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36 Cards in this Set
- Front
- Back
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A. Opera - Italian opera in the late 17th century tended toward stylized musical language
and simple musical texture, concentrating on the melodic line of the solo voice - supported by ingratiating harmonies |
1. Aria styles - It was common in mid century go have two dozen arias in an opera - by
the 1670's, sixty arias were the norm a) the favorite form was the strophic song - several stanza's sung to the same music b) also common was the two part AB form and the the three part ABB', ABA, or ABA' forms c) some arias consciously parodied the heroic opera for comic effect d) typical arias used characteristic rhythms from the march, gigue, sarabande, or minuet - others relied on ostinato basses sometimes in combination with dance rhythms e) musical motives in both vocal and accompaniment reflected the content of the text f) running bass - composers in the last quarter of the century often used the quasiostinato "running bass" accompaniment - a steadily flowing pattern of eighth notes g) continuo aria - its accompaniment consists only of harpsichord & bass - framed by orchestral ritornellos h) motto beginning - the voice announces a short musical subject developed later in the aria but which continues only after an instrumental interruption i) da capo aria - taken from the "da capo" indication, inserted at the close of the second section of a two section form instructing the performer to repeat the first section |
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Recitative Styles
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a) rectative simplice (later called rectative secco) - accompanied by a basso continuo
it traversed stretches of dialogue or monologue in as speech-like fashion as possible b) recitativo obbligato (latter called recitaitvo accompgnato or strumentato) - used stirring and impressive orchestral outbursts to dramatize tense situations c) recitativo arioso (or arioso) an aria like recitative which stood somewhere between the free recitaive & the rhythmically regular aria |
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Venetian Composers
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(1) Pietro Francesco Cavalli (1602-1676) belonged to the second phase of the
"New Music" - monodic style (2) Antonio Sartorio (1630-1680) 13 operas from 1661 (3) Giovanni Legrenzi (1626-1690) 18 operas, 6 oratorios (4) Alessandro Stradella (1644-1682) 1 opera, 6 oratorio, over 20 cantatas and instrumental works - murdered after eloping with a Venetian (from Bourdelot in his "Historie" of 1715) (5) Carlo Pallavicino (1630-1688) brought Italian opera to German Courts, working chiefly in Dresden (6) Agostino Steffani (1654-1728) active in Munich & Hanover - one of the best Italian opera composers of his time, his works are not only important in themselves but also for their influence on 18th century composers, especially Keiser & Handel |
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Neapolitan Composers
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(1) Alessandro Scarlatti (1660-1725) made the trasition from the older 17th
century opera to the newer style centered in Naples |
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French
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(1) Robert Cambert (ca. 1627-1677) his "Pomone in 1671 was the earliest
French opera (2) Jean-Baptiste Lully (1632-1687) reconciled the demands of drama, music, and ballet in a new genre tragèdie lyrique (3) Georg Muffat (1653-1740) an Alsatian strongly influenced by Lully adopted the French manner of compositon and orchestal playing in Germany (4) Andrè Campra (1640- 1744) initiated the "opèra-ballet" expanding on the styles developed by Lully |
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English Composers
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(1) Henry Lawes (1596-1662) worked music for Milton's "Comus" (an English
masque (2) Matthew Locke (ca. 1621-1677) composed "Cupid and Death" (1653 (3) Christopher Gibbons (1615-1676) worked on "Cupid and Death with Locke (4) John Blow (1649-1708) organist & composer in the Royal Chapel - Venus and Adonis (5) Henry Purcell (1659-1695) pupil of Blow, composed Dido and Aneas (1689), Dioclesian (1690), King Arthur (1691), The Fairy Queen (1692) an adaption of Shakespeare's A Midsummer NIght's Dream, The Indian Queen (1695), The Tempest (1695) |
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German Composers
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Germany
(1) Sigmund Theophil Staden (1607-1655) "Seelewig" (1644) (2) Johann Sigismund Kusser (1660-1727) combined German gravity with Italian elegance (3) Reinhard Keiser (1674-1739) the foremost and most prolific of the early German opera composers, late in life setting many farces to music showing the beginning of German Comic Opera |
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Venice
