Concert Music (1630-1750)
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CONCERT MUSIC (1630-1750) EDITED BY GERALD ABRAHAM OXFORD NEW YORK OXFORD UNIVERSITY PRESS 1986 CONTENTS ILLUSTRATIONS XU INTRODUCTION TO VOLUMES V AND VI xiii EDITOR'S NOTE xxi I. ODE AND ORATORIO IN ENGLAND. (a) DIALOGUE AND ODE. By ROSAMOND MCGUINNESS, Senior Lecturer in Music, Royal Holloway College, University of London 1 The Problem of Nomenclature 1 The Biblical Dialogues 2 Court Odes 7 Texts of the Odes 8 Literary Origins 9 Charles II as Catalyst 10 The Earlier Restoration Odes 11 The Heyday of Blow and Purcell 15 Handel's Birthday Ode 21 (b) ORATORIO AND RELATED FORMS. By ANTHONY HICKS and GERALD ABRAHAM 23 The First English Oratorio 25 Text and Music of Esther 26 The Chapel Royal Connection 30 Gates's Performances 31 Oratorio, Ode, and Serenata: 1732-41 34 Oratorio at Covent Garden 34 Handel's Deborah 37 Athalia 40 // Parnasso in Festa 42 Variety of Forms: 1736-40 45 Alexander's Feast 47 // Trionfo Reworked 50 Saul 51 Israel in Egypt 54 The Cecilia Ode and L'Allegro 56 An Alternative Tradition 64 Greene's Deborah 65 Boyce's David's Lamentation 70 Greene's Jephtha 74 Boyce's Solomon 78 Messiah 82 CONTENTS The Oratorio Concept 84 Handel's Last Decade of Oratorio 88 Jephtha 92 Arne's Judith 92 II. SOLO SONG AND VOCAL DUET. (a) ITALY. By HANS JOACHIM MARX, Professor of Musicology, University of Hamburg 97 The Chamber Cantata 97 The Cantata in Rome 99 Venetian and Bolognese Composers 102 Alessandro Scarlatti 106 Handel's Italian Cantatas 110 Neapolitan Cantatas in the Early Eighteenth Century 114 The Chamber Duet 120 (b) GERMANY. By HANS JOACHIM MARX 124 Diffusion of the Italian Cantata 124 German Cantata Texts ^ 126 The German Secular Cantata 127 The German Continuo Song 130 (c) ENGLAND. By IAN SPINK, Professor of Music, Royal Holloway College, University of London 134 Declamatory and Tuneful Ayres 134 Purcell and his Contemporaries 139 Cantata and Ballad: 1710-50 147 (d) FRANCE. By DAVID TUNLEY, Professor of Music, University of Western A ustralia 154 The Seventeenth-Century French Air 154 Categories of Seventeenth-Century Song 159 Poetic Texts 160 Serious Songs 161 Dance Songs and Drinking Songs 167 Antecedents of the Cantate franqaise 172 New Influences on the Cantata 172 Stylistic Traits of the Cantate franqaise 173 Cantata Texts 180 Development of the Cantata 181 The Cantatille 183 III. MUSIC FOR INSTRUMENTAL ENSEMBLE: 1630-1700. By WALTER KOLNEDER, Professor of Musicology, Hochschule fur Musik, Karlsruhe Variety of Instrumental Forms The Canzon in Italy The Canzon in the German Lands CONTENTS vii The Sonata da chiesa 194 The Concerto grosso 206 Corelli's Concerti 210 Origins of the Contrast Principle 214 The Opera Overture 217 The French Overture 220 The Three-Movement Sinfonia. 225 The Suite 227 The Dominance of French Influence 230 IV. ORCHESTRAL MUSIC IN THE EARLY EIGHTEENTH CENTURY. By WALTER KOLNEDER 233 Conditions and Resources 233 Constitution of Orchestras 236 Output of Works 238 The Suite 239 JTelemann's Suites 242 The Charaktersuite 247 The Suite in Italy 248 The Suite in England 250 Bach's Orchestral Suites 250 The Opera Overture 256 The Orchestra in French Opera 257 The Non-Operatic Overture 259 The Concerto grosso 260 The Handelian 'Grand Concerto' - 262 Bach's Brandenburg Concertos 263 Other Masters of the Concerto grosso 268 The Concerto in England 272 The Concerto in France 274 The Concerto ripieno 276 The Orchestra in Church Music 284 Music of the Lutheran Church 286 From Sinfonia to Symphony . 