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Rameau (1683-1764) French Transitional Figure, Traite de l'harmonie,…
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Traite de l'harmonie
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Fundamental Bass: success of fundamental tones (roots) which gives coherence and direction to music and define the key.
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Tonic (root), dominant (5th above) and subdominant (5th below)
Falling-Fifth Progression: strongest progression, a dominant 7th chords to a tonic triad.
Modulation: change of key within a piece. Each piece has one principal tonic, other keys are secondary.
Handel (1685-1759)
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paying for Italian singers and Operas is hard. More profitable to sing in English and using religious stories appeals to more people
used italian oratorio tradition of dialogues set in recit. and lyrical verses set in arias AND new elements like French classical drama, ancient Greek tragedy, German passion and English masque and anthem.
used chorus which was big bc it emphasized community expression. simpler and less contrapuntal than Bach (more popular).
Venues: theater in London during Lent bc Opera could not shown then. Handel also played organ at intermissions.
NAWM 108, Handel, Saul: Act 2, Scene 10 (No. 66-68), English Oratorio, from 1738
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No. 66: Accompanied Recitative: Saul expresses wanting to kill Davis. Orch. outbursts show tension. rhymed poetry, appogiatura on cadence note
No. 67 Continuo (simple) Recitative: Saul's fury intensifies. unrhymed verse, continuo has frequent moving 7th chords to keep up harmonic tension
No. 68: Chorus: reflects on morality of sit. and closes act. similar to greek tragedy. 3 fugues each closing with majestic homorhythmic passages. First fugue borrowed from Urio's Te Deum but developed newly.
Handel borrowed more than most composers and even reused his own music. Chorus from Messiah adapted from an Italian duet he had composed.
NAWM 101 Telemann, Paris Quartet No.1 in G major (Concerto Primo) TWC 43:G1:Movements 3-5, from 1730
In this first set, 2 concerto forms, 2 sonata styles, and 2 suites. This one is the concerto primo in 5 movements
Structure: Grave-Allegro, Largo, Presto (ritornello form), Largo (transitional) and Allegro (gigue en rondeau)
Movement 3: blends concerto (rit form, soloistic sounds, motto openings) with sonata (smaller performing force, imitative textures, equal partnerships)
Italian concerto form and soloistic gestures, German contrapuntal stuff, French Dance meter and rondeau form, use of Baroque and sim. galant styles, appeals to players and audiences.
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Rameau Theater Works
Similarities to Lully: realistic declamation and precise rhythmic notation in recitatives which were also more tuneful, had formally organized airs, choruses, inst. interludes
Unique to Rameau: All melody is rooted in orderly harmony, diverse melodic and harmonic style with a rich palette of chords and progressions some of which being chromatic. Instrumental sections that depict scenes through novel orchestration (ind. woodwind parts)
French vs Italian Opera: less contrast between recitative and air. joint use of solo and chorus for powerful effects.
NAWM 100, Rameau: Hippolyte et Aricie: Act 4, conclusion, opera/theater work, 1733
Setting: first opera. sparked debate among Ramistes supporters and Lullistes. Librettist was Pellegrin who based it on drama Phedre of 1677.
Phedre hits on husbands son Hippolyte, he denies obvi, husband Thesee misreads situation and has Neptune send a sea monster. conclusion of scene 3 hippo tries to fight but uh dies. screne 4 phedre laments w a recitative w several styles.
soloistic wind parts, orch. depicts scene, dramatic harmony, frequent chorus, mixing stuff like descriptive intense orch. music with homophonic declaiming chorus.