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Lhhre in HANDEL's OPERAS ALMIRA and JULIUS CAESAR

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Lhhre in HANDEL's OPERAS ALMIRA and JULIUS CAESAR r CHICAGO MUSICAL COLLEGE 1.:"" u.~. AFFBKTE.~LhHRE IN HANDEL'S OPERAS ALMIRA AND JULIUS CAESAR A DISSERTATION SUB~ITTED TO THE FACULTY OF THE CHICAGO MUSICAL COLLEGE AS PARTIAL REQUIREMENT FOR THE DEGREE MASTER OF MUSIC • DEPARTMENT OF MUSICOLOGY BY VIVIAN ASTON CHICAGO, ILLINOIS JUNE, 1943 - ... ~ ---~-- _........ ·--·· - I~ -··'\ .... ,.····-/ '.·,.·;-' •• , .... E - ~ 1• I. i '): I .. ' •. ., • i > - ' I , ' J; .. I ,I;) - CH. l.:• . ·- .> 1 ~ , •, "-. •' - - • I f'J ,.. ' ;'. I -, \.f - -- 1 l i t• , ~ . \ r ~ l -------~_ ................ -...- ... -·~ --------- -- - .. ~- Thesis M 782.1 H236zas J c.1 • - . -....,_ -~ - - .- ·- ~- · JUt t -A 1ssa I J TABLE OF CONTENTS Page LIST OF ILLUS'fRAtIOl~S • • • • • • • • • • • • • • • • • • • iii Chapter I. AFFBKTl'..NLEHilli IN THE £IGHTEENTH CENTURY • • • • • • 1 II. ANALYSIS OF ALM.IRA • • • • • • • • • • • • • • • • 13 Almira and Fernando III. ANALYSIS OF JULIUS CAESAR • • • • • • • • • • • • • 51 The r.:urder of Pompey Affinity Between Caesar and Cleopatra Enmity Between Caesar and Ptolemaeus IV. STRUCTURAL CHARACTERISTICS OF ALfoIRA AND JULIUS• GAE.SAR • • • • • • • • • • • • • • • • • • • • • • 79 BIBLIOGRAPHY • • • • • • • • • • • • • • • • • • • • • • • 92 ii LIST OF ILLUSTRATIONS Figure Page 1. Excerpt from Handel, Almira • • • • • • • • • • • • • • 17 2. Seven measures of Almira's "Dawn of Jealousy' aria • • • 18 3. Eight measures of Fernando's "Contemplation of Nature" aria. • • • • • • • • • • • • • • • • • • • • • • • • • 19 4. Five me a.sure s of Fernando's "Loyalty to Almira" aria. • 20 5. Nine measures of E.dilia's "Praise of Nature" aria • • • 21 6. Four measures of Edilia 1 s "Rage at Osman" aria • • • • 22 1 7. Six measures of &iilia.'s "Complaint of' Osman" aria • • 23 8. 1-,ive measures of Osman's "Rage at Edilia" aria • • • • 24 9. Four me a.sure s of Osman's "Quarrel with Ed.ilia." W'ia • • 25 10. Pattern of keys used by Almira and Fernando • • • • • • 26 11. Pattern of keys used by Osman and Ed.ilia • • • • • • • 27 12. Thirteen measures of Osman's "Appeal to Fernando 11 aria. 29 13. Four measures of Osman 1 s "Refusal of' Edilia" aria • • • 30 14. Four measures of Osman's "Fury at Fernandon aria • • • 31 15. Three measures of Fernando's "Farewell to Love" aria. • 32 16. Four measures of Fernando's !'Ridicule of Osman" aria. • 33 17. Seven measures of Almira's "Refusal of Osman" aria • • 34 18. Ten measures of Almira's "Confession of Love" aria • • 35 19. Six measures of Almira's "Defense of Fernando" aria • • 35 20. Twelve measures of Edilia's "Condemnation of Osman" aria • • • • • • • • • • • • • • • • • • • • • • • • • 37 Two measures of Raymondo's "Consolation of Edilia" aria. • • • • • • • • • • • • • • • • • • • • • • • • • 39 111 LIST OF ILLUSTRATIONS--Continued Page ri•en measures of Ballanti' s "Rejection of Consalvo" aria • • • • • • • • • • • • • • • • • • • • • • • • • 40 23. Seven measures of Sonsalvo's "Reply to Ballanti" aria • 41 24. Seven measures of Fernando's "Soliloquy" aria • • • • • 42 25. Fourteen measures of Fernando's "Disillusion" aria • • 42 26. F'ive measures of Fernando's "Declaration of Innocence" aria • • • • • • • • • • • • • • • • • • • • • • • • • 44 27. Nine me a sure s of Fernando's "Confession of Love" aria • 45 28. Bleven measures of Almira's di Bravura aria • • • • • • 46 29. 'i'en measures of Almira's Virtuoso aria in C • • • • • • 47 30. Six measures of Almira's "Letter" aria • • • • • • • • 49 31. Four measures of Caesar's "Conquering Hero" aria • • • 54 32. Six measures of Caesar's "Revenge of Pompey" aria • • • 55 33. Bight measures of Cornelia's "Grief at the DeatfP of Pompey" aria • • • • • • • • • • • • • • • • • • • • • 56 34. Sixteen measures of Sextus' "Vo"'' of Vengeance" aria • • 57 35. Five measures of Cornelia's "Mourning" arioso • • • • • 58 36. Six measures of Cornelia's "Harem" arietta • • • • • • 59 37. Keys used in the murder of Pompey pattern • • • • • • • 60 38. Six measures of Caesar's "Admiration of Cleopatra" aria • • • • • • • • • • • • • • • • • • • • • • • • • 61 39. Eic;ht measures of Cleopatra's "Conquest of Caesar" aria • • • • • • • • • • • • • • • • