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Contents : Music in the Seventeenth and Eighteenth Centuries Contents : Music In The Seventeenth And Eighteenth Centuries http://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195... Oxford History of Western Music: Richard Taruskin Contents Chapter: MUSIC IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES Source: Introduction xi Preface xxi Chapter 1 Opera from Monteverdi to Monteverdi 1 Princely and Public Theaters; Monteverdi’s Contributions to Both Court and commerce • From Mantua to Venice • Poetics and esthesics • Opera and its politics • Sex objects, sexed and unsexed • The quintessential princely spectacle • The carnival show Chapter 2 Fat Times and Lean 35 Organ Music from Frescobaldi to Scheidt; Schütz’s Career; Oratorio and Cantata Some organists • The toccata • Sweelinck—His patrimony and his progeny • Lutheran adaptations: The chorale partita • The chorale concerto • Ruin • A creative microcosm • Luxuriance • Shriveled down to the expressive nub • Carissimi: Oratorio and cantata • Women in music: A historians’ dilemma Chapter 3 Courts Resplendent, Overthrown, Restored 85 Tragédie Lyrique from Lully to Rameau; English Music in the Seventeenth Century Sense and sensuousness • The politics of patronage • Drama as court ritual • Atys , the king’s opera • Art and politics: Some caveats • Jacobean England • Masque and consort • Ayres and suites: Harmonically determined form • Distracted times • Restoration • Purcell • Dido and Aeneas and the question of “English opera” • The making of a classic Chapter 4 Class and Classicism 139 Opera Seria and Its Makers Naples • Scarlatti • Neoclassicism • Metastasio • Metastasio’s musicians • The fortunes of Artaserse • Opera seria in (and as) practice • “Performance practice” Chapter 5 The Italian Concerto Style and the Rise of Tonality-Driven Form 177 Corelli, Vivaldi, and Their German Imitators Standardized genres and tonal practices • What, exactly, is “tonality”? • The spread of “tonal form” • The fugal style • Handel and “defamiliarization” • Bach and “dramatized” tonality • Vivaldi’s five hundred • “Concerti madrigaleschi” Chapter 6 Class of 1685 (I) 233 Careers of J. S. Bach and G. F. Handel Compared; Bach’s Instrumental Music Contexts and canons • Careers and lifestyles • Roots (domestic) • Roots (imported) • Bach’s suites • A close-up • “Agrémens” and “doubles” • Stylistic hybrids • The “Brandenburg” Concertos • “Obbligato” writing and/or arranging • What does it all mean? Chapter 7 Class of 1685 (II) 305 Handel’s Operas and Oratorios; Bach’s Cantatas and Passions; Domenico Scarlatti Handel on the Strand • Lofty entertainments • Messiah • “Borrowing” • Back to Bach: The cantatas • The old style • The new style • Musical symbolism, musical idealism • What music is for • Bach’s “testaments” • The Bach revival • Cursed questions • Scarlatti, at last 1 / 3 2011.01.27. 14:09 Contents : Music In The Seventeenth And Eighteenth Centuries http://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195... Chapter 8 The Comic Style 399 Mid-Eighteenth-Century Stylistic Change Traced to Its Sources in the 1720s; Empfinds amkeit; Galanterie; “War of the Buffoons” You can’t get there from here • The younger Bachs • Sensibility • The London Bach • Sociability music • “Nature” • Intermission plays • The “War of the Buffoons” Chapter 9 Enlightenment and Reform 445 The Operas of Piccinni, Gluck, and Mozart Novels sung on stage • Noble simplicity • Another querelle • What was Enlightenment? • Mozart • Idomeneo • Die Entführung aus dem Serail • The “Da Ponte” operas • Late works • Don Giovanni close up • Music as a social mirror • Music and (or as) morality Chapter 10 Instrumental Music Lifts Off 497 The Eighteenth-Century Symphony; Haydn Party music goes public • Concert life is born • An army of generals • The Bach sons as “symphonists” • Haydn • The perfect career • The Esterházy years • Norms and deviations: Creating musical meaning • Sign systems • Anatomy of a joke • The London tours • Addressing throngs • Variation and development • More surprises • The culminating work Chapter 11 The Composer’s Voice 589 Mozart’s Piano Concertos; His Last Symphonies; the Fantasia as Style and as Metaphor Art for art’s sake? • Psychoanalyzing music • The “symphonic” concerto is born • Moz art in the marketplace • Composing and performing • Performance as self-dramatization • The tip of the iceberg • Fantasia as metaphor • The coming of museum culture Chapter 12 The First Romantics 641 Late Eighteenth-century Music Esthetics; Beethoven’s Career and His Posthumous Legen d The beautiful and the sublime • Classic or Romantic? • Beethoven and “Beethoven” • Kampf und Sieg • The Eroica • Crisis and reaction • The “Ninth” • Inwardness Chapter 13 C-Minor Moods 691 The “Struggle and Victory” Narrative and Its Relationship to Four