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The Italian Baroque: Cantata, Opera, and the Oratorio in the Early 18th…
The Italian Baroque: Cantata, Opera, and the Oratorio in the Early 18th Century
Italian Opera
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Center of Opera is Venice.
Naples (south), and Florence (north) well established, Milan growing.
Leading Composers: Giovanni Legrenzi (1626-1690) and Alessandro Scarlatti (1660-1725) in Rome and Naples.
General Characteristics: Focus on the star singers an arias as opposed to the Drama in France. Number of Arias went form 24 mid-century to 60 by the 1670's. Da Capo Aria became the standard form! ornamentation and musical motives reflected the meaning of the texts.
NAWM 95: La Griselda, excerpt from Act 1, Scene 2, Da Capo Aria from 1720ish. Written for the Prince not public. Rich contrasts within and between sections. Da Capo combines contrast and coherence, repetition allows for vocal ornamentation and artistry.
Operas: Created his own operatic style, Uniquely International
First Opera premiered in Hamburg: arias in Italian and Recitative in German so the audience could understand the plot. Patterned the overture and dance music after French Model
London Operas: Rindalo (1711) was the first opera in Italian composed for London, met the demand of the time. Became the musical director for the Royal Academy of Music in 1718, produced Italian operas at the King's Theatre. Based on lives of Roman heroes, tales of magic, and adventure around Crusades from 1095-1492
General Characteristics
Simple Recitative: dry, with continuo
Accompanied Recitative: with impressive orchestra outbursts to dramatize tense situations
Arias: Each represented a single affection or two contrasting but related affections in A vs B sections. coloratura, grand aria, simple/folklike aria. Based on importance of each cast member. Prima Donna, the first lady demanded the most, best, grand arias.
Instrumental Sections: sinfonias marked key moments in plot (battle, ceremony, etc.), occasional ballets, fuller orchestra than Scarlatti.
Alessandro Scarlatti (1660-1725) Palermo, Sicily. 600+ cantatas.
Background: Rome was the center of composition and experimentation for poets and chambers. Private parties, elites, occasions, highlights elegance, refinement, and wit
New Developments: 1690's alternating recitatives and arias to total about 8-15 minutes. Solo voice w continuo. Dramatic narrative or soliloquy (psych emotional statements) text based on pastoral love, poetry,
NAWM 94a Clori Vezzosa, e bella: Conclusion (1690-1710)
solo cantata. Structure: two recitative-aria pairs. Plot: shepherd expresses his love for a nymph. second recitative: wide harmonic range, chromaticism, diminished chords for emotional expression.
NAWM 94b: second aria: Si, si ben mio
The text is in two poetic stanzas that express conflicting thoughts. Da Capo Aria. ABA. A section includes two different vocal statements of the same text/first stanza. each preceded and followed by a ritornello. A1 modulates to a new key, A2 modulates back to tonic. Ritornello confirms the new key. B section repeats the second stanza one/twice, no ritornellos
NAWM 107b: Handel: Giulio Cesare Act II, Scenes 1-2, Opera Aria from 1724
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3 parts of an unconventional structure: an orchestral sinfonia opening ritornello, introduces the aria's principal motive, Caesar comments suddenly as aria proceeds
In the excerpt: french sarabande rhythm, da capo Italian form, voice is doubled by instruments in the German manner. Orchestra is divided as an Italian Concerto (soloists accompanying the voice and the full orchestra offering punctuation.
Serenata
Midway between cantata and opera. semi-dramatic piece for several singers and a small orchestra for a specific occasion, secular and funded by nobles and clergy. Alessandro Stradella (1639-1682)
Vocal Music for Church
Stylistic diversity, concertatos, parallel uses of stile antico (Palestrina) and newer concerted styles. Maurizio Cazzati (1616-1678) in Bologna
Oratorio
Most in Italian not Latin, have two sections. Not a part of service. Presented in oratories: the places of princes and cardinals, academics, etc institutions. Substitute for Opera when theaters were closed
George Frideric Handel (1685-1759) transitional figure between Baroque and Classical. Born in Halle, Germany.
Won international fame during his lifetime. Known for his Italian Operas (and Eng.Oratorios).Studied with Zachow. 1705 wrote his first Opera Almira at 19, in German and Italian. Moved to Italy 06-10 and found patrons. Social Network/promote self. In 1712, Permanently settled in London (London Operas were in Italian)
Italian Vocal Genres: Late 17/Early 18th
Cantata, Opera, Serenata/oratorio
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