1 / 9

Chapter Eight: Early Baroque Vocal Music

Chapter Eight: Early Baroque Vocal Music. Baroque. Opera emerged in Italy around 1600 Sought to re-create the emotive powers of classical Greek theatre Opera : A stage play in which the drama is expressed through music; opera drammatica in musica Libretto : The text of an opera

carl
Télécharger la présentation

Chapter Eight: Early Baroque Vocal Music

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Chapter Eight:Early Baroque Vocal Music

  2. Baroque • Opera emerged in Italy around 1600 • Sought to re-create the emotive powers of classical Greek theatre • Opera: A stage play in which the drama is expressed through music; opera drammatica in musica • Libretto: The text of an opera • Overture: Opening instrumental piece • Use of Monody

  3. Claudio Monteverdi (1567-1643) • “The father of opera” • Composed operas, madrigals, Masses, motets • 1590: Worked as singer and performer on string instruments for Duke Vincenzo Gonzaga in Mantua • 1601: Appointed court director of music • Composed the operas Orfeo (1607) and Arianna (1608) • Became maestro di cappella at Saint Mark’s basilica in Venice • Important later operas: Il ritorno d’Ulisse (1640) and L’incoronazione di Poppea (1642)

  4. Orfeo (1607) • The first important opera in the history of Western music • Based on the myth of Orpheus and Eurydice • Use of Monody: Expressive solo singing to simple accompaniment • Recitative: Musically heightened speech, narrates the plot • Usually only accompanied by basso continuo • Simple Recitative: Sparsely accompanied recitative

  5. Orfeo (1607) • Aria: “Song;” Passionate, expansive, tuneful • Lyrical type of Monody • Expression of feelings and emotions • Accompanied by full orchestra and basso continuo • Self-contained unit, both textually and musically • Arisoso: Manner of singing halfway between aria and recitative • Listening Examples: pp. 100-102

  6. Chamber Cantata • For solo voice and a few accompanying instruments • Intended to be performed at home or a private chamber (chamber music) • Subjects usually described the worldly exploits of the heroes and heroines of classical mythology or takes of unrequited love

  7. Barbara Strozzi (1619-1677) • Steeped in the traditions of Claudio Monteverdi • Wrote chamber cantatas for herself to sing • Cantata L’amante segreto (The Secret Lover): “Voglio morire” (I Want to Die) • Use of figured bass and ostinato (melody, harmony, or rhythm that continually repeats)

  8. Opera in London • Opera spread from Italy to German-speaking countries, to France, then to England Henry Purcell (1659-1695) • Has been called the “greatest of all English composers” • 1679: Position as organist at Westminster Abbey • By 1682, organist for the king’s Chapel Royal as well • Dido and Aeneas (1689): One of the first operas written in English • Written for performance at a private girl’s boarding school • Libretto from Virgil’s Aeneid

  9. Dido’s Final Aria • Introduced by “Thy hand, Belinda” – Simple recitative • “When I am laid in earth”– Aria (Listening Ex: p. 106) • Built on a basso ostinato (or ground round) – Purcell used a chromatic step-wise descending line with a two measure cadence returning to tonic

More Related