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Power point 11: Early Baroque Music
The Baroque era saw the development of new musical styles and genres between 1600-1750. A key doctrine was that a piece of music should express a single emotion. Early styles included Stile Antico which used polyphony and strict rules versus Stile Moderno which broke rules to effectively express text. The Florentine Camerata in the 1570s-80s planned to revive Greek opera and develop monody with solo melody and basso continuo accompaniment. Early opera began around 1600 with Dafne by Peri and L'Euridice by Peri and Caccini. Monteverdi's 1607 opera L'Orfeo was highly influential in establishing conventions for the new genre such
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Power point 11: Early Baroque Music
- 1. Music in theBaroque Era: Part I 1600-1750
- 2. The Doctrine ofthe Affections • a piece of music should express one particular emotion
- 3. Stile Antico vs.Stile Moderno
- 4. Stile Antico • alsocalled prima prattica • vocal polyphony • music over text • Josquin, di Lasso, Palestrina, Willaert
- 5. Stile Moderno • alsocalled seconda prattica • effective expression of text • allowed for breaking of rules • Gesualdo, Rore, Caccini, Monteverdi • affections • voices and instruments • monody: solo melody with basso continuo accompaniment • tonality • rhythm (metered/unmetered) • notation (barlines, time signatures)
- 6. Florentine Camerata • 1570sand 1580s; meetings of powerful, intellectual, musical people in Florence @ Count Bardi’s palace. • Giulio Caccini, Vincenzo Galilei (Galileo’s father) • planned to revive Greek opera • stile rappresentativo—text setting with solo melody which approximated natural speech inflection (recitative) • ex. Caccini’s Amarilli, mia bella Florence, Italy Theatre of Dionysus, Athens, Greece
- 7. Giulio Caccini (1551-1618) •Italian composer, teacher, singer, instrumentalist • Le nuove musiche – monody – madrigals and arias • aria—strophic; high- voice melody with figured bass accompaniment • madrigal – Amarilli, mia bella – Vedro ‘l mio sol – preface contained advice on elaboration
- 8. Opera An opera isa sung drama with accompaniment. Opera combines several art forms, including:
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- 10. Literature A libretto isthe text of an opera.
- 11. Theatre Like actors ina play, singers represent specific characters. Opera developed from the intermedio, a musical interlude performed between the acts of a play.
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- 13. Vocal Music Opera singersare virtuoso singers.
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- 15. Opera is expensive.Early operas were performed at courts. Public performances came at the end of the 17th century.
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- 17. • Dafne—1st opera,by Peri – Italian – only libretto (by Rinuccini) is extant – important as model for later operas: • 1. prologue: character who tells audience central theme of opera • 2. story from classic mythology • 3. pastoral scenes, characters • 4. moving prayer sung by main character, answered through deus ex machina – cupid shoots Apollo w/arrow; Apollo falls in love w/Dafne – Dafne prays she will escape him; Dafne is turned into a laurel tree • 5. solo song • 6. choral singing at end • L’Euridice—Peri/Caccini, text by Rinuccini – Nel pur ardor, aria – Per quel vago boschetto, recitative Jacopo Peri (1561-1633)
- 18. Claudio Monteverdi (1567-1643) •Italian composer important in several genres, including:
- 19. Sacred Music • teens,early 20s – stile antico • 1590s—1st decade of 1600s: – worked at Gonzaga court in Mantua – stile antico and stile moderno • 1613—to Venice, St. Mark’s maestro di cappella – after death of Gabrieli, wrote similar polychoral works St. Mark’s Basilica, Venice, Italy Cathedral, Cremona, Italy Vincenzo Gonzaga, Duke of Mantua, Italy
- 20. Madrigals • Early Madrigalsin the Renaissance Style (1580s and 90s) • 5th book (1605) – seconda prattica, solo melody w/figured bass – Artusi conflict – Cruda Amarilli • 8th book (1638) – Combattimento di Tancredi e Clorinda • stile concitato—agitated style – tremolo/pizzicato – represents warlike action • over 20 min. long • accompanied recitative • arioso (recit passage is in aria style) Giovanni Artusi Monteverdi
- 21. Opera • L’Orfeo (1607,published 1609) – 1st great opera – Vi ricorda o boschi ombrosi, aria/canzonetta – Mira, deh mira Orfeo, song – Ahi, caso acerbo, dialogue in recitative; Tu se’ morta, rectitative; Ahi, caso acerbo, choral madrigal • L’incoronazione di Poppea (1642) – smaller ensembles – Act I, scene III
- 22. What’s so greatabout Orfeo? Many operas after Orfeo use many of the same techniques: • text/plot drawn from classical antiquity/ancient history; noble/divine figures, moral lesson • 5 acts, each w/song by Orfeo, commentary by choir • soloists accompanied by continuo • large group of diverse instruments • contrasting styles—duets, dances, madrigals, ballettos • special effects
- 23. aria strophic dance songs simplerhyme schemes regular metrical schemes (ex.—8 syllables) emotional response to recitative 2 types include: strophic variation—muse at opening; Orfeo in act III dance-like arias recitative 7-11 syllable lines no regular rhyme scheme elements of seconda prattica: dissonance modulation (ex. messenger informs of Euridice’s death—E major to g minor) chorus—comments on scene townspeople, etc. instrumental passages ritornello—played before a stanza; same music before each stanza sinfonia—other instrumental music functions: 1. introduce scene—sets tone 2. introduce opera (overture) 3. accompany stage action 4. accompany changes of scene 4 types of music in Orfeo
- 24. Opera in theMiddle 1600s Venice •public performances of opera •older features: –classical story •newer features –castrato –3 acts –chorus and dance eliminated –more arias –combine serious and comedic –ex. Monteverdi’s L’incoronazione di Poppea (1643) Rome • clearly defined recitatives and arias • castrati – females prohibited from singing, castrated males sang female roles Francesco Cavalli (1602-1676) •leading composer of Venetian opera, mid- 17th c. •Monteverdi’s student •organist @ St. Mark’s •33 operas, including Giasone (Jason and the Golden Fleece) •lament over ostinato bass Antonio Cesti (1623-1669) •Cavalli’s rival •Oronteo •E che si fa, recitative •Intorno all’ idol mio, aria Italian opera became popular throughout Europe:
- 25. Early 17th Century ChurchMusic and Chamber Music
- 26. • arias, madrigals, motets,cantatas • was not allowed to be an opera composer or church musician • music for private gatherings • cantata – secular vocal music for solo voice – serious setting of Italian poetry – like opera scene with no staging – recit-arioso-aria – Lagrime mie Barbara Strozzi (1619-1677)
- 27. • born inRome • choir director • wrote oratorios and cantatas • oratorio (also called “concertato motets” or “dialogus”) – dramatic work on a sacred subject/biblical stories – sung during Lent – voice/continuo – 5 or 6 soloists—soloists also perform together as choir – 10 to 30 minutes long – not staged – not part of a church service – sung in an oratory • structure in Italy used for quasi-religious services • held several hundred people. • used to present sacred music outside of service – Latin – castrati – Histoire di Jephte • recitative: Plorate colles • Chorus: Plorate filii Israel – (the first oratorio was written by Emilio de Cavalieri) Giacomo Carissimi (1605-1674)
- 28. Heinrich Schütz (1585-1672) • mostimportant German composer of 17th century • organist • wrote 1st German opera • Sacred concertos (also called “Symphoniae Sacrae”) – polychoral – written in the concertato style • concertato: voices and instruments together • specific instrumentation – in German – O lieber Herre Gott – Saul, was verwolgst du mich • passion: a setting of the crucifixion • studied w/Gabrieli, heard Monteverdi’s music – stile antico aspects of Gabrieli’s music: • polychoral – stile moderno aspects of Monteverdi’s music: • dissonance • voices and instruments together