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a) The principal Italian center remained Venice - with the singers and arias attracting
the cosmopolitan public b) The operatic diva was inaugurated by Anna Renzi with composers writing parts for her special talents (1) librettist Giulio Strozzi published a book glorifying her talents (2) singers such as Signora Girolama & Giulia Mascotti earned six times as much for an opera's run as Cavalli the best paid composer received for writing it |
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Naples
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a) developing from the late 17th century trend - principally in Napes, an operatic style
developed that was more concerned with musical elegance and intrinsic effect than with dramatic force and truth - with the beauty of the music redeeming the new approach b) it would dominate 18th century opera |
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France
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a) Opera did not catch on in France by 1700 - but under the patronage of Louis XIV
(reigned 1643-1715) the French achieved a distinctive kind of opera in the 1670's b) Origins (1) the sumptuous and colorful ballet flourishing at the royal court from 1581(with the "Ballet comique de la reine") i) was a substantial musical work - some of which was danced ii) at the beginning of each act non dancers sang solo "rècits" in a style similar to the air du cour - there were polyphonic choruses as well - costumed and masked dancers appeared at the "entrèes" (music that reinforced the dancers' charaterizations iii) evening ended with a "grand ballet" in which leading nobility and the king himself took part (2) the classical French tragedy - represented best by the works of Pierre Corneille (1606-1684) & Jean Racine (1639-1699) (3) France's literary & theatrical culture demanded that poetry and drama be given priority on stage (4) After tentative experiments by Robert Cambert (ca. 1627-1677), Jean- Baptiste Lully (1632-1687) succeeded in reconciling the demands of drama, music, and ballet in a new genre of theatrical work - the "tragèdie en musique" later named "tragèdie lyrique" |
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Louis XIV
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(1) fully participated in the art form he patronized - the ballet - eventually earning
a reputation as one of the most brilliant dancers of his time (2) created the Royal Academy of Dance (1661), Academy of Science (1669), and the Academy of Music (1671) |
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Jean-Baptiste Lully (1632-1687)
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(1) became virtual musical dictator of France when a royal privilege of 1672 gave
his Acadèmie Royale de Musique a monopoly in the medium of sung drama (2) his librettist - playwright Jean-Philippe Quinault provided texts that combined serious mythological plots with frequent long interludes (divertissements) of dancing and choral singing (2) his librettist - playwright Jean-Philippe Quinault provided texts that combined serious mythological plots with frequent long interludes (divertissements) of dancing and choral singing (3) Lully adopted the style of Italian recitative to the French language & poetry - no simple task given the rhythms and accents of the French language compared to Italian i) rècitatif simple - Lully in the dialogue of the characters shifted the meter, or grouping of note values, between duple and triple ii) rècitatif mesurè - a more song like, uniformly measured style with a more deliberate motion in the accompaniment - frequently interrupts the rècitatif simple a- often marked as "air" in the score b- but they lack the closed form or the rhyme schemes of the the true air which most often has the meter 7 form of a dance |
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Lully's Ouverture
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a- even before his opera, Lully established a two-part form of the "French
Overture" (Ouverture) for ballets i- first section is homophonic, slow, & majestic marked by persistant dotted rhythms and figures rushing toward the downbeats ii- second section begins with a semblance of fugal imitation and is comparatively fast moving without sacrificing a certain grave and serious character iii- the slow section or one like it returns at the end b- throughout the remainder of the Baroque era, ouvertures were used to introduce ballets, operas, oratorios, and instrumental works such as suites, sonatas, and concertos - also appearing as independent pieces c- originally intended to create a festive atmosphere for the ballet or opera (getting the audience's attention for the music to follow) that followed and also functioned to welcome the king to a dance or performance i- Venetian overtures of the early 17th century served the same purpose ii- by end of the century they introduced a different type called sinfonie |
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Lully's other firsts
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iv) Lully's influence extended to the orchestra - with the core being the "vingtquatre
violins du roy" (the king's 24 violins) v) Lully's followers in France continued to write in operatic style he founded a- introducing an occasional aria in Italian style, the da capo aria (called ariette in France), expanding the scenes of divertisement b- opèra-ballet - an outgrowth of this expansion was a mixed form initiated by Andrè Campra (1660-1744) with "L'Europe galante in 1697 |
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England
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a) Opera in England (or what was known as opera) had a short life the in the second
half of the 17th century (1) the "masque" (similar aristocratic entertainment to the French ballet i) flourished for many years ii) Milton's "Comus" in 1634 with music by Henry Lawes (1596-1662) is the best known ii) Milton's "Comus" in 1634 with music by Henry Lawes (1596-1662) is the best known (2) English opera had a modest beginning under the Commonwealth (1649 -1660) - though both English composers & the public did not especially like it i) stage plays were prohibited during this period ii) but a play set to music could be called a concert and so avoid the ban iii) with the Restoration (1660-1685) the pretext around the prohibition of stage plays was no longer necessary (3) nearly all the English "semi-operas" of the 17th century were really plays with a large proportion of vocal solos, ensembles, choruses, & instrumental music b) Unfortunately for English music, no composer during the next two centuries would develop and maintain a national tradition in the face of Italian Opera's popularity. Instead, English audiences lavished their enthusiasm on the productions of Italian, French, or German composers |
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Germany
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a) Most important center for opera in Germany was the northern free city of Hamburg
(1) first public opera house outside Venice opened in 1678 (2) here a national opera emerged - the Hamburg opera existed until 1738 when German opera lost favor b) Orgins (1) School dramas - performed by students, were plays of pious, moral, or didactic character with inserted musical numbers i) fairly numerous during the 16th & early 17th centuries ii) died out during the Thirty Years' War (2) Singspiel - sing-play, a play that interspersed songs with spoken dialogue, when German composers replaced the spoken dialogue with recitative, they adopted wholesale the recitative style of Italian Opera |
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Vocal Chamber Music: Italy
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a) Cantata - evolved from the early 17th century monodic strophic variations and
developed into a genre consisting of many short, contrasting sections - by the second half of the century it had settled into more clearly defined pattern of alternating recitatives and arias, normally two or three of each, for solo voice with continuo (1) the text usually love poetry took the form of a dramatic narrative or soliloquy (2) performance usually about 15 min in length (3) in both literary and musical aspects, resembled a scene detached from an opera - though on a more intimate scale (4) because of smaller scale than the opera it offered composers an opportunity to experiment (5) imitated or adapted across Europe b) Vocal Chamber Duet - two equal high voices over a figured bass (1) a popular medium (2) corresponded to the instrumental trio sonata c) Serenata - a semi dramatic piece usually written for some special occasion performed by a small orchestra and several singers c) Serenata - a semi dramatic piece usually written for some special occasion performed by a small orchestra and several singers (1) Stradella was one of the first to write in this medium (2) followed by Scarlattie, Handel (1685-1759), & most other composers of the late 17th and 18th centuries |
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Vocal Chamber Music: France
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a) modest but steady production of airs - some in the older tradition in courtly vocal
music and others in a more popular cast b) throughout the early 18th century, Italian influence remained strong on most of the French cantata coposers |
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Vocal Chamber Music: Germany
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a) songs and arias on sacred texts as well as cantatas in Italian & German
b) orchestral accompaniments and ritornellos were more common in German solo songs than other countries c) toward the end of the 17th century, the German solo song had been abosrbed into composite forms - the opera or cantata - and had almost disappeared as an independent compostion |
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Vocal Chamber Music: England
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a) the restoration of the English monarchy in 1660 encouraged the creation of large
