Chapter 20 opera and vocal music in the earlier period

Question 1

Periodic

Answer 1

Periodic organized in discrete phrases or periods - new music was light and songful

Question 2

Music/ performers/ history

Answer 2

Musicians increasingly depended on public performances. Increase in amateurs making music. NO women professionally except as singers. Interest in the history of music Burneys a general history of music 1776. Audiences preferred a vocally conceived melody in short phrases over spare accompaniment (opera)

Question 3

Classical style

Answer 3

music idiom of the 18th century generally characterized by an emphasis of melody over relatively light accomp.; simple, clearly articulated harmonic plans, periodic phrasing, clearly delineated forms based on contrast between the themes, between keys, between stable and unstable passages and between sections with different functions. Contrasts of mood, style and figuration within movements as well as between them.

Question 4

Galant

Answer 4

Galant 18th century musical style that featured songlike melodies, short phrases, frequent cadences and light accomp.

Question 5

Empfindsam

Answer 5

Empfindsam style surprising turns of harmony, chromaticism, nervous rhyths, and rhapsodically free, speechlike melody. Ex slow movements of CPE BAch

Question 6

Classic period

Answer 6

Classic period 1730-1815 galant empfindsam and the haydn idiom Mozart
Periodicity frequent resting points break the melodic flow into segments that relate to each other as part of a large whole. Phrases 2-4 measures
Period a complete musical thought concluded by a cadence. A composition was made up of two or more periods
Versuch einer Anleitung zur Composition 1787 by Koch guide to melodic composition based on rhetorical principles. Learn how to compose Stronger and weaker cadences
Harmony articulated phrases instead of driving the music forward so it changed less frequently - animated the harmony with things such as:
Alberti bass broke each of the underlying chords into a simple repeating pattern of short notes that produce a discrete chordal background.
Emotional contrasts - classical composers began to introduce contrasting moods in the various parts of a movement or even within the themes themselves instead of the baroque style of converting a single feeling.

Question 7

Opera buffa

Answer 7

full length work with six or more characters and was sung throughout. Entertained and served a moral purpose. Stock characters. Fast recit, galant style arias. Pioneers of this style was leonardo Vinci 1696-1730 Le zite ‘ngalera 1722

Question 8

Dramma giocoso

Answer 8

is a genre of opera common in the mid-18th century. dramma giocoso characteristically used a grand buffo (comic or farce) scene as a dramatic climax at the end of an act. Composers Niccolò Piccinni, and Joseph Haydn set Goldoni’s texts to music. The only operas of this genre that are still frequently staged are Mozart and Da Ponte’s Don Giovanni (1787) and Così fan tutte (1790), Rossini’s L’italiana in Algeri (1813) and La Cenerentola (1817), and Donizetti’s L’elisir d’amore (1832).

Question 9

Commedia per musica

Answer 9

Comedy through Music. Term used in It. in 18th cent. for comic opera. Note that Strauss and Hofmannsthal called their 18th‐cent. comedy of manners, Der Rosenkavalier, a ‘comedy for music’.

Question 10

Intermezzo

Answer 10

performed in 2-3 segments between the acts on a serious opera or play. Comics scenes were taking out of serious shows and comic characters were given their own story. Ex Giovanni Battista Pergolesi 1710-1736 La Serva Padrona 1733 3 characters

Question 11

Carlo GOldoni

Answer 11

1707-1793- librettist, comic operas began to have serious, sentimental or woefu plts ex La Buona figliuola 1760 music by Piccini 1728-1800
Logroscino 1698-1765 and Galuppi 1706-1785 are known for the ensemble finale. At the end of the act all of the characters were gradually brought on stage while the action continued becoming more and more animated until it reached a climax with all singers taking aprt.

Question 12

Opera seria

Answer 12

serious subjects without comic scenes. 3 acts, alternating recit and arias. Librettist of opera seria Pietro Metastasio 1698-1782- human passions, pitting love against duty, morality . Magnanimous tyrants such as TItus in La CLemenza di tito
Da capo aria still favorte in the 1st half of the 18th century - 2 stanza aria texts pg 491 Stanza 1 A stanza 1 A1 stanza 2 B

Question 13

Johann Adolf Hasse

Answer 13

Johann Adolf Hasse 1699-1783 opera composer -opera seria. Dresden/ Italy. Most of his operas use librettos by Metastasio. Ex opera Cleofide 1731 aria Digli ch’io son fedele -graceful motive, natural rhythms, singers ornamented in da capo repetition

