Chapter 15 Music for Chamber and Church in the early 17th century Flashcards
Most important developments in italy 17th
were the concertato works, bass ostinato and the cantata
Concerto medium- trace the change for the unaccompanied polyphonic madrigal to the concert madrigal with instrumental accompaniment in Monteverdi’s books of madrigals. - include bass continuo and other instruments BOOK 5 Book 6 strophic variations and canzonettas, through composed madrigals Book 8 Madrigali guerrieri et amorosi 1638 variety for 5 voices, solos, duets, trios , instrumental ensemble polyphonic, homophonic, operative recit and stile concitato.
Bass ostinato
or Ground Bass a pattern in the base that repeats while the melody above it changes. Triple or compound meter 2,4,8 measures long
Tetrachord pattern ex Monteverdi’s Lamento della ninfa
Chacona
is a vivacious dance-song imported from latin America to spain and then do italy. Refrain followed a simple pattern of guitar chords
Used bass pattern in other songs ex monteverdi’s madrigal Zefiro torna e di soavi accenti 1632
Cantata
NEw vocal chamber music. Before 1620 it was applied to a collection of arias in strophic variation form. BY mid century it meant a secular composition with continuo, usually for solo voice on a lyrical or quasi dramatic text consisting of several sections that include both recit and arias. COMPOSers Luigi Rossi and Antonio Cesti, Giacomo Carissimi (oratorios) and Barbara Strozzi (Lagrime mie 1659)
Air de cour
french a homophonic strophic song for four or five voices or for solo with lute accomp., sung as an independent vocal music or as part of a ballet. Simple used musique mesure
Sacred concertos
religious text, basso continuo, concertato medium, monody operatic styles, recit and arias STILL wrote polyphony like palestrina, purity Stile Antico but also could use Stile moderno
Gradus ad Parnassum
ex Johann Joseph Fuc codified quasi palternian counterpoint in treatise Gradus ad Parnassum 1725 influential book on counterpoint.
Cori spezzati
divide choirs ex Giovanni Gabriei wrote polychoral motets for St Mark’s in venice
Orazio Benevoli
1605-1672 catholic musica, psalms, motets, masses for 3 or more chords with organ.
Small sacred concerto
one or more soloists accompanied by organ continuo and often by one or two violins -made it within the means of even a small church. Ex Lodovico Viadana 1560-1627 1602 Cento concerti ecclesiastici adaptable
Alessando Grandi
1586-1630 composed may solo motets that used new style of monody ex O quam tu pulchra es 1625 recit, solo, madrigal and lyrica aria
Convents
private and not allowed outside instruction
COmposers Lucrezia Vizzana 1590-1662 wrote Componimenti Musicali 1623 20 motets for 1-2 sopranos and basso continuo
Oratorios
17th century rome, new genre of religious dramatic music, combining narrative, dialogue and commentary- recit, arias duets and instrumental preludes and ritornellos - religious subject matter, not normally staged, often a narrator ex Giacomo Carissimi 1605-1675 Jephte 1648
Heinrich Schütz
(1585 – 1672 was a German composer and organist, one of the most important composers of the 17th century. He is credited with bringing the Italian style to Germany and continuing its evolution from the Renaissance into the Early Baroque. Most of his surviving music was written for the Lutheran church, He wrote what is traditionally considered to be the first German opera, Dafne, 627, the music of which has since been lost,
Great at combining recit, aria and concerted madrigal styles, response to 30 year’s war was Kleine geistliche Konzerte motets for 1-5 solo voices with continuo ex of matched music to text and elements of italian monody O lieber Herre Gott
Musical figures
- a melodic pattern or contrapuntal effect conventionally employed to convey the meaning of a text ex Schutz Saul, was verfolgst du mich harash cadential notes cadentiae duriusculae why do you persecute me?
