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Vocal Music 1600-1650

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Vocal Music 1600-1650 Chapter 8 Vocal Music 1600-1650 Sunday, October 21, 12 Secular Song Italy: The Madrigal • through-composed setting of freely structured verse • a cappella settings; and newer monodies for solo voice and basso continuo • concertato madrigals - any number of voices combined with instruments Sunday, October 21, 12 Secular Song Italy: The Madrigal • Claudio Monteverdi (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 Cipriano de Rore and Adrian Willaert - text painting used as the rationalization for the dissonances and breaking of the older Renaissance rules for dissonances - Artusi (Italian composer 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 • Francesca Caccini Lasciatemi qui solo - “Leave me in solitude here” - strophic monody - daughter of Giulio Caccini • Barbara Strozzi Tradimento - “Betrayal” - arietta (small aria) with a ritornello (brief return) Sunday, October 21, 12 Secular Song France: The Air de cour (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 lute 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 Opera • 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 • recitative 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 composers 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, arias (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 - ritornellos - 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 Venice, 1638. The city was the heart of the Venetian Republic, which prided itself on its perptuation of the best traditions of ancient Rome. 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 Mantua) - 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 - Baroque traits (seconda prattica): - two primary lines (melody and basso continuo) - the two violins act like their own group creating a kind of antiphonal “choir” - shows the influence of concertato madrigal Sunday, October 21, 12 Sacred Music • Heinrich Schütz Saul, was verfolgst du mich? - polychoral motet - 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.
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