Question 14

Querelle des bouffons

Answer 14

swas the name given to a battle of musical philosophies that took place in Paris between 1752 and 1754. The controversy concerned the relative merits of French and Italian opera

Question 15

Jean- Jacques Rousseau

Answer 15

1712-1778- pro italian opera/ comic. Wrote Le devin du village 1752 -italian melodic style

Question 16

Opera Comique-

Answer 16

french version of light opera. 1710. Performed in suburban parish fairs. At first mostly consisted of popular tunes known as vaudevilles but in the 1750s had original airs (ariettes) in mixed french/italian style . Used spoken dialogue, not recit

Question 17

Andre Ernest Modeste Gretry

Answer 17

1741-1813 leading french opera composer. Later 18th century used serious plots based on social issues in france- revolution. Ex opera Coeur de Lion 1784 “rescue” operas

Question 18

Ballad opera

Answer 18

• england. Consisted of spoken dialogue interspersed with song that set new words to borrowed tunes. Later borrowed less musc and wrote more original.

Question 19

The Beggars opera

Answer 19

1728 by John Gay 1685-1732 libretto and Johann Christoph Pepusch 1667-1752 msuic. Ballad opera. Satirized london society

Question 20

Singspiel

Answer 20

german. Opera with spoken dialogue, musical numbers, and usually a comedic plot. 1710s
Johann Adam Hiller- german composer of singspiel in the 1760 and 70s

Question 21

Enlightenment

Answer 21

entire design of opera was to be natural. More expressive less ornamented, Orchestra more important, evoked emotions

Question 22

An Essay on the Opera

Answer 22

1755 by Francesco Algarotti. Argued the enlightenment changes to opera.
Jommelli and Traetta important composers in the change of opera to be more like the integrated approach of french serious opera and tradition of greek tragedy. Continuous dramatic flow Traetta opera ex Ippolito et Aricia 1759 combo of french tragedie en musique and italian opera seria

Question 23

Christoph Willibald Gluck

Answer 23

1714-1787 synthesis of french, italian and german styles. Born in what is not Bavaria, Studies with italian Sammartini, visited london, toured Germany, worked in Vienna and Paris. Collaboretd with Calzabigi 1714-1795 to produce Orfeo ed Euridice 1762 and Alceste 1767- music to serve the poetry and advance the plot. Made overture more important, orchestra used for dramatics and lessened the contrast between recit and arias. Influenced Cherubini and Berlioz.

Question 24

Iphigenie en Aulide

Answer 24

1774. All styles- good opera could be written to french words. Abolish Distinctions of national styles
      Songs in the earlier classic period- growing interest in amateur music making. Music published simple, diatonic, syllabic and strophic accompaniments easy enough to be played by the singer. Often religious.

Question 25

Romance

Answer 25

• france was a strophic song on a sentimental text with a simple expressive melody, with no ornamentation over a plain accomp.

Question 26

Ballads

Answer 26

britain printed on single large sheets called broadsides. Only text was printed and it was meant to be sung with a familiar tune.

Question 27

Lied

Answer 27

german. Keyboard accomp. Strophic, single melody that would suit every stanza, one note per syllable. Was meant to please the performer not that audience. Telemann, CPE BACh Carl Heinrich Graun.

Question 28

Johann Friedrich Reichardt

Answer 28

1752-1814 lied composer, made the structure more flexible and gave the accomp more independence. Erlkonig 1794 (not the famous schubert one) piano like galloping horses.

Question 29

Church music in the classic period mid 18th century

Answer 29

church music was not the center of musical culture. Now valued more for its traditionalism than it’s innovations. Some stile antico but some took on styles of opera. Lutheran enlightenment focus- galant style music. Simple and elegant. And Oratorio ex Der Tod Jesu 1755 by Carl Heinrich Graun. England composers Boyce, Greene and Stanley.

Question 30

Bay Psalm Book

Answer 30

Puritans in New England use of music in worship centered on metrical psalm singing 1640 was the first book published in north america. 1698- added music. Composer William Billings 1746-1800 wrote new-england psalm singer 1770- entirely composed in north america. Homophonic, 4 part

Question 31

Fuging tunes

Answer 31

usually open with a syllabic and homophone setting. THen feature a passage in free imitation before closing with voices joined again in homophony ex Billings Creation from the continental Harmony