14 - Folder 4 - Late Baroque: Handel Flashcards

1
Q

Where was George Frideric Handel (1685–1759) and what greatly influenced his music?

A

i. Born in Halle, Germany (in the region of Saxony)

ii. Traveled extensively, absorbing and synthesizing different national styles and genres

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2
Q

How did Handel spend his time in Italy from 1706 to 1710?

A

a. Worked as keyboardist and composer for a wealthy Roman family
b. Met many of Italy’s leading composers

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3
Q

How did Handel spend his time in England from 1712 to 1759?

A

a. Worked initially for the Elector of Hanover, who became King George I of England in 1714
b. In 1718, Handel became Music Director of The Royal Academy of Music, devoted to producing Italian operas in England
c. Royal Academy dissolved in 1729, due to financial difficulty
d. Handel formed a new company, devoted to the new genre of English oratorio

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4
Q

Handel made huge contributions to all Baroque genres. What of his work within opera?

A

a. Composed over 40 operas, most during his years with the Royal Academy
b. Ottone (1723), Giulio Cesare (1724), Rodelinda (1725), and others

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5
Q

Name some of Handel’s English oratorios How many did he write? When did he write most of them?

A

a. Composed 27 oratorios, most in the 1730s and 1740s

b. Esther (1718), Saul (1739), Messiah (1741), Semele, (1743), Solomon (1747), and others

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6
Q

What types of Instrumental music did Handel write?

A

a. Solo sonatas, trio sonatas, and other chamber music
b. Keyboard suites and orchestral suites
c. Concerti grossi, woodwind concerti, and organ concerti

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7
Q

Of Handel’s operatic style, from where came most of his plots?

A

Heroic plots taken from ancient Rome or the Medieval Crusades

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8
Q

What is a recitative?

A

Also known by its Italian name “recitativo” ([retʃitaˈtiːvo]), it is a style of delivery (much used in operas, oratorios, and cantatas) in which a singer is allowed to adopt the rhythms of ordinary speech.

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9
Q

Name and define two types of recitative.

A

i. Long passages of monologue (one character) or dialogue (two or more characters) were set in a plain style called recitativo secco (dry recitative)
1. more speech-like; syllabic; irregular rhythms; continuo-only accompaniment provides sustained chords
ii. Shorter passages and tense dramatic scenes set using a more elaborate style called recitativo accompagnato (accompanied recitative)
1. More elaborate vocal lines than secco; orchestral accompaniment provides quick punctuation between vocal phrases

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10
Q

Describe the aria.

A

In music the term was originally describing any expressive melody, usually, but not always, performed by a singer. The term became used almost exclusively to describe a self-contained piece for one voice, with or without orchestral accompaniment, normally part of a larger work. The typical context for arias is opera, but vocal arias also feature in oratorios and cantatas, sharing features of the operatic arias of their periods.

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11
Q

Describe the typical form and style of the aria.

A

i. Typically in da capo form
1. ABA structure
2. Opening section is contrasted by a middle section with a different mood, different key (often the relative key)
3. Return of opening section (da capo) with embellishment of the melody
ii. Wide variety of styles and moods in the arias, to match the drama and the characterization

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12
Q

What other elements are found in Handel’s operatic style?

A

i. Choruses and ensembles (duets, trios, etc.) are somewhat rare in Handel’s operas
ii. Use of instrumental interludes and ballet are typical (these are French elements in Handel’s Italian operas)

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13
Q

Regarding Handel’s oratorio style, describe the genre. 6 points.

A

i. Religious (but not liturgical) dramas
ii. Usually based on Biblical stories
iii. A few exceptions are not religious, but mythological
iv. Not staged like opera
v. More use of the chorus than opera
1. Fit well with England’s long tradition of choral music
vi. Handel’s oratorios are in English, the vernacular language of England

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14
Q

Describe Handel’s recitatives and arias. 4 points.

A

i. Stylistically similar to Handel’s Italian operas
ii. Use of recitativo secco and recitative accompagnato
iii. Use of da capo form
iv. Declamation and melodic writing were modified to suit the English language

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15
Q

Describe Handel’s use of chorus in his oratorio style. 5 points.

A

i. Probably the most prominent and influential feature of Handel’s oratorios
ii. Used to narrate or comment on events
iii. Extensive use of musical symbolism and word painting
iv. Choral writing mixes counterpoint and fugues (polyphony) with grandiose block chords (homophony)
v. Generally less contrapuntal than the choral writing of J.S. Bach

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16
Q

Describe Handel’s instrumental style. What of his orchestral works?

A

a. Brilliant adaptation of the keyboard suite to the full orchestra
b. Colorful orchestration and effects add to the grandeur of his orchestral music

17
Q

Describe Handel’s concerti. 4 points.

A

i. Built on the model of Corelli, but with increased fugal writing
ii. Used the sonata da chiesa structure (slow-fast-slow-fast), but sometimes added one or two movements
iii. Solo instruments do not have decorative figurations (as in Vivaldi, by comparison)
iv. Less distinction between soloist(s) and the full orchestra

18
Q

In these concerti, the Fast movements use the Italian ritornello form. What is this form?

A
  1. The form of a single movement (typically used in the Allegro movements of a concerto)
  2. The form is based on the recurring instrumental sections (ritornelli) in opera and other genres
  3. Highlights the contrast between the soloist(s) and the orchestra
  4. Alternates ritornelli and episodes
19
Q

In the Italian ritornello form, define 1. Ritornelli and 2. Episodes.

A

a. Ritornello — harmonically stable passages played by the ripieno (the full orchestra); recognizable thematic material (returning);first and last are in home key, with interior ones in contrasting keys
b. Episode — modulatory (key changing) passages featuring the soloist or concertino (the small group of soloists in a concerto grosso)

20
Q

Give the format of Italian Ritornello Form. Name the section order, the players of the sections, and the keys.

A

Section: Played By: Key:

Ritornello Ripieno Tonic

Episode Soloist(s) Modulates

Ritornello Ripieno Contrasting(not the tonic)

Episode Soloist(s) Modulates

Ritornello Ripieno Contrasting(not the tonic)

Episode Soloist(s) Modulates

Ritornello Ripieno Tonic