Post on 09-Aug-2015
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Vocal Music in the Baroque
1600 - 1750
Opera
Opera is born in the Baroque
The word “opera” means “work”
Originally opera drammatica in musica, meaning “dramatic work in music”
Opera is entirely sung in the Baroque
Focus is on the solo singing
Text is called the libretto
Libretto
Literally means “little book”
The libretto is the text or script of the opera
Librettist: the writer of the libretto
Usually a poet working with the composer
Early Baroque Opera
Opera in the early Baroque is different in many ways from late Baroque
It was based on the musical reforms and philosophies of the Florentine Camerata
Florentine Camerata
Late Renaissance group of humanist intellectuals in Florence, Italy
Sought to improve music by returning it to classical (ancient Greek) dramatic ideals
Believed (incorrectly) that Greek drama had been sung in a declamatory style
Developed monody as an approximation of Greek dramatic style
Florentine Camerata
Their efforts led to the first opera, Jacopo Peri’s Dafne
Opera grows in popularity
The first opera that is still performed today is Monteverdi’s L’Orfeo
Claudio Monteverdi (1567-1643)
Transitional figure from Renn. to Baroque
Mantua, Duke Vincenzo Gonzaga (1590-1612)
Embraces the new style – Baroquesecunda prattica
5th book of madrigals (1605)
His first opera, is the first operatic masterwork – Orfeo (1607)
Claudio Monteverdi (1567-1643)
Leaves Mantua court for Venice cathedralProminent position for sacred musicAllowed the freedom to accept commissionsComposed operas for other venues
Return of Ulysses (1641)Coronation of Poppea (1642)
One of the most significant composers in music history
Monody
Monteverdi’s Orfeo is primarily monodic
Homophonic textureSolo vocal line with chordal accompaniment
Rhythmically freeNo meter – approximates natural rhythm of speech
Slight differences between aria and recit.
Listening Example
Title: “Tu se’ morta” from L’Orfeo
Composer: Claudio Monteverdi
Genre: Opera
Notes on “Tu se morta”
Continuo accompaniment variesBass lute
Harpsichord, bass viol, and bass lute
Organ and bass lute
Word painting in the arioso
Subtle lyricism – not quite an aria
Listening Example
Title: “Possente Spirto” from L’Orfeo
Composer: Claudio Monteverdi
Genre: Opera
Notes on “Possente Spirto”
Begins with brief sinfonia (instrumental intro)
Extensive ornamentation of vocal line
Much more active melodically
Increased involvement of “orchestra”Trumpets and violins punctuate his phrases
Continuo is still present (organ, bass lute)
Evolution of Opera
As genre matures, the various components of opera become more specialized and elaborate
Much greater difference between recitative and aria
Music becomes more rhythmically structured – regular meter
The Components of Opera
Opera combines many diverse elementsVocal music
Instrumental music
Acting
Scenery and costumes
Dancing
Recitative
Based on the ideals of monodyRhythmically free, no meter
Declamatory, speech-like singing style
Mirrors the natural rhythms of speech
Recitative presents the plot and the actionOften used for dialogue
Helps build emotional tension
Vocal Music of Opera
Soloists
Ensembles (small groups singing together)Duets
Trios
Quartets
Chorus (large group of singers)
Solo Singing
Two kinds of solo singing in operaRecitative
Aria
Recitatives involving multiple singers are like conversations: one sings after another
Ensembles are sung in aria style, though the term “aria” by itself refers to a solo
Two kinds of Recitative
Semplice (simple) or secco (dry)Accompanied only by basso continuo
Very speech-like, many repeated notes
Early opera uses simple recitative almost exclusively
Accompagnato (accompanied)Accompanied by the orchestra
More lyrical than simple recitative
Later opera uses a combination of the two
Aria
Italian word for “air” or “song”More lyrical than recitative
Clear meter and rhythm
Arias express emotion Focuses on emotion of a character in the story
Does not advance the story
Da capo arias became a very popular form
Arioso
Not as widely used as recitative and aria
The midpoint between the two stylesMore lyrical than simple recitative
More declamatory than aria
Da Capo Aria
This aria form became popular later in the Baroque period
“Da capo” is Italian for “from the top”
This is an aria with a specific structure
A-B-A’ formSection A is sung followed by section B
After section B, section A is repeated with embellishments
Instrumental Music of Opera
Orchestra accompanies arias, accompagnato recitatives, and sung ensembles (duets, trios, etc.)
At times the orchestra plays instrumental pieces
Prior to the start of the opera, a piece is playedThis is usually called an overture
This lets the audience know the opera is starting
During scene changes, music is playedNames for these pieces vary: sinfonia, interlude, etc.
Basso ostinato
Any repeated pattern in music is an ostinato
Ostinato means “obstinate,” or “stubborn”
A repeated bass melody is a basso ostinato
Baroque lament arias often sung to a descending basso ostinato
Henry Purcell (1659-1695)
Born in London area (Westminster)
Father was a gentleman of the Chapel Royal
Organist at Westminster Abbey and later at the Chapel Royal
Composed for both the church and court
Died young, most likely of TBhttp://en.wikipedia.org/wiki/Henry_Purcell
Henry Purcell
Composer of one of the first English operas
Dido and Aeneas
Composed for a Chelsea girls schoolTaken from Virgil’s “Aeneid”
The final aria, “Dido’s Lament,” is very famous
Listening Example
Title: “When I am laid in earth,” from Dido and Aeneas
Composer: Henry Purcell
Genre: Opera
Notes on “When I am laid in earth”
The aria is preceded by an unusually expressive recitative: “Thy hand Belinda”
Listen for the descending line of the ground bass (basso ostinato)
Notice the emotional expression – the purpose of an aria
Summary of Baroque Opera
Opera has many components Vocal music Instrumental music Acting Scenery and costumes Dancing
The vocal music is also varied Solo singing Ensembles Chorus
Summary of Baroque Opera
Solo singing is done in two styles• Recitative
Secco Accompagnato
• Aria Da Capo Aria
Text of an opera is called the libretto
Operas varied regionally across Europe
Oratorio
Began as small scale religious plays
Grew to be essentially an opera without the staging: no costumes, no scenery
Same use of recitative and aria
Accompanied by orchestra
Oratorio
Usually a religious theme
Always deals with weighty subject
Handel is best known composer of oratorio
Great deal of musical similarity between oratorio and cantata, but oratorios are much longer
Cantata
Cantare – Italian for “to sing”
Smaller performing forces
Much shorter than opera or oratorio
Early Baroque Cantata
Earliest cantatas were short, usually secular, and heavily influenced by monodyThe genre originates in Italy out of the same desire for textual expression as operaOne or two singers usually performed a poetic setting with basso continuoThe poem is usually set in several contrasting sections
Later Baroque Cantata
Much more like a small scale oratorio
Consists of all operatic characteristicsRecitatives
Arias
Ensembles
Choruses
Orchestra
Sacred Cantata’s of J.S.Bach
Cantata integral to Lutheran church service
New cantata required every Sunday
Yearly cycle approx. 60 cantatasOne per Sunday plus holidays/special occasions
Usually 5 to 8 movements
Bach composed 4–5 cycles (only 200 extant)
Frequent use of Lutheran Chorale
Lutheran Chorale
Chorale is the hymn tune
Sung by the congregation
Originally sung in unison
Later set in 4-part harmony, melody in soprano (top voice)
These 4-part settings referred to as a chorale
Chorale unifies the cantata