Vocal Music in the Baroque 1600 - 1750
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Baroque opera combines vocal and instrumental music, acting, scenery, and dance. It is primarily sung, featuring recitatives, arias, and ensembles. Recitatives advance the plot in a speech-like style while arias express emotion. Operas also feature instrumental music such as overtures and interludes. Oratorios and cantatas have similar musical elements to opera but are usually religious works and performed without staging. Cantatas are shorter works that originated in Italy and Germany, the latter featuring Lutheran chorales.
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Vocal Music in the Baroque 1600 - 1750
- 1. Vocal Music in the Baroque 1600 - 1750
- 2. Opera Opera is born in the Baroque The word “opera” means “work” Originally opera drammatica in musica, meaning “dramatic work in music” Opera is entirely sung in the Baroque Focus is on the solo singing Text is called the libretto
- 3. Libretto Literally means “little book” The libretto is the text or script of the opera Librettist: the writer of the libretto Usually a poet working with the composer
- 4. Early Baroque Opera Opera in the early Baroque is different in many ways from late Baroque It was based on the musical reforms and philosophies of the Florentine Camerata
- 5. Florentine Camerata Late Renaissance group of humanist intellectuals in Florence, Italy Sought to improve music by returning it to classical (ancient Greek) dramatic ideals Believed (incorrectly) that Greek drama had been sung in a declamatory style Developed monody as an approximation of Greek dramatic style
- 6. Florentine Camerata Their efforts led to the first opera, Jacopo Peri’s Dafne Opera grows in popularity The first opera that is still performed today is Monteverdi’s L’Orfeo
- 7. Claudio Monteverdi (1567-1643) Transitional figure from Renn. to Baroque Mantua, Duke Vincenzo Gonzaga (1590-1612) Embraces the new style – Baroque secunda prattica 5th book of madrigals (1605) His first opera, is the first operatic masterwork – Orfeo (1607)
- 8. Claudio Monteverdi (1567-1643) Leaves Mantua court for Venice cathedral Prominent position for sacred music Allowed the freedom to accept commissions Composed operas for other venues Return of Ulysses (1641) Coronation of Poppea (1642) One of the most significant composers in music history
- 9. Monody Monteverdi’s Orfeo is primarily monodic Homophonic texture Solo vocal line with chordal accompaniment Rhythmically free No meter – approximates natural rhythm of speech Slight differences between aria and recit.
- 10. Listening Example Title: “Tu se’ morta” from L’Orfeo Composer: Claudio Monteverdi Genre: Opera
- 11. Notes on “Tu se morta” Continuo accompaniment varies Bass lute Harpsichord, bass viol, and bass lute Organ and bass lute Word painting in the arioso Subtle lyricism – not quite an aria
- 12. Listening Example Title: “Possente Spirto” from L’Orfeo Composer: Claudio Monteverdi Genre: Opera
- 13. Notes on “Possente Spirto” Begins with brief sinfonia (instrumental intro) Extensive ornamentation of vocal line Much more active melodically Increased involvement of “orchestra” Trumpets and violins punctuate his phrases Continuo is still present (organ, bass lute)
- 14. Evolution of Opera As genre matures, the various components of opera become more specialized and elaborate Much greater difference between recitative and aria Music becomes more rhythmically structured – regular meter
- 15. The Components of Opera Opera combines many diverse elements Vocal music Instrumental music Acting Scenery and costumes Dancing
- 16. Recitative Based on the ideals of monody Rhythmically free, no meter Declamatory, speech-like singing style Mirrors the natural rhythms of speech Recitative presents the plot and the action Often used for dialogue Helps build emotional tension
- 17. Vocal Music of Opera Soloists Ensembles (small groups singing together) Duets Trios Quartets Chorus (large group of singers)
- 18. Solo Singing Two kinds of solo singing in opera Recitative Aria Recitatives involving multiple singers are like conversations: one sings after another Ensembles are sung in aria style, though the term “aria” by itself refers to a solo
- 19. Two kinds of Recitative Semplice (simple) or secco (dry) Accompanied only by basso continuo Very speech-like, many repeated notes Early opera uses simple recitative almost exclusively Accompagnato (accompanied) Accompanied by the orchestra More lyrical than simple recitative Later opera uses a combination of the two
- 20. Aria Italian word for “air” or “song” More lyrical than recitative Clear meter and rhythm Arias express emotion Focuses on emotion of a character in the story Does not advance the story Da capo arias became a very popular form
- 21. Arioso Not as widely used as recitative and aria The midpoint between the two styles More lyrical than simple recitative More declamatory than aria
- 22. Da Capo Aria This aria form became popular later in the Baroque period “Da capo” is Italian for “from the top” This is an aria with a specific structure A-B-A’ form Section A is sung followed by section B After section B, section A is repeated with embellishments
- 23. Instrumental Music of Opera Orchestra accompanies arias, accompagnato recitatives, and sung ensembles (duets, trios, etc.) At times the orchestra plays instrumental pieces Prior to the start of the opera, a piece is played This is usually called an overture This lets the audience know the opera is starting During scene changes, music is played Names for these pieces vary: sinfonia, interlude, etc.
- 24. Basso ostinato Any repeated pattern in music is an ostinato Ostinato means “obstinate,” or “stubborn” A repeated bass melody is a basso ostinato Baroque lament arias often sung to a descending basso ostinato
- 25. Henry Purcell (1659-1695) Born in London area (Westminster) Father was a gentleman of the Chapel Royal Organist at Westminster Abbey and later at the Chapel Royal Composed for both the church and court Died young, most likely of TB http://en.wikipedia.org/wiki/Henry_Purcell
- 26. Henry Purcell Composer of one of the first English operas Dido and Aeneas Composed for a Chelsea girls school Taken from Virgil’s “Aeneid” The final aria, “Dido’s Lament,” is very famous
- 27. Listening Example Title: “When I am laid in earth,” from Dido and Aeneas Composer: Henry Purcell Genre: Opera
- 28. Notes on “When I am laid in earth” The aria is preceded by an unusually expressive recitative: “Thy hand Belinda” Listen for the descending line of the ground bass (basso ostinato) Notice the emotional expression – the purpose of an aria
- 29. Summary of Baroque Opera Opera has many components Vocal music Instrumental music Acting Scenery and costumes Dancing The vocal music is also varied Solo singing Ensembles Chorus
- 30. Summary of Baroque Opera Solo singing is done in two styles • Recitative Secco Accompagnato • Aria Da Capo Aria Text of an opera is called the libretto Operas varied regionally across Europe
- 31. Oratorio Began as small scale religious plays Grew to be essentially an opera without the staging: no costumes, no scenery Same use of recitative and aria Accompanied by orchestra
- 32. Oratorio Usually a religious theme Always deals with weighty subject Handel is best known composer of oratorio Great deal of musical similarity between oratorio and cantata, but oratorios are much longer
- 33. Cantata Cantare – Italian for “to sing” Smaller performing forces Much shorter than opera or oratorio
- 35. Early Baroque Cantata Earliest cantatas were short, usually secular, and heavily influenced by monody The genre originates in Italy out of the same desire for textual expression as opera One or two singers usually performed a poetic setting with basso continuo The poem is usually set in several contrasting sections
- 36. Later Baroque Cantata Much more like a small scale oratorio Consists of all operatic characteristics Recitatives Arias Ensembles Choruses Orchestra
- 37. Sacred Cantata’s of J.S.Bach Cantata integral to Lutheran church service New cantata required every Sunday Yearly cycle approx. 60 cantatas One per Sunday plus holidays/special occasions Usually 5 to 8 movements Bach composed 4–5 cycles (only 200 extant) Frequent use of Lutheran Chorale
- 38. Lutheran Chorale Chorale is the hymn tune Sung by the congregation Originally sung in unison Later set in 4-part harmony, melody in soprano (top voice) These 4-part settings referred to as a chorale Chorale unifies the cantata