• Share
  • Email
  • Embed
  • Like
  • Save
  • Private Content
Chapter 38   music in london - george frideric handel
 

Chapter 38 music in london - george frideric handel

on

  • 459 views

 

Statistics

Views

Total Views
459
Views on SlideShare
459
Embed Views
0

Actions

Likes
0
Downloads
1
Comments
0

0 Embeds 0

No embeds

Accessibility

Categories

Upload Details

Uploaded via as Microsoft PowerPoint

Usage Rights

© All Rights Reserved

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
  • Full Name Full Name Comment goes here.
    Are you sure you want to
    Your message goes here
    Processing…
Post Comment
Edit your comment

    Chapter 38   music in london - george frideric handel Chapter 38 music in london - george frideric handel Presentation Transcript

    • CHAPTER 38 Music in London:George Frideric Handel
    • George Frideric HandelBorn in Halle, Germany,at eighteen Handel movedto Hamburg where heplayed violin andharpsichord in the operaorchestra.There, and later during afour-year sojourn inItaly, he absorbed themusical style andtheatrical conventionsof Italian opera.Finally, he moved toLondon, where hecomposed Italian operas,oratorios, ceremonialmusic for the royalfamily, and muchinstrumental music .
    • • Recall that a dance suite is a collection of dances , almost invariably in: – binary form (AB) – all in a single key for a solo instrument or a full orchestra.• Handel wrote two suites for orchestra, Water Music and Music for the Royal Fireworks – and two collections of eight suites for harpsichord.• Water Music : Handels set of three dance suites featuring the horn, the trumpet, and the flute.• It was first performed in 1717 by fifty musicians situated on a barge floating on the Thames River.
    • • French horn: in the early eighteenth century, a natural instrument (without valves) with a smaller bell – and thus a smaller sound, than the modern horn.• Horn fifths: a characteristic figure in which two horns slide back and forth through sixths, fifths, and thirds, with occasional ornamentation.
    • • Royal Academy of Music : a publicly-held stock company whose main investor was the king for the production of Italian opera – specifically, opera seria .• Opera seria : literally, "serious opera," a fully sung Italian opera based on historical or mythological sources – featuring high and noble characters such as royalty, heroes, and gods .• A singers opera, opera seria required highly paid virtuoso singers . – in London, it was Handels job to recruit such virtuosi (all Italian) from opera houses around Europe.
    • CastratiAt Handels time, castrati were among the most demandedand well-paid musicians in Europe .In fact, they sang the most important male roles on theBaroque stage. (Recall that a castrato was a male singer whoselarynx and vocal chords had remained small as a result ofcastration.
    • Handel and Oratorio• After the failure of the Royal Academy of Music, Handel increasingly turned his attention to the oratorio .• A large-scale, multi-movement composition setting a sacred text , – oratorio provided extra-liturgical enlightenment for a public that grew gradually more critical of Italian opera .• Unlike Italian opera, oratorio appealed to the growingly devout English middle-class as: – it was sung in the local language rather than Italian. – it did not involve elaborate staging, costumes, or acting . – it did not require expensive castrati or prima donnas (and, consequently, the extravagant vocal writing typical of opera). – it featured the chorus much more prominently , which offered an opportunity to draw on the English choral tradition.
    • Messiah (1741)• Handels most popular oratorio , composed in only three-and-a-half weeks in the summer of 1741.• Drawing on the Old and New Testaments, Messiah tells the story of Christ in three parts: 1. Prophecy and birth of Christ. 2. Crucifixion, descent into Hell, and resurrection. 3. The Day of Judgment and the promise of eternal life.
    • Pastoral aria : a slow aria that evokes the fictional andrustic landscape and characters of the pastoralthrough distinctive musical characteristics such as:• parallel thirds moving mostly in step-wise motion.• a lilting rhythm in compound meter• a slow harmonic rhythm with many subdominant chords.
    • Pastoral aria : a slow aria that evokes the fictional andrustic landscape and characters of the pastoralthrough distinctive musical characteristics such as:• parallel thirds moving mostly in step-wise motion.• a lilting rhythm in compound meter• a slow harmonic rhythm with many subdominant chords.