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Unit 6 (Chapter 21 (Early Opera (Opera: Large-scale drama that is sung…

- - - - Involves vocal and instrumental music, poetry, acting, scenery, and costumes
      - Opera not meant for realistic depiction, rather, “hyper-reality”
      - Strong emotions portrayed through music
  - - - Lavish spectacles
      - Example- Monteverdi’s Orfeo (1607)
    - - Widespread entertainment
      - Not mythology stories about love triangles and historical figures
      - Example- Monteverdi’s Coronation of Poppea (1643)
    - - Except in France- had own tradition
  - - - Popular among aristocracy
      - Combined vocal and instrumental music with poetry and dance
    - - Stage plays forbidden
    - - Henry Purcell (1659-1695)
        
        Various English court posts
        
        Wrote- masques and operas
        
        Assimilated Italian & French styles to English choral singing
      - First performed at a London girls’ school
      - Based on Part of Virgil’s Aeneid
        
        Aeneas shipwrecked on Island of carthage
        
        Aeneas & Dido fall in love
        
        Aeneas is tricked back into battle and leaves
        
        Dido dies of a broken heart
- - - - His last large-scale composition
      - He died before finishing it
        
        Completed by a student, Sussmayr
  - - - Orchestra included more instruments - Bassoon & basset horn
      - Voices and instrument arrangement have dramatic effect
    - - JFK’s Funeral
      - 9/11 Commemorations
    - - Mozart did finish this part
      - Day of Wrath for the Funeral Mass (Requiem)
      - Emphasis power of Divine intervention
      - Choral opening then solo verse and choral finish
      - Accented in Duple meter
      - Harsh combo of major and minor
      - Homophonic
      - 8 verses- word painting
- - - - Pianists in salons and concert halls
      - Art song (melodie) separate from German Lied
      - Sacred Music
        
        Faure’s early career grounded in playing and composing music for the Catholic Church
      - Grand orchestral music and operas
    - - French
      - Trained to be a church musician in Paris
      - 1890- Composition teacher at the Ecole Niedermeyer
      - Later director of Paris Conservatory
      - Influential music critic
      - French music advocate
      - Style is restrained
        
        In direct contrast to German Romanticism
        
        Example: Pavane
      - Faure’s Requiem
        
        1888- first performed for the funeral of an architect
        
        Nonstandard form
        
        Freely edited Latin liturgical texts
        
        Smaller chamber orchestra
        
        7 movements
        
        Sometimes celestial, sometimes funeral
        
        Libera Me (LG 39)- Deliver Me, O Lord
        
        Reassurance briefly interrupted by the Dies Irae (Day of Wrath)
- - - - Program music = instrumental music with literary or pictorial associations specified by the composer
      - Different from absolute music = musical patterns designed without meanings
      - Program music is more artistic within society
    - - Born in Southern France
        
        Meant to be a physician but loved music
      - Fan of Beethoven and Shakespeare
        
        Fell in love with Harriet Smithson- actress performed Shakespeare
        
        Married but loved Shakespeare actress more than her
      - Works draw upon literary influences
      - Berlioz & Symphonie Fantastique
        
        Music is intense & bold
        
        First great proponent of musical Romanticism in France
        
        His music is intense, bold, and passionate
        
        Program symphony based on personal life
        
        27
        
        “Young musician of morbid sensibility and ardent imagination, in … lovesick despair”
        
        Form- thematic transformation
        
        Idee fixe
        
        Recurring musical thread unifying the five movements
        
        Varied throughout by harmony, meter, timbre, dynamics & register
        
        The Program
        
        I. Reveries, Passions
        
        II. A Ball
        
        III. Scene In the Fields
        
        IV. March to the Scaffold
        
        V. Dream of a Witches’ Sabbath
- - - - Embracing aspects of nineteenth-century orchestral sound, including program music
      - “Modernizing” the nineteenth century orchestral tradition
      - Reclaimed 19th century harmonic & melodic language just new context
    - - Samuel Barber’s Adagio For Strings
    - - Born in Brooklyn
      - Studied with George Crumb
      - Inspired by The Beatles
      - Output spans most genre, described as having “American” sound
      - Higdon’s Blue Cathedral
        
        Written in 2000
        
        Personal grief over death of her brother
        
        Overall
        
        Lyrical- neo romantic
        
        No key center- lots major triads
        
        Meters shift but mostly 5/4
        
        Metallic percussion- including Chinese reflex balls
        
        Program Music
        
        Tone colors
        
        Biographical
- - - - Strophic
      - Orchestra Prelude
      - Sing Same Melody
        
        Chorus
        
        Solo Voices
    - - English Opera
      - Lyrical
        
        Inspired by Mythology
    - - Short-long rhythm helps convey playfulness
- - - - Requiem Mass
    - - Four Soloists
        
        SATB
      - Chorus
      - Orchestra
    - - Eight three-line stanzas in rhyming Latin
      - By Thomas of Celano
    - - Homophonic
- - - - Program Symphony
      - Romantic
      - Lyrical
    - - Sectional, alternating two themes
        
        Theme A
        
        Contrasts Theme B
        
        Theme B
        
        Contrasts Theme A
      - Large orchestra
    - - Fixed Idea
      - Recurring Idea or Theme
- - - - Mass for the Dead
    - - Two Soprano Soloist
      - Two Double Choirs
        
        SATB
      - Organ
      - Refrains
    - - Consonance
      - Dissonance within solos
    - - Shifts between Homophonic ensemble sections and two-voiced duets
- - - - Orchestral tone poem
      - Large Orchestra
    - - Sectional
      - Rondo
        
        Recurring leading theme
      - Lyrical melodies
    - - Homophonic
    - - Frequent use of major triads
    - - Mostly in 5/4