C-Minor Works of Beethoven Devotion and derision • Transgression • Morti di Eroi • Germination and growth • Letting go • The music century Notes Art Credits Further Reading Index Citation (MLA): "." The Oxford History of Western Music . Oxford University Press. New York, USA. n.d. Web. 27 Jan. 2011. <http://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-miscMatter-006.xml>. Citation (APA): (n.d.). In Oxford University Press, Music In The Seventeenth And Eighteenth Centuries. New York, USA. Retrieved 27 Jan. 2011, from http://www.oxfordwesternmusic.com/view/Volum e2/actrade- 9780195384826-miscMatter-006.xml Citation (Chicago): "." In Music In The Seventeenth And Eighteenth Centuries, Oxford University Press. (New York, USA, n.d.). Retrieved 27 Jan. 2011, from http://www.oxfordwesternmusic.com/vie w/Volume2/actrade- 9780195384826-miscMatter-006.xml 2 / 3 2011.01.27. 14:09 Contents : Music In The Seventeenth And Eighteenth Centuries http://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195... Oxford University Press Copyright © 2010. All rights reserved. Access brought to you by: Ohionet POWERED BY: PUBFACTORY 3 / 3 2011.01.27. 14:09 Preface : Music In The Seventeenth And Eighteenth Centuries http://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195... Oxford History of Western Music: Richard Taruskin Preface Chapter: MUSIC IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES Source: This volume, principally devoted to the seventeenth and eighteenth centuries (with some small spillover into the nineteenth for the sake of completing the discussion of Beethoven’s instrumental works), presents and contextualizes material usually covered in music history courses surveying the so-called baroque and classical periods in the traditional (that is, twentieth-century) periodization of music history. The book is designed to accompany such courses, but at the same time it is hoped that its use will help reconceptualize their content. The text itself gives copious reasons for regarding the terms baroque and classical , and the conventional periodization they symbolize, as outmoded. Both terms are anachronistic to the repertories with which they are now associated. The adjective baroque was first applied to music in the eighteenth, not the seventeenth, century—and then as a pejorative. The adjective classical was first applied to the composers we now intend the term to cover in the 1830s, after they all were dead. Their being dead was part of what made them “classical,” but in every other way the term is misleading. Rather than two “periods,” the contents of this book might be viewed as encompassing several major events or watersheds in the history of European music. The first is the establishment of opera, both as a genre and as an institution, at the center of European dramatic art. The volume opens with the two earliest masterpieces of the new theatrical form, both by Claudio Monteverdi but exemplifying vastly different, even antithetical, creative purposes arising from their respective origins in an aristocratic court (in the case of Orfeo ) and a public theater (in the case of L’Incoronazione di Poppea ). That social difference provides a paradigm that will be constantly invoked and reinvoked as the history of the genre continues in subsequent chapters. The earlier history (or “prehistory”) of opera, the subject of the last chapter in volume 1 of the Oxford History , concerns the rise of the “monodic” idiom (solo voice accompanied by a chord-strumming instrument whose notation consists of a figur ed bass), a fancied imitation of ancient Greek theatrical declamation that supplanted the fully elaborated (or “perfected”) polyphonic style of the sixteenth century. The basso continuo texture thus arrived at became ubiquitous in European music for the next century and a half, the period coextensive with what is usually called baroque, and it provides a much better (because concrete) descriptor of that period. Conceptualizing the seventeenth and early eighteenth centuries as the period of the basso continuo has two additional advantages: It focuses attention on harmony, the musical domain that saw the most radical development during the seventeenth century, culminating in the full elaboration of major-minor tonality as a governor—and generator—of musical form. And the new conception of harmonically governed or determined form largely conditioned the amazing rise of instrumental music in the second half of the seventeenth century to the point at which, in the eighteenth, it could vie with vocal music for dominance, and by the end of the period covered by this book, actually achieve it. The dominance of instrumental music over vocal not only was a triumph of formal organization but also represented the triumph of a new esthetic ideal, that of romanticism.
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