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Images Donate icon An illustration of a heart shape Donate Ellipses icon An illustration of text ellipses. It appears your browser does not have it turned on. Please see your browser settings for this feature. In the beginning of the piece it explodes with extreme force that is later intensified by deviating in tonality throughout.
Mozart exploits the tone of the work by regarding it as a penultimate out-pouring of wrath, incorporating brisk indefinite interludes in the piano and chromatic passages in the choral sections. These details give way to a piece that elevates a sense of uneasiness for those who are questioning their eternal judgment.
Mozart will also dupe the listener by briefly modulating to a new key, or tonal center, that is recognized for a brief few measures, and yet, will almost instantaneously dissolve into more stormy ideas surrounding the Day of Wrath.
In two different cases, relatively close together in the music, he uses a secondary dominant to embellish the regularity of the effect.
However, in these two different cases, the chords shift slightly, as shown in measures 52 and 55, pictured below. So, creating a simple I chord in the figure above might be seen as a little misleading. Mozart likes to add color to his compositions by also using Neapolitan chords. He effectively uses them as both a passing function as well as a neighboring function. In the example provided above, Mozart cleanly exercises the passing rule of the Neapolitan 6th chord.
Although the Neapolitan does not arrive at a dominant right away, as preferred, the i chord between the Neapolitan and the dominant serves as a minor interruption that does not steer the passage away from landing on the V chord.
The complex patterns through which the chorale follows are very involved, and sharpen the impact of the gravity of the literal life-or-death situation.
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