Opera features

«  This is not the usual method of development,

I have tried to program this kind of development, including a brilliant invention of my own. I use sequencing here and there, either as rosalia, since the music is atonal, or with tonal transposition in Hecate tonality. Since my motifs are usually neither memorable nor expressive, most changes immediately make them unrecognizable. So eventually I use them unchanged, just transposed for counterpoint.

As for motif multiplication, it will work only on very short tunes. But I believe a motif should have some size to it; say, seven notes (if two pieces have a seven-note tune in common, it may be claimed that one is a plagiarism/quotation/paraphrase of the other)

«  my tunes in C major, as befits my musical ability

They say that Archbishop Colloredo had a predilection for C-Major, plus many other strict principles about music, which annoyed Mozart no end. Anyway, the Masses written for Colloredo are all in C-Major – did the Archbishop sing himself? The priest is supposed to intone the Sacred Service, but singing symphonically?

Others say Colloredo was musical, and at least could play the violin ... again a contention bone with Mozart, who was a virtuoso, as papa had taught him.

«  .... as bonafide leitmotifs, they are neither suggestive nor memorable.

For instance, one of the most recognizable motifs, "Loge's magic fire", what would it suggest as pure (orchestral) music, which it is? Why not "Ondelettes du Rhin?"

Or consider:

If you take this analysis at face value, then any descending scale is a manic-depressive alternation of joy and despair. IMHO, Wagner would avoid scale passages, too reminiscent of "Caro Nome", but just look at the leitmotifs: