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A Study of the Effects of the Italian Influence on the Vocal Literature of Handel for the Purpose of Proper Interpretation

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A Study of the Effects of the Italian Influence on the Vocal Literature of Handel for the Purpose of Proper Interpretation Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1967 A Study of the Effects of the Italian Influence on the ocalV Literature of Handel for the Purpose of Proper Interpretation Francis Gene DeMiero Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Music Commons Recommended Citation DeMiero, Francis Gene, "A Study of the Effects of the Italian Influence on the ocalV Literature of Handel for the Purpose of Proper Interpretation" (1967). All Master's Theses. 658. https://digitalcommons.cwu.edu/etd/658 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. ,.• A STUDY OF THE EFFECTS OF THE ITALIAN INFLUENCE ON THE VOCAL LITERATURE OF HANDEL FOR THE PURPOSE OF PROPER INTERPRETATION A Covering Paper Presented to the Graduate Faculty Central Washington State College In Partial Fulfillment of the Requirements for the Degree Master of Arts in Music by Francis Gene DeMiero July, 1967 fj('~l'.!'.Jn\1~ Tfl;Jlid s bLCC a £'Tl.l9 a'I APPROVED FOR THE GRADUATE FACULTY ________________________________ Wayne S. Hertz, COMMITTEE CHAIRMAN _________________________________ John DeMerchant _________________________________ Joseph Haruda DEPARTMENT OF MUSIC CENTRAL WASHINGTON STATE COLLEGE presents in Graduate Recital FRANK DE MIERO, Tenor CHARLES W. DAVIS, Piano PROGRAM , FOR EVER BLESSED ------------------------------------------------------------------------------------Handel (Jephthal 0 LORD, HOW MANY ARE MY FOES? ------------------------------------------------Handel (Occasional Oratorio) GREAT DAGON HAS SUBDUED OUR FOES --------------------------------------------Handel ' (Samson) WHERE 'ER YOU WALK ----------------------------------------------------------------------------Handel (Semele) LASCIA CH'IO PIANGA -------------------------------------------------------------------------Handel (Rinaldo) LA FLEUR QUE TU M'AVAIS JETEE --------------------------------·----------------------------Bizet (Carmen) UNA FURTIVA LAGRIMA ----------------------------------------------------------------------Donizetti ( L'Elisir D'Amore) MA TTINATA -------------------------------------------------------------------------------------- Leoncavallo INTERMISSION DICHTERLIEBE -------------------------------------------------------------------------------------- Schumann (Six selections of the Cycle of Sixteen Songs I Im Wunderschonen Monat Mai Aus Meinen Tranen Spriessen Die Rose, Die Lilie, Die Taube Wenn lch In Deine Augen Seh' lch Will Meine Seele Tauchen lch Grolle Night ONLY THE CHILDREN KNOW --------------------------------------------------------------------Hunt LULLABY -------------------------------------------------------------------------------------------------- Schirmer (Forty Ways to Sunday) LET IT BE FORGOTTEN ------------------------------------------------------------------------------Kagen I HEARD A PIPER PIPING -----------------------------------------------------------------------Peterkin WHEN I HAVE SUNG MY SONGS ----------------------------------------------------------Charles [N PARTIA.L FULFIL.UfEllT OF THE HERTZ RECITAL HALL r@lJIRllMiNTS FOR THE DEGREE July 19, 1967 MASTER OF ARTS IN MUSIC 8:00 p.m. TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION . l The Problem . 2 Statement of the problem • • • • • • . 2 Importance of the study . 2 Limitations of the Study • • • • • • • • • • • • 2 Definitions of Terms Used • • • • . 2 II. THE BAROQUE PERIOD • • • • • • • • • . 5 Prevailing Philosophies • • • • • • • • • • • • 5 Important Vocal Forms • • • • • • • . 1 III. HANDEL'S LIFE AND CAREER • • • • • • • • • • • 9 In Germany • • • • • • • • • • • • . 9 In Italy • • • • • • • • . • • 10 In England • • • • • • • • • • • • • • • • • • • 10 IV. ITALIAN INFLUENCE • • • . • • • • • • 16 Major Schools . • • • • 18 Roman school • • . • • • 18 Venetian school • • • • • • • • • • • • • • • 19 Neapolitan school . •• 19 Effects on Handel's Compositions • . •• 20 Meter and tempo • • • • • • • • • • • • • • • 20 Emotional representation • • . • . • • 25 Dynamic scheme • • • • • • • • . • • 29 CHAPTER PAGE Melodic line • • • • • • • • • • • • • • 30 v. SUMMARY • • • • • • • • • • • • • • • • 34 VI. BIBLIOGRAPHY • • • • • • • • • • • • • • 36 CHAPTER I INTRODUCTION A properly trained vocalist includes in his reper­ toire literature of all periods of music history--Renais- sance, Baroque, Classical, Romantic and Contemporary. Not only should the singer have a complete knowledge of the proper mechanics and a skilled use of his instrument, but also he should be aware of the musical styles of each of the major periods. To properly interpret any selection, the performer is required to be acquainted with more than just the text and musical score. • • • One needs to know about the life of the com­ poser, the motives behind his composition, and particu­ larly, the aesthetic style characteristics and influence of the age or period" (6:97). In the course of his career, the student of vocal music is likely to encounter compositions by George Frideric Handel. Since "Handel's manner of wr:t ting for the voice is so extraordinarily considerate of the singer" (23: 115) his songs and airs are popular inclusions in the artist's reper­ toire. Responsible interpretation of Handel's vocal music lies in the hands of the performer. An understanding of the many factors which influenced Handel's compositional style assists in this endeavor. 2 I. THE PROBLEM Statement of ~ problem. It is the purpose of this study (1) to investigate the influential philosophies and musical forms of the Baroque, (2) to survey the shaping factors of Handel's life and career, (3) to determine the major characteristics of the dominating Italian principles, and (4) to cite compositional examples of this Italian influence. Importance of the study. It is hoped that this con­ centrated study will aid the student of vocal music in understanding the factors which influenced the majority of Handel's vocal compositions. II. LIMITATIONS OF THE STUDY This study is confined to determining the proper interpretation of Handel's vocal literature and particularly that literature performed by this writer. III. DEFINITIONS OF TERMS USED Bel canto. In Italian, bel canto means beautiful singing. The term "denotes the Italian vocal technique of the eighteenth century with its emphasis on beauty of sound and brilliancy of performance" ( 1: 82). 3 Opera. Opera literally means "a work in music" (1:505) and is a return to the ideal of the old Greek drama. Apel further defines opera as "a drama, either tragic or comic, sung throughout, with appropriate scenery and acting, to the accompaniment of an orchestra." The Baroque opera may be defined as a dramatic spectacle in which the entire text is set to music, and which consists mainly of solos. Oratorio. An oratorio is a "large-scale work for solo voices, chorus, and orchestra" (25:402). With an "extended libretto of religious or contemplative character [the ora­ torio is] performed in a concert hall or church, i.e., with­ out scenery, costumes, or action" (1:516). Aria. Found in opera of all periods and in the cantatas and oratorios of the seventeenth and eighteenth centuries, the aria is "an elaborate solo song (occasionally for two solo voices), with instrumental accompaniment" (1:49). Da capo aria. The principle musical form of the Nea­ politan Baroque opera was the da capo aria. This aria form follows "a simple ternary plan, represented by the structural formula, AB A, i.e., a section, a contrasting section, and a return to the first section with embellishment" (27: 75). Monody. Monody means "music for one singer" and, according to Apel (1:455), "denotes that particular type of accompanied solo song which developed around 1600." 4 Recitative. Designed to melodically carry on the action from one aria to another, the recitative is a declam­ atory text with the inflections of spoken speech (26:76). Polychoral. Apel (1:592) states that the polychoral style refers "to compositions in which the ensemble is divided into several (usually two or three) distinct groups singing and playing in alternation." Canzona. Canzona is a term which designates "16th­ century Italian secular vocal music'" ( 1: 118). Disjunct. The movement of a single melodic line by leap, rather than by step to the next_ note, is considered to be disjunct (7:315). Appogiatura. Appogiatura is an ornamental note that is melodically connected with the main note that follows it (1:42). CHAPTER II THE BAROQUE PERIOD The art, literature and music identifying the cultural trends of the seventeenth and early eighteenth centuries make up what historians refer to as the Baroque era. Baroque music started about 1600 and extended to 1750; the period closed with the deaths of Bach and Handel. Unlike the Ren- aissance, the Baroque period does not show a uniformity and refinement of practice throughout its one hundred and fifty years. Rather, the music falls into three fairly well­ defined phases, designated simply as: early, middle and late Baroque. George Frideric Handel was a representative of the late Baroque. Handel's greatness and historical significance are evidenced by the fact that his contributions "dominated the musical life of a nation for a century after his death" (25 :436). I. PREVAILING PHILOSOPHIES The Baroque
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