Final Exam Flashcards
Aria
-pushes the plot along in the opera, move things forward
Chorus
- in the opera, it is a commentary of what is happening
- about moral choices
“L’Orfeo”
Excerpt from Act II
1607
- Claudio Monteverdi
- set strophically, dance-like ritornello that moves between the strophs
- lots of wordpainting/madrigalisms even though madrigalists were going out of fashion
Recitative arioso/ arioso
-aria-like recitatives
Monteverdi
- “L’Orfeo”
- -“L’Arianna” 1806, all is lost from the opera except for “Arianna’s Lament”
- -“Ritorno d’Ulisse” Return of Ulysses, 1640
- The Combat of Tancred and Clorinda, 1624 (going back into ancient history)
- Coronation of Poppea, 1643 (considered his masterpiece; very expressive and has intense emotions)
- wrote his madrigals with basso continuo and sometimes additional instruments for expression
Venice
- first public theaters and opera house
- between December 26th and Lent, everyone went to the opera
- style is similar to Florence, ancient Greece
Florence
h
Rome
g
Antonio Cesti (1623-1669)
- new styles that develop in recitative and aria
- “Orontea”
- move away from strophic aria and by the middle of the Baroque we have a da capo strophic style
- recitatives become less melodic, more repeated notes, changing chords at the cadence points
- chromatic aria, especially in ritornello sections
- written for performance in Germany, and becomes a popular opera in Germany and Italy; Italian was the language of choice for opera
sinfonia
- orchestral introductions to opera
- not a full overture
- setting the scene with musical introduction
opera
- first intention was to be a drama
- there were soloist divas that developed
- use of special effects and dramatic presentation, do we focus on effects, or on the story? what is opera for? controversial question
concertato style
- instrumental accompaniment, solo voice on top, sometimes duets
- basso continuo to accompany it
Madrigali guerrieri et amorosi (1638)
- “Madrigals of War and Love”
- Monteverdi
- madrigals written for a bunch of different ensembles, ranges from early madrigal style to operatic recitative (pinnacle of his achievement outside of his operas)
basso ostinato/ground bass
-“Dido’s Lament” descending bass line
chacona
- originates as a vocal style
- instrumental works that use the repeated chord and bass pattern
- a dance song
- originated in Latin American but through colonization influenced Europe
cantata
- simply a piece that is to be sung (started off broad)
- by the 1650s there are more specific styles (more secular, text is poetic and lyrical or have some dramatic or narrative elements, several sections which are recitative and aria like)
- Cesti
- Strozzi “Lagrime Mei”
Barbara Strozzi
- worked in Venice
- singer and composer
- father was a poet and librettist
- published separate collections of work, 8 volumes
- known for having more cantatas than all other composers
Lagrime Mei
- Strozzi
- madrigalisms such as “tears” in the beginning
- melodic recitative, dramatic
Johann Fux, “Gradus ad Parnassum”
- steps to Parnassus”
- manual for creating polyphony/control of how voices relate to each other
- step against step voice leading
- basis for a lot of common practice tonality
Stile antico
- reference to Palestrina’s style of polyphony and voice leading
- Renaissance kinds of elements as Baroque sacred music continued to develop
sacred concerto
- for a solo voice/sometimes multiple with organ and sometimes one or two violins
- monody
Lodovici Viadana (1560-1627) Cento concerti Ecclesiastici
- 100 concerti
- blends with antiquo style
Giovanni Gabrieli (1557-1612) “In ecleovjsabeib”
- sacred concerto
- large ensemble
- basso continuo
- four solo voices
- the use of space
Alessandro Grandi (1586-1630) “O quam tu pulchra es”
- combined recitative/aria
- recitative is melodic
- sacred concerto/motet
- natural pronunciation of the words
- trading off with sections that are more song-like
oratorio
- religious, dramatic music that uses narrative dialogue and commentary
- early on with Latin text but end up in Italian and English
- not necessarily liturgical, not a part of the church service or in the church
- starts developing in Rome
- started off not being acted out; no costumes or elaborate gestures
- but had many similar things as opera
Giacorno Carissimi (1605-1674)
s
Jepthe (ca. 1648)
- Carissimi
- taken from Old Testament story
Johann Hermann Schein (1586-1630)
-wrote large and small concertos
Heinrich Schutz (1585-1672)
- studied with Gabrieli
- wrote in all styles sacred and secular
- wrote first German opera
- “Psalmen Davids” use German texts
- “Cantiones Sacrae” influenced by madrigalists
- “Seven Last Words of Christ”