Mus 201 Chapter 11

Chapter 11: Opera and Vocal Music in the Late 17th Century I.

Italy A. Venice center of Italian opera, birthplace 1. Number of arias for operas increased to ~ 60 per opera 2. Da capo opera favorite, room for expression and ornamentation a) Set in ABA structure b) Almost all Baroque arias of this structure, though not used as much by Monteverdi (strophic) B. Cantatas for special occasions 1. Rome center for cantatas 2. Usually for one voice with continuo, texts love poems 3. Scarlatti leading opera composer in Rome and Naples, composed over 600 cantatas 4. Written for solo voice with continuo II. The Singer-Diva A. Impressarios in charge of renting rooms, getting customers, paying performers B. Singers chosen “make or break” the successfulness of the season C. Sopranos quickly achieved stardom 1. Could get composers to alter songs to suit their vocal talents 2. Primadonna name for lead singer (usually soprano) in an opera, “first lady” 3. Anna Renzi one of most famous singers of her time III. Embellishment and Improvisation A. Music of the Baroque focused on performance B. Ornamentation varied over generations 1. Practice of ornamenting essential for all performers C. Affecti, a style of ornamentation, spread to instrumental playing and singing 1. Extended embellishments through scale and arpeggio passages a) Trills b) Turns c) Appoggiatura d) Mordent 2. Free and elaborate paraphrase of the written line 3. Italians preferred melodic ornamentation, French preferred rhythmic IV. France A. Composers slow to adapt to Italian style 1. Often change rhythms and accents for distinct French style 2. Opera spread to France after rest of Europe a) Promoted by Louis XIV b) Ballet remained prominent in opera 3. Jean-Baptiste Lully leading French opera composer a) Born in Florence, moved to Paris at age 14 to be a tutor to Louis XIVʼs cousin b) Completed musical training and learned dance in Paris c) Conducted orchestras

(1) Conducted with a cane to imply Kingʼs rule, stabbed his foot and died of gangrene d) Named superintendent of music for Kingʼs chamber in 1661 e) Started writing comedies and ballets in 1664, collaborated with Mouliere f) Started writing operas in 1672 (1) Orchestra well known for discipline and ornamentation g) Librettis, opera written by Lully and Guinnalt (sp?), tale of chivalry and based on mythological tales, Greek mythology, interludes of dancing and singing, glorifies France h) Model of modern orchestra: divided into five parts, 6 soprano violins on melody, 12 alto and tenor on inner parts, 6 bass violins on bassline. Wasnʼt until 1670 that term ensemble was stretched to word orchestra 4. Operas included a prologue that praised the King (opera financier) 5. récitatif simple : recitative that followed the contours of spoken French, shifting meter as necessary

récitatif mesuré : songlike interruptions to simple recitative 6. Church music dominated by Renaissance counterpoint until 1650s, French styles of concerto and oratorio V. England A. Masque shared aspects of opera 1. Instrumental music 2. Dancing 3. Songs 4. Costumes, scenery, etc. 5. Long spectacles as opposed to short dramas a) Shorter ones produced in theaters, ballrooms, aristocratic functions, etc. B. Mixed genres came about after English Civil War, puritan revival 1. Stage plays banned, but concerts and private musical entertainment okay 2. Henry Purcell leading composer, composed Dido and Aeneas 3. John Blow composed Venus and Adonis, all of the above performed only for private functions