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Home , Claudio Monteverdi, Concertato, Giulio Caccini, Monody

Chapter 8 Vocal Music 1600-1650

Sunday, October 21, 12 Secular Song : The

• through-composed setting of freely structured verse • settings; and newer for solo voice and • - any number of voices combined with instruments

Sunday, October 21, 12 Secular Song Italy: The Madrigal

• (1567-1643) - published nine books of madrigals - reflect all manifestations of the genre - used unconventional musical techniques, asserting the text demanded it

Sunday, October 21, 12 Secular Song Italy: The Madrigal • Monteverdi Cruda Amarilli - “Cruel Amaryllis” - part of the seconda prattica - Monteverdi traced this new style to and - text painting used as the rationalization for the dissonances and breaking of the older rules for dissonances - Artusi (Italian and theorist) objected to the improper treatment of dissonances - see m. 12: F and F# used in close proximity - see m. 13: the A in the canto is unprepared against the basso’s G

Sunday, October 21, 12 Secular Song Italy: The Madrigal

• Monteverdi T’amo mia vita (1605) - “I love you, my life” - concertato madrigal (madrigals with a mix of voices and basso continuo) - far more homophonic texture

Sunday, October 21, 12 Secular Song Italy: The Madrigal • Monteverdi Zefiro torna e di soavi accenti (1630) - “The west wind returns and with soft accents” - concertato madrigal - by 1630 the concertato madrigal was quite elaborate

Sunday, October 21, 12 Secular Song Italy: The Madrigal • Lasciatemi qui solo - “Leave me in solitude here” - strophic - daughter of • Tradimento - “Betrayal” - arietta (small ) with a (brief return)

Sunday, October 21, 12 Secular Song France: The (courtly air) • French academicians sought to recreate magical powers of ancient music suited to the French language • Jean-Antoine de Baïf (1532-1589) and his followers at the Academy of Poetry and Music developed a system called “music adapted to ancient measure” that is, prosody

Sunday, October 21, 12 Secular Song France: The Air de cour (courtly air) • tried to adapt French verse to quantitative principles of Greek and Latin poetry • syllables are differentiated by length (duration) rather than by weight (accent) • musical accompaniment did not rest on basso continuo but on notated tablature for or other similar instruments

Sunday, October 21, 12 Secular Song France: The Air de cour (courtly air) • like the madrigal, air de cour was first polyphonic but evolved into favored vehicle for solo voice and lute accompaniment • Etienne Mouliniè Enfin la beauté que j’adore - “At last, the beauty whom I adore” - homophonic texture - primary melody with lute acc. - published in 1624

Sunday, October 21, 12 Secular Song

• drama sung in its entirety from beginning to end • monody - permitted a single voice to represent an individual character on stage

Sunday, October 21, 12 Secular Song Opera • permitted solo voices to declaim large quantities of text in rapid, comprehensible manner • recitative is largely syllabic singing with emphasis on declamation of text over creation of a melodic line • recitative more nearly approximates inflection of spoken speech while indicating specific pitches and rhythms to be sung

Sunday, October 21, 12 Secular Song Opera • Giacopo Peri, Giulio Caccini, Emilio de’ Cavalieri • all three associated with: • the Florentine Camerata • emergence of the seconda prattica • central roles in creating the new genre of opera

Sunday, October 21, 12 Secular Song Opera

• mix recitative with polyphonic madrigals, (settings of strophic texts), choruses and instrumental interludes • first opera acknowledged to achieve satisfying musical and dramatic intergration of recitative was Monteverdi’s Orfeo from1607

Sunday, October 21, 12 Secular Song Opera • Monteverdi Orfeo (1607) - recording is an extended excerpt from Act II - - recitative - focus on melody line and basso continuo accompaniment

Sunday, October 21, 12 Secular Song Opera • Monteverdi Orfeo links: • Act I prologue: - http://www.youtube.com/watch?v=LwndvoeCXos • Act II excerpts: - http://youtu.be/7VyksYcGJGk • The entire video is here: - http://www.youtube.com/watch? v=uJ_mjTTDM5A

Sunday, October 21, 12 , 1638. The city was the heart of the Venetian Republic, which prided itself on its perptuation of the best traditions of ancient . The Basilica of San Marco is visible near the center of this image.

Sunday, October 21, 12 Secular Song Opera • Monteverdi L’incoronazione di Poppea (1642-43) - this opera written for Venice’s more “public”opera (Orfeo written for the Duke of ) - Orfeo is serious throughout, Poppea mixes high seriousness with comic scenes (Bonds p. 222) - not written for the lower classes; rather its audience was the lesser nobles, business men, and visiting dignitaries (Bonds p. 223)

Sunday, October 21, 12 Sacred Music

• composers applied principles of seconda prattica to sacred music • Claudio Monteverdi • Heinrich Schütz - like Monteverdi, he never abandoned the prima prattica

Sunday, October 21, 12 Sacred Music

• Heinrich Schütz Singet dem Herren ein neues Lied - shows the influence of Monteverdi (Bonds p. 223) - Schütz studied in Venice with G. Gabrieli (Grout p. 340) - brought the Italian seconda prattica style back to Germany - from Symphoniae sacrae II - traits (seconda prattica): - two primary lines (melody and basso continuo) - the two act like their own group creating a kind of antiphonal “” - shows the influence of concertato madrigal

Sunday, October 21, 12 Sacred Music

• Heinrich Schütz Saul, was verfolgst du mich? - polychoral - shows many traits of the seconda prattica - basso continuo throught - recitative (monody) style in mm. 24-33 - Schütz thought it important to know the prima prattica style of composing too

Sunday, October 21, 12