290 The Sinfonia in Transition 292 The Change in Melodic Style 296 The Merging of Streams 300 V. THE SOLO CONCERTO. By WALTER KOLNEDER 302 Solo Concerto Movement and Solo Concerto in Vivaldi 303 Structure of the Ritornello 307 Recurrences of the Ritornello 315 Recapitulation 316 Solo in the Ritornello 318 The Solo Sections 320 Ritornello Motives in the Accompaniment 328 CONTENTS The Solo Cadenza 339 The Middle Movement 341 Early History of the Solo Concerto 342 Torelli's Concerti Musicali 344 Torelli in Germany 350 Albinoni 351 Jacchini's Cello Concertos 352 Torelli's Later Works 354 The Solo Concerto in Germany 355 Bach and the Italian Style 356 Bach and the Concerto Form 358 The Keyboard Concerto 362 Other Means of Contrast 363 Quantz on the Concerto 364 The Solo Concerto in France 365 The Keyboard Concerto in England 368 The Italian Solo Concerto after Vivaldi 369 Tartini and his School 372 VI. CONCERTED CHAMBER MUSIC. By ERNST H. MEYER, Professor Emeritus, Humboldt University, Berlin 377 Music for the Individual Listener 377 The Forms and Styles of 'Abstract' Music 378 Methods of Unification 380 The Fugal Element 384 Melodic and Harmonic Style 385 Italy 388 Venice 390 Bologna 393 Modena 395 Corelli's Trio Sonatas 397 Changes in Terminology 399 Austria 400 Bohemia and Moravia 402 Instrumental Music in Poland 408 Germany 412 The North German School 418 Central and South German Composers 420 Switzerland and Scandinavia 424 The Netherlands 425 France 429 England 432 Foreign Influences 437 Purcell and the Basso continuo 439 The Climate of the New Century 442 Aesthetic Characteristics 443 CONTENTS New Emotionalism 444 Cosmopolitan Tendencies 444 New National Consciousness 449 Three Stages of Development 450 The New Textures 451 Instruments 453 Varied Combinations 454 The Trio Sonata 454 The String Quartet 456 Classical Sonata Form 458 VII. THE SOLO SONATA. By CHARLES W. HUGHES, Professor Emeritus, Herbert H. Lehman College, University of the City of New York 462 Variations on a Bass 463 The Canzon 465 Elaboration of the Bass 468 The Sonata da camera 470 Solo Music for Viols 474 Early Italian Masters of the Violin Sonata 477 Corelli and his Influence 480 Vivaldi 482 Dall'Abaco 483 Veracini 484 Tartini 485 Locatelli 487 The Violin in England 489 Geminiani 490 Other Sonata Composers in England 492 Popular Violin Music 492 Violin Music in France 493 The Situation in Germany 498 French Influence in Germany 499 Biber 499 J. J. Walther 500 Handel and Bach 502 Bach's Contemporaries 503 VIII. KEYBOARD MUSIC: 1630-1700. By JOHN CALDWELL, Lecturer in Music, University of Oxford 505 Instrumental Idioms 505 Secular Forms and Styles 506 The Liturgical Background 510 Tonality 512 Frescobaldi 514 Frescobaldi's Contemporaries 516 CONTENTS Southern Italians Italian Organ Music Bernardo Pasquini Pasquini's Variations and Toccatas Alessandro Scarlatti Spain and Portugal Juan Cabanilles French Keyboard Music Chambonnieres and Louis Couperin Lebegue and D'Anglebert French Liturgical Music for Organ Austria and Southern Germany Froberger's Music Froberger's Contemporaries and Successors Northern and Central Germany: Treatment of the Chorale Chorale Fantasia and Free Forms Secular German Keyboard Music The European Periphery The Netherlands England The Suite in England Purcell, Blow, and Croft English Organ Music IX. HARPSICHORD MUSIC: 1700-1750. By PHILIP RADCLIFFE, Fellow of King's College, Cambridge 590 Introductory 590 Francois Couperin 593 Rameau 602 Italy 604 Scarlatti 608 Handel 616 Handel's Contemporaries 620 Suite and Sonata 625 Bach's Variations 626 Bach's Miscellaneous Works 631 The Partitas 634 The English Suites 635 The French Suites and Inventions 637 Das wohltemperirte Clavier 639 Musicalisches Opfer and Die Kunst der Fuge 646 X. ORGAN MUSIC: 1700-1750. By WALTER EMERY 650 The Instrument 650 Changes of Style 651 Italy 652 CONTENTS xi Spain 656 France 657 England 663 Catholic Germany 665 Bohemia 667 Protestant Germany 668 Bohm 668 J. G. Walther 672 Bach 675 Chorale Preludes 676 Trio Sonatas 683 Preludes, Fantasias, and Toccatas 683 Fugues 685 Types of Prelude 687 Bach's Pupils 691 Conclusion 693 BIBLIOGRAPHY 695 INDEX 763.