works for chorus, soloist and orchestra for ceremonial or state occasions b) songs owed little to foreign models c) a specialty of English composers in this period was the "catch" - a round or canon with often humorous, ribald texts to be sung unaccompannied |
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Italian Composers
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(2) Luigi Rossi (1597-1653)
(3) Marc Antonio Cesti (1623-1669) (4) Giovanni Legrenzi (?1625-1690) (5) Alessandro Stradella (1642-1682) (6) Alessandro Scarlatti (1660-1725) |
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French Composers
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(1) Marc-Antoine Charpentier (1634-1704) a pupil of Carissimi
(2) Louis Nicolas Clèrambault (1676-1749) published 5 books of cantatas between 1710 & 1726 |
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Germany
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(1) Reinhard Keiser (1679-1739)
(2) Adam Kreiger (1634-1666) |
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England
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(1) Henry Purcell (1659-1695)
(2) John Blow (1649-1708) |
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Church Music
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1. Catholic locations
a) the strict contrapuntal style found continued life throughout the Baroque Era in the music of the Roman Catholic Church - with others in modern style, and a mingling of the tow a) the strict contrapuntal style found continued life throughout the Baroque Era in the music of the Roman Catholic Church - with others in modern style, and a mingling of the tow (1) Palestrina style counterpoint, imitation masses, cantus firmi masses - for unaccompanied voices or instruments merely doubling the vocal parts (2) use of the new musical resources of solo singing, basso continuo, concertato medium of multiple choirs, groups of solo voices, and instruments - the sacred works of Claudio Monteverdi (1567-1643), Giacomo Carissimi (1605 -1674), & Heinrich Schütz (1585-1672) furnishing models for the new approaches |
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Italy
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(1) Bologna and its basilica of San Petronio was thriving center of church music
in both the older and new contemporary styles (2) Sentimental style - fragile texture, balanced phrasing, lyrical sentimental tone, & plaintive chromaticism was adopted by Italian religious composers in the 18th century |
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South Germany
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(1) a mixture of the old and new styles was also common in the Catholic centers
of southern Germany - Munich, Salzburg, & Vienna i) modern church music here united Italian and German characteristics ii) the four emperors who reigned here from 1637 to 1740 not only financially supported msuic but encouraged it by their interest and actual participation as composers (2) Oratorio i) still performed in churches, they were also presented in secular venues (courts, academies, etc) as a substitue for opera during Lent or at other seasons when the theaters were closed ii) since the oratorio had a verse lebretto (regardless of secular or biblical subject) it followed the conventions of opera rather than those of liturgical music (3) Oratorio Volgare - used the vernacular (Italian) even in the Catholic centers of southern Germany - the Latin oratorio gave way after Giacomo Carissimi's time (1605-1674) |
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France
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(1) Like opera, church music in France took its own path
(2) Motets on biblical texts were principally cultivated in the royal chapel of Louis XIV i) grands motets a- elaborate motets for soloists, double choruses, and full orchestra b- multi sectional pieces made up of preludes, vocal solos (rècits), ensembles, and choruses, with frequent changes of tempo and meter ii) petit motet - French version of the sacred concerto for a few voices |
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Anglican England
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a) Anthems & Services remained the principal genres of Anglican church music after
the Restoration b) Charles II particularly liked solo singing with orchestral accompaniment and so influenced the production of many anthems of the verse type b) Charles II particularly liked solo singing with orchestral accompaniment and so influenced the production of many anthems of the verse type c) Coronation ceremonies inspired especially elaborate works - with less pretensious occasions producing "full" or "cathedral" anthems for chorus (without soloists) |
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Lutheran Germany
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b) affected by two conflicting tendencies
(1) Orthodox Party - holding to established dogma & public institutional forms of worship favored using all available resources of choral & instrumental music in the services (2) Pietism - emphasized the freedom of the individual believer & distrusted formality and high art in worship, preferring music of simpler character that expressed feelings of devotion |
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Concerted Church Music: Sacred Concerto
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Sacred Concerto - developed in the Orthodox centers
i) with several musical & textural components of diverse origin a- the backbone was the concerted chorus on a biblical text (established by Schein, Scheidt, Schütz of the early/mid 17th century) b- of more recent vintage was the solo aria on a strophic, non-biblical text c- the choral was the most characteristic and traditional element ii) developed into three types of Sacred Concerto a- arias only or arias and choruses in the concertato medium b- chorales only in the concertato medium c- both arias & chorales with the chorales either in simple harmonic settings or in the concertato medium iii) now referred to as Contatas - can properly be called Sacred Concertos as composers of the time did iv) toward the end of the century, a somewhat standardized pattern of concerted church music developed - motetlike opening chorus on a bible verse, a solo movement (or movements) either aria or arioso, and a choral setting of a chorale verse |
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Lutheran Cantata
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i) in 1700 Erdmann Neumeister (1671-1756) introduced a new kind of sacred
poetry intended for musical settings which he called "cantata" a- intended these texts to be set as ariosos or arias - the arias usually in da capo form & often including an introductory recitative b- texts were were set "madrigal style" - lines of unequal length with irregularly placed rhymes c- Neumeister & later composers often wrote texts in cylcles intended to fit each slot in the church calendar ii) the widespread acceptance of this new type of cantata brought together the Orthodox & Pietistic tendencies a- poetry blended objective & subjective, formal & emotional elements b- musical scheme brought together all the great traditions of the past (chorale, solo song, concertated medium b- musical scheme brought together all the great traditions of the past (chorale, solo song, concertated medium c- all added to the dramatically powerful elements of operatic recitative & aria iii) strictly speaking, the designation "cantata" applies only to compositions of this type |
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The Passion
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i) in Lutheran Germany, the "historia" - a musical setting based on some
biblical narrative was favored over the oratorio - the most important type of historia was the Passion ii) origins a- plainsong settings of the suffering & death of Christ existed since medieval times b- after the 12th century, it was customary to recite the story in a semidramatic mode with the priest singing the narrative portions, another the words of Christ and a third the words of the crowd (the "turba" section) c- after the 15th century, composers wrote polyphonic settings of the turba portions in motet style - known as the "dramatic or scenic Passion" d- "motet passions" appeared in the mid 15th century in which the entire text was set as a series of polyphonic motets e- "oratorio Passion" the rise in the concerted medium led to a new type of Passion in the late 17th century derived from the oratorio |
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Composers: Catholic
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(1) Italy
i) Maurizio Cazzati (ca. 2620-1677) published nearly fifty collections of sacred vocal music between 1641 & 1678 ii) Giovanni Paolo Colonna (1637-1695) succeeded Cazzati in 1674 as music director at San Perronio iii) Legrenzi, & Antonio Lotti (1667-1740) in northern Italy iv) Alessandro Scarlatti, & Giovanni Battista Pergolesi (1710-1736) in Naples (2) Germany Catholic south i) Antonio Caldara (ca. 1670-1736) ii) Adolph Hasse (1699-1783) iii) Johann Josef Fux (1660-1741) (3) France i) Marc-Antome Charpentier (1634-1704) ii) Henri Dumont (1610-1684) iii) Jean-Baptiste Lully (1632-1687) iv) Michel-Richard de Lalande (1657-1726) v) François Couperin (1668-1733) |
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Composers: Lutheran North Germany
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(1) Matthias Weckmann (1619-1672)
(2) Franz Tunder (1614-1667) (3) Andreas Hammerschmidt (1611-1675) (3) Andreas Hammerschmidt (1611-1675) (4) Dietrich Buxtehude (ca. 1637-1707) (5) Johann Pachelbel (1653-1706) (6) J.S. Bach (1685-1750) (7) Johann Philipp Krieger (1649-1725) (8) Johann Kuhnau (1660-1722) (9) Fredrich Wilhelm Zachow (1663-1712) (10) George Philipp Teleman (1681-1767) (11) Johann Adolph Scheibe (1708-1776) |
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Composers: Anglican England
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(1) Blow & Purcell
(2) Pelham Humfrey (1647-1674) |
