opera and vocal music of late 17th

Question 1

italy opera

Answer 1

the birth place of opera,

stylistic source for composers of operas and chamber cantatas all over europe,

recitative and arias

Question 2

impresario

Answer 2

producers,

managing the theater, truste by the owners of the place, had to bring profit

Question 3

Alessandro scarlatti 1660-1725

Answer 3

held sway in rome and naples

Cantata chamber music

NAWM 94a - wide range harmonic, chromaticism and diminished 7th chords that convey strong emotions

Question 4

aria and aria types

Answer 4

Everything stop and she sings her emotions in an aria

> melismatic unlike recitative,
rare in french,

> reflected the meaning of a text in musical motives in the melody or accompaniment,

> strophic aria - every stanza performed to same music

> da capo aria - aba structure
NAWM 95

Question 5

chamber cantata

Answer 5

leading form of vocal chamber in italy ,

private parties that were sponsored by wealthy people

solo voice with continuo, some featured two or more voices

the text is usually pastoral love poetry, dramatic narrative

Question 6

the demand for new cantata

Answer 6

offered poets and composers regular work and chances to experiment

Question 7

chamber cantata composer

Answer 7

alessandro scarlatti

nawm 94a - consists of two recitative-aria pairs

second recitative with wide harmonic range

Question 7

sonata

Answer 7

is instrumental and for sound

Question 7

french writers on nature and opera

Answer 7

opera is ruining the finest things we have, tragedy

it is faulty and contrary to nature

Question 8

france opera

Answer 8

ballet and tragedy

1670s naional opera was established under king louis xvi

two traditions influenced opera, sumptuous and colorful ballet and classical tragedy

Question 8

why was ballet a prominent place in french opera

Answer 8

kings love for participation in dance ensured its position

Question 9

the man of music

Answer 9

jean baptiste lully
1632-87

italian, florence

attracted attention to the kings and stayed in france, remained louis xivs favourite compoesr

composed instrumental and dance pieces for italian opera

Question 10

lullys operas

Answer 10

begins with an overture (opening)

welcoming the kings

two sections - each played twice

first section is homophonic and majestic, marked by dotted rhythms and anacrusis (upbeat ) figures

Question 11

adopting recitative in france

Answer 11

• To project dramatic dialogue, Lully adapted Italian recitative to French language and poetry.
• But this style was not suited for the rhythms and accents of French.

Question 12

recitative simple and mesure

Answer 12

simple
* Shifting the metric notations between duple and triple to allow the most natural declamation of the words.

mensure
* More deliberate motion in the accompaniment,
* More lyrical moments

Question 13

air

Answer 13

• Were typically syllabic or nearly so, with a tuneful memory, little text repetition and no virtuosic display,

Question 14

string and wind instruments

Answer 14

• Wind, brass players played in military and other outdoor ceremonies, or joined the chapel,

Question 15

church music in france

Answer 15

• The French composers borrowed Italian styles such as the sacred concerto and oratorio,

French two style motets
* Petit – sacred concerto for few voices with continuo,
* Grand – soloist, double chorus, and orchestra,

Question 16

england and opera

Answer 16

• English music drew inspiration from both Italy and France in combo with native traditions.

Question 17

musical theater of england

Answer 17

masques was the fav court entertainment

shared aspects of opera

dancing, singing, scenery, costumes, spoken parts

Question 18

oliver cromwell

Answer 18

banned stage play

but not concerts or private plays

this led to the invention of opera

Question 19

henry purcell

Answer 19

dido and aeneas 1689

performed at a girl boarding school,

opera in miniature - 4 roles, three acts and one hour to perform

overture and homophonic choruses resemble lullys