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Ch14 baroque traits & invention of opera
- 1. CHAPTER 14 Lecture Slides A History of Western Music TENTH EDITION by J. PETER BURKHOLDER DONALD JAY GROUT CLAUDE V. PALISCA © 2019 W. W. Norton & Co., Inc.
- 2. GENERAL TRAITS OF BAROQUE MUSIC • basso continuo • written-out melody and bass line • performers fill in chords, continuo instruments • harpsichord, organ, lute, theorbo • later 17th century bass line reinforced; viola da gamba, cello, or bassoon • figured bass = added figures above or below bass notes • Realization = actual playing of figured bass • varied according to work and player; improvisation
- 3. Concertato style (stile concertato) = combining voices with instruments • use of diverse timbres in combination Mean-tone and equal temperaments • concertato medium: problems in tuning • just intonation: singers, violinists • mean-tone temperaments: keyboard player • approximations of equal temperament: fretted instruments GENERAL TRAITS OF BAROQUE MUSIC
- 4. BAROQUE HARMONY chords and dissonance • consonant sounds as chords • Dissonance = note that did not fit into a chord greater variety of dissonances tolerated chromaticism • used to express intense emotions (aka the affections) • harmonic exploration in instrumental pieces harmonically driven counterpoint • emphasis on the bass • counterpoint driven by succession of chords implied by bass
- 5. BAROQUE RHYTHM & TONALITY Regular and flexible rhythms • flexible rhythms - vocal recitative, improvisatory solo instrumental pieces • regular rhythms - dance music barlines became common • by midcentury, used to mark off measures flexible and metric rhythms used in succession to provide • recitative and aria, toccata and fugue From modal to tonal music • composers expanded modal system; evolved gradually • last third of the century, major and minor keys • Rameau’s Treatise on Harmony (1722), first complete theoretical formulation
- 6. BAROQUE PERFORMANCE PRACTICE Performance practice • styles for voice and instrument families diverged, became distinct • music centered on performer and performance • performers interpret, dramatize the music ornamentation as means for moving the affections • trills, turns, appoggiaturas, mordents • singers often added cadenzas to arias • church organ works shortened to fit service • sections of variation sets, movements of suites: omitted, rearranged
- 7. CHAPTER 14 Lecture Slides A History of Western Music TENTH EDITION by J. PETER BURKHOLDER DONALD JAY GROUT CLAUDE V. PALISCA © 2019 W. W. Norton & Co., Inc.
- 8. THE INVENTION OF OPERA • The artform of the 17th Century • Opera = the union of poetry, drama, music and stage craft • Libretto (little book) = the word/text of the opera • Opera has continuous music, no dialogue • Opera invented … • to recreate Greek drama • to blend existing genres: plays, theatrical spectacles, dance, madrigals, solo song
- 9. FORERUNNERS OF OPERA MUSIC COMBINED WITH DRAMA • Greek Plays by Euripides and Sophocles – choruses, sung lyric speeches • Medieval Liturgical Dramas – sung throughout • Renaissance Plays – songs, offstage music
- 10. • The intermedio [interˈmɛːdjo] was a musical interlude on pastoral, allegorical, mythological subject; performed between the acts of a Renaissance play in Italian courts. • Usually linked by a common theme • Very elaborate productions FORERUNNERS OF OPERA THE ITALIAN RENAISSANCE INTERMEDIO Set and costumes for the first intermedio - La Pellegrina performed in Florence in 1589.
- 11. RENAISSANCE PRECURSORS THE PASTORAL DRAMA Pastoral drama = plays in verse, music and songs interspersed • pastoral poems, idyllic love, rural settings, youths and maidens, mythological figures • popular in Italian courts and academies, 16th century
- 12. OPERA PRECURSORS THE MADRIGAL Madrigal = a Renaissance song for several voices, without instrumental accompaniment • madrigals as miniature dramas • emotion, dramatizing text through music • madrigal comedy/madrigal cycle = madrigals grouped in a series with a succession of scenes or a simple plot
- 13. THE INVENTION OF OPERA GREEK TRAGEDY AS A MODEL • Humanism - Renaissance movement that revived interest in ancient Greek and Roman thought • Humanist scholars, poets, musicians, patrons interested in reviving Greek tragedy • music in Greek tragedy was debated • Did they sing the whole thing or not?
- 14. THE INVENTION OF OPERA FLORENTINE CAMERATA Florentine Camerata (Camerata Florentina) – also known as the Camerata de’ Bardi • early 1570s academy hosted by Count Bardi discussed literature, science, and the arts • musicians performed new music • attacked vocal counterpoint (aka – the old way of singing) • argued for single line melody, natural speech inflections (aka – the new way of singing – opera)
- 15. THE INVENTION OF OP MONODY, ARIA, AND SOLO MADRIGAL ERA Monody = originally an ode sung by a single actor in a Greek tragedy, but also music with only one melodic line, usually one singer and continuo accompaniment • advocated by Vincenzo Galilei • all styles of accompanied solo singing, late 16th and early 17th centuries Caccini’s Le nuove musiche (The New Music, pub. 1602) • 1580s and 1590s, songs for solo voice with continuo • Arias and madrigals • Example: Vedrò ‘l mio sol, solo madrigal • melody shaped to natural accentuation of text • ornaments enhance message of text
- 16. THE FIRST BAROQUE OPERAS Recreating an ancient Greek genre in modern form • Peri’s Dafne (1598), setting of Rinuccini’s pastoral poem • fragments survive • staged drama, sung throughout, music conveyed character’s emotions • presented at a palace • Rappresentatione di anima et di corpo (Representation of the Soul and the Body, 1600), produced by Emilio de’ Cavalieri • musical morality play produced in Rome • longest entirely musical stage work
- 17. PERI’S L’EURIDICE L’Euridice (1600), by Jacopo Peri (1561–1633) • Based on poet Rinuccini’s pastoral drama L’Euridice • story demonstrates music’s power to move the emotions (aka the affections) • performed in Florence, wedding of Maria de’ Medici to King Henri IV of France • production incorporated sections by Caccini • both versions published, earliest surviving complete operas • recitative style = halfway between speech and song • way to express dialogue invented by Peri • similar to style used for reciting Greek epic poems • Steady basso continuo, voice moved freely through consonances and dissonances, liberating the voice from the harmony
- 18. EXAMPLE OF ARIA & RECITATIVE Aria is a strophic song (aria= song in Italian) • rhythmic, tuneful, resembles canzonetta or dance song Varied styles of recitative • narrative recitative - moments of narration, like epic poem • expressive recitative - lyric moments, heightened expressivity
- 19. CHAPTER 14 Lecture Slides A History of Western Music TENTH EDITION by J. PETER BURKHOLDER DONALD JAY GROUT CLAUDE V. PALISCA © 2019 W. W. Norton & Co., Inc.
- 20. CLAUDIO MONTEVERDI (1567-1643) Most innovative and imaginative composer of his day • born in Cremona, Italy • prodigy as a composer; accomplished viol and viola player • 1590, service of Vincenzo Gonzaga, duke of Mantua • first operas: L’Orfeo (1607), L’Arianna (1608) • 1612, maestro di cappella, St. Mark’s Basilica in Venice; 30-year post • 1632, he became a priest • transformed the genre of the madrigal • major works: 3 surviving operas, 9 books of madrigals, 3 volumes of secular songs, 3 masses, 4 collections of sacred music
- 22. MONTEVERDI’S L’ORFEO L’Orfeo by Monteverdi • commissioned by Francesco Gonzaga, 1607 • modeled on Peri’s L’Euridice; wider range of styles • 5 acts, each centered around song by Orfeo, ending with vocal ensemble • larger and more varied group of instruments • varied monody: songlike arias to recitative • strophic variation: arias are strophic, strophes varied to reflect text • recitative style varies depending on the situation in the drama ensembles • duets, dances, ensemble madrigals and ballettos
- 23. MONTEVERDI’S L’ORFEO Monteverdi’s L’Orfeo Act II • dramatic rush forward; series of arias and ensembles strung together • culminates with Orfeo’s strophic aria, “Vi ricorda” • lighthearted style, hemiola rhythms
- 24. MONTEVERDI’S L’ORFEO Monteverdi’s L’Orfeo Act II • “Ahi, caso acerbo” (Ah, bitter event), news of Euridice’s death • Messenger’s cry, impassioned recitative • tonality changes to Aeolian, change in continuo instruments • messenger’s melody recurs as a refrain throughout the act • tonal area, timbre, formal organization deepen dramatic impact
- 25. OPERA FROM FLORENCE TO ROME Florence: Francesca Caccini (1587–ca. 1645) • daughter of Giulio Caccini (Le Nuove Musiche) • brilliant career as singer, teacher, composer • highest-paid musician employed by grand duke of Tuscany • among the most prolific composers of dramatic music • La liberazione di Ruggiero dall’isola d’Alcina (The Liberation of Ruggiero from the Island of Alcina, 1625), Francesca Caccini • billed as ballet, now considered an opera • sinfonia, prologue, recitatives, arias, choruses, instrumental ritornellos, elaborate staging • explores theme of women and power
- 27. Rome: center for opera development, 1620s • subjects expanded: lives of saints, epics, comic operas spectacular stage effects emphasized • music • recitative and aria more clearly defined • recitatives: more speechlike • arias: melodious, mainly strophic • mezz-arie (half-arias), later termed arioso; style between • operas often included vocal ensembles, extended finales for each act OPERA FROM FLORENCE TO ROME
- 28. THE CASTRATI Castrati (plural for Castrato – a male castrated soprano) • women prohibited from stage in Rome • female roles sung by castrati • later 17th and 18th centuries, castrati sang outside of Rome in male roles • Powerful voices, extreme range, lots of flexibility • Trained from a very young age
- 29. PUBLIC OPERA IN VENICE Impresarios and singers • theater owners contracted with impresarios (managers) • impresarios competed for most popular singers, high fees • phenomenon of the operatic diva (star) – especially Castrati! Librettos and staging • mythological subjects, epics of Homer, Virgil, Tasso, Ariosto, and Roman history • plots: wide range of emotions, dramatic conflicts, striking stage effects • three acts plus prologue became standard • story told through drama itself, character interactions move plot along • number of arias increased, 50 or 60 in an opera • choruses and dances used at end of an act • stage sets: series of painted flats, removed and replaced in seconds
- 31. MONTEVERDI’S VENETIAN OPERAS Three new operas written in Venice, two survived L’incoronazione di Poppea (one of the surviving Venetian operas) 1642 • Monteverdi’s masterpiece • surpasses Orfeo in depiction of human character, emotions, interpersonal drama • Act I, Scene 3 (NAWM 75) • expressive recitative with dissonance and chromaticism • simpler recitative for dialogue • arias with ritornellos, triple meter declaration of love • ariosos highlight specific feelings
- 32. FRANCESCO CAVALLI (1602– 1676), Cavalli - Leading Baroque Opera Composer • composed 30 operas for Venice • pupil of Monteverdi, organist and maestro di cappella at St. Mark’s Basilica • most successful, best-paid composer of his time • Artemisia (1657) - exemplifies mid-century Venetian opera Operatic Conventions • established by Cavalli • plots center on two pairs of noble lovers, united after conflicts • one pair, prima donna and primo uomo • female nobles played by sopranos; males are castrati • melodius, graceful, simple harmonies, triple meter
- 33. ITALIAN OPERA ABROAD • Venetian touring companies: went to Bologna, Naples, Lucca, Genoa • 1650s, permanent opera houses in Naples and Florence • opera reached other lands