36 in C Major, K. 425 (247); Die Katze lässt das Mausen nicht (247); Mozart: Divertimento in E flat Major, K. 252 (248), Piano Sonata in A Minor, K. 310 (248), La Finta semplice (248), Don Giovanni (248), Sonata in F Major for Two Pianos, K.497 (249), Concerto in E flat Major for Two Pianos, K. 365 (249), Serenade in E flat Major, K. 375 (249), Als Luise, K. 520 (249), Violin Sonata in E flat Major, K. 481 (249); Gluck: Iphigénie en Tauride (249); Haydn: Symphony in B flat Major, Hob. I:85, La Reine (250); Mozart: Piano Concerto in E flat Major, K. 271 (251), Violin Concerto in A Major, K. 219 (251), String Trio in E flat Major, K. 563 (251), Piano Sonata in E flat Major, K. 281 (251), Clarinet Quintet in A Major, K. 581 (252), Die Maurerfreude, K. 471 (253), Piano Sonata in E flat Major, K. 282 (254), Divertimento in F Major, K. 253 (254).

Index Classifications: 1700s

Contributed by: David C. Birchler