muhis final

1600-1750

Performers started becoming professionals, music started to center on the performer/performance rather than the composer, performers were expected to improvise and add ornaments

Trills, turns, appoggiaturas, mordents (brief), scales, arpeggios (extended)

Recitatives (action), castrati, Aria (emotion), focused in Venice

Inspiration from Italy, recitative style, French dance rhythms, “lower–class” comic operas popular

Musical Theatre, Masque, Opera wasn’t popular

Vocal polyphony, strict rules, first practice

Music serves to heighten the effect & rhetorical power of the words, dissonance and voice leading rules could be broken, second practice

Artusi criticized Monteverdi for breaking “rules” in music, Monteverdi shot back

Best known keyboard works of the time, one piece in each major and minor key in chromatic order, displayed possibility of playing in all keys in an instrument tuned in near-equal temperament, also used for pedagogical aims

First public opera house, got money from the public & backing from rich people

First surviving opera

Developed by Vivaldi, standard form for fast movements in concertos

Traite de l’harmonie

Blended international styles of Opera, developed by Handel

harpsichord, organ, lute, theorbo/chittarrone (large lute w/ extra bass strings)

Allemande, Courante, sarabande, gigue

Scholars in Florence who discussed literature, science, music, and the arts

System of notation, melody & bass line written out, performer had to fill in the chords, essentially figured bass

Drama & music combined, started in italy

Accompanied solo singing

objective & stable states of the soul caused by “spirits” in the body

Aria w/ two sections, the first being repeated. ABA form. Repetition gave more opportunity for singer embellishment

Male singers castrated before puberty to retain their higher vocal range

Voices & instruments playing different parts

Stretches of dialogue in a speechlike fasion

Dry recitative

Stirring and impressive orchestral outburts to dramatize tense situations

1st Widely renowned composer of opera, wrote only vocal works

Musician family, working musician, learned composition by copying/arranging other composers, wrote vocal melody first

Master of all types of vocal & instrumental music, wrote music for public performance

Best known early 18th century Italian composer, spent most of his money, established many styles and norms

England’s leading composer, known for dramatic music, songs, and anthems

Wrote for ballets & religious services, created “French” opera, style was imitated by follwers
Strozzi: Born in Venice, sang at private gatherings, published 8 collections of vocal music

Known for church music, later inspired other German composers

L’Orfeo, L’Arianna, Combattimento di Tancredi e Clorinda

Orgelbuchlein, Dutch Adams Fall, The Well-Tempered Clavier, Nun komm, der Heiden Heiland, St. John Passion, St. Matthew Passion, Mass in B minor

Almira, Rinaldo, Esther, Saul, Messiah, Water music, Music for the Royal Fireworks

The Four Seasons

Dido and Aeneas

Armide

8 Collections of vocal music

Symphoonaie Sacrae, Saul, Saul was verfolgst du mich

Saul, Saul, was verfolgst du mich

Armide (overture)

Dido's Lament (When I am laid in earth)

Nun komm, der heiden heiland (chorus)

St. Matthew Passion (chorale: Ver hat vich so geschlagen)