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Ch17 late 17th century italy & germany
- 1. CHAPTER 17 Lecture Slides AHistory of Western Music TENTH EDITION by J. PETER BURKHOLDER DONALD JAY GROUT CLAUDE V. PALISCA © 2019 W. W. Norton & Co., Inc.
- 2. ITALY AND GERMANY IN THELATE SEVENTEENTH CENTURY • Italy and Germany, late 17th century • Divided into numerous sovereign states • musical life supported by many rulers and cities • competition for best musicians • Native influences in Italy • stylistic evolution within established tradition • new conventions codified: da capo aria, tonality • German-speaking lands drew on French and Italian styles
- 3. In Italy –Opera is the leading musical genre • Venice, principal Italian center • 17th century, well established in Naples and Florence • new view of the affections • early and midcentury Aristotelian concept; Monteverdi, Cavalli • late 1660s, view of René Descartes adopted • emotional states captured in music, stimulated specific emotional response in listener • greater separation between recitatives and arias ITALY IN THE LATE 17TH CENTURY
- 4. ITALY IN THELATE 17TH CENTURY • arias, more vital part of opera • meaning of text through motives and accompaniment • matched affections being presented, affections conveyed through musical conventions • musical associations from opera suggest moods in instrumental music • star singers, arias attracted the public • librettists wrote more verses in poetic meters • aria-like lyrical expansions by composers • by 1670s, number of arias in an opera increased from 24 to 60 • common forms: strophic song, ground-bass, rondo, and da capo • ornamented and embellished by the singer, impressive vocal display
- 5. ITALY IN THELATE 17TH CENTURY • The Italian style • variety of melodic styles: lyrical, arpeggiations, virtuoso passagework • emphasis on soloists: vocal and instrumental music • arias and solo sonatas: virtuosity and expressivity of an individual • concertos: contrast between individual and collective voices • tonality organizing force: tonic established, departure, return
- 6. ITALY IN THELATE 17TH CENTURY • Giulio Cesare in Egitto (Julius Caesar in Egypt, 1676), by Antonio Sartorio (1630–1680) • established trumpet as heroic • 65 arias and duets, 4 trumpet arias • Act II, Scenes 3–4, (NAWM 93) • recitatives: dramatic action, functional • arias: lyrical statement, project character’s emotions; da capo form, over 20 combine strophic forms with ABA
- 7. ITALY IN THE LATE17TH CENTURY • Vocal Chamber Music • cantata, leading form • musical center, Rome • private parties for elite • elegance, refinement, wit • regular work for composers and poets; chances to experiment • alternating recitatives and arias, 2 or 3 each • solo voice with continuo, soprano or castrato • text: pastoral love poetry, dramatic narrative or soliloquy
- 8. ITALY IN THELATE 17TH CENTURY • Alessandro Scarlatti (1660–1725) • Cantatas - more than 600 cantatas, highpoint in the repertoire • Clori vezzosa, e bella (NAWM 94a), • da capo aria (ABA): “Da capo” (from the head) • Scarlatti’s most common form of aria • In voler ciò che tu brami, from La Griselda (1720–21, NAWM 95), Scarlatti’s last opera • new embellishments by singers, display artistry
- 9. ITALY IN THE LATE 17TH CENTURY •Church Music & Oratorio • Church music and oratorio • Palestrina and newer concerted styles coexist • Maurizio Cazzati (1616–1678), published nearly 50 sacred vocal music collections • Messa a cappella (Unaccompanied Mass, 1670), stile antico • Magnificat a 4 (1670), modern-style florid duets, older-style choruses
- 10. ITALY IN THE LATE 17TH CENTURY •Church Music & Oratorio • instrumental church music • San Petronio, Bologna center for instrumental ensemble music • Cazzati published collections of sonatas; first sonatas to include trumpet • later sonatas: separate movements, longer themes, homophonic passages • organists composed in existing genres: ricercares, toccatas, variation canzonas, chant settings • oratorios presented in oratories, palaces, academies, other institutions • substitute for opera during Lent • Italian librettos in verse • two sections; sermon or intermission
- 11. ITALY IN THELATE 17TH CENTURY • Instrumental chamber music • Italians undisputed masters and models • age of great violin makers in Cremona - Antonio Stradivari (Stradivarius) • instruments of unrivalled excellence • sonatas and concertos, leading genres • development of the sonata as genre, with longer sections • by 1660, two types of sonatas that emerged • sonata da camera, or chamber sonata: series of stylized dance movements • sonata da chiesa, or church sonata: abstract movements • entertainment, private concerts; sonata da chiesa could substitute items of Mass Proper • trio sonata - two treble instruments with basso continuo: 3-part texture, 4 or more players
- 12. ITALY IN THELATE 17TH CENTURY • Arcangelo Corelli (1653–1713) • studied violin and composition in Bologna • 1675: leading violinist and composer in Rome • organized and led first orchestras in Italy • established foundation for violin playing • trio and solo sonatas most famous, widely played chambers works • international fame, collections reprinted for over a century • surviving works: trio sonatas, solo violin sonatas, concerti grossi • trio sonatas • Trio Sonata in D Major, Op. 3, No. 2 (NAWM 96a), first movement • Slow movement, walking bass, free imitation in violins above • dialogue between violins, progressively higher peaks • Trio Sonata in D Major, Op. 3, No. 2 (NAWM 96b), second movement • fast imitation, active bass line, rhythmic; musical
- 13. ITALY IN THE LATE17TH CENTURY • The concerto - one or more soloists and string orchestra • late 17th century, distinction between chamber ensemble and orchestra • Louis XIII of France (r. 1610–43) established first orchestra (Louis XIV’s father) • 1670s similar ensembles formed in Rome, Bologna, Venice, Milan • 1680s and 1690s new genre: concerto - florid melody over steadily moving bass • most prestigious type of Baroque instrumental music • musical organization based on tonality • multiple, contrasting movements • by 1700, three types of concertos • orchestral concerto: several movements, emphasized first violin part and bass • concerto grosso: small ensemble of solo instruments (concertino) against large ensemble (concerto grosso) • concerto: one or more soloists and string orchestra (tutti, or ripieno) • Correlli’s Concerto, Concerto in D Major Op. 6 No. 4
- 14. CHAPTER 17 Lecture Slides AHistory of Western Music TENTH EDITION by J. PETER BURKHOLDER DONALD JAY GROUT CLAUDE V. PALISCA © 2019 W. W. Norton & Co., Inc.
- 15. GERMANY IN THELATE 17TH SEVENTEENTH CENTURY Germany and Austria • Small independent city-states • courts imitate Louis XIV, music patronage to assert power • hired singers, instrumentalists, composers • public ceremonies, parades, other festivities • apprentices: trade for whole families (Bach family) • Turmsonaten (tower sonatas) played daily on wind instruments • Lutheran church musicians employed the town • collegium musicum: association of amateur musicians • educated middle class, private performances • university students, public concerts • cosmopolitan styles - drew on Italian, French and native styles, blended in ways
- 16. GERMANY IN THELATE 17TH SEVENTEENTH CENTURY
- 17. Opera in Germany •Italian composers had opera careers in Germany • German composers took up the genre • 1678: first public opera house in Hamburg, Germany Oper am Gänsemarkt • business venture, year-round productions, appealed to middle class • early operas: biblical subjects • Venetian librettos translated or adapted • Italian-style recitative; eclectic arias • French-style airs and dances GERMANY IN THE LATE 17TH SEVENTEENTH CENTURY
- 18. Catholic Church Music •southern German-speaking area Catholic • 1637–1740: four emperors supported music, participation as composers • vocal music: older contrapuntal style, newer concerted styles GERMANY IN THE LATE 17TH SEVENTEENTH CENTURY
- 19. Lutheran vocal music •two conflicting tendencies • Orthodox Lutherans: established doctrine, favored choral and instrumental music • Pietists: emphasized private devotions, distrusted high art in worship • chorales: new poems and melodies • (Concerted – divided in several, equal • concerted vocal music, sacred concertos • concerted vocal ensemble, biblical text • solo aria, Italian style, strophic, nonbiblical text • chorales set in chordal harmonies • today chorales are referred to as cantatas GERMANY IN THE LATE 17TH SEVENTEENTH CENTURY
- 20. CHAPTER 17 Lecture Slides AHistory of Western Music TENTH EDITION by J. PETER BURKHOLDER DONALD JAY GROUT CLAUDE V. PALISCA © 2019 W. W. Norton & Co., Inc.
- 21. Dieterich Buxtehude (ca.1637–1707) • renowned organist and composer of organ music • influenced J. S. Bach and other composers • organist at St. Mary’s Church in Lübeck, prestigious post in northern Germany • famed for Abendmusiken, public concerts at St. Mary’s • major works: 120 sacred vocal chorale settings for organ, organ preludes and toccatas, harpsichord suites, numerous other keyboard works, ensemble sonatas • Buxtehude’s Wachet auf - chorale setting • series of chorale variations; frequent procedure at the time GERMANY IN THE LATE 17TH SEVENTEENTH CENTURY
- 22. Lutheran organ music •1650-1750: golden age of organ music, Lutheran areas of Germany • important composers: Buxtehude, J. C. Bach, Johann Pachelbel • the Baroque organ • German organ: elements of French and Dutch organs • great variety of sounds • functions of organ music • prelude to something else • chorale settings, toccatas or preludes with fugues GERMANY IN THE LATE 17TH SEVENTEENTH CENTURY
- 23. Organ Toccatas andPreludes • free style short sections alternate with longer ones imitative counterpoint • virtuosic display: keyboard and pedals • free sections simulate improvisation • abrupt changes of texture, harmony, melodic direction Fugue - • end of 17th century: “fugue” replaces “ricerare,” • fugue subjects: formed melodic character, livelier rhythm than ricercare themes • Buxtehude’s Praeludium in E Major, BuxWV 141 (NAWM 97) • free sections frame fugal sections • 17th century “toccata,” “prelude,” “praeludium,” include fugal sections GERMANY IN THE LATE 17TH SEVENTEENTH CENTURY
- 24. • chorale settings •organ chorales: tune enhanced by harmony and counterpoint • chorale variations (chorale partita) based on chorale tune • chorale fantasia: chorale tune as subject • mid-17th century chorale prelude • short piece, entire melody presented once in recognizable form • single variation on a chorale, options • each melodic phrase as point of imitation • melody in long notes in top voice, phrases preceded by imitative development in other voices in diminution • melody ornamented in top voice, accompanying voices freely changing (Buxtehude’s Nun komm, der Heiden Heiland) • melody accompanied by unrelated motive or rhythmic figure GERMANY IN THE LATE 17TH SEVENTEENTH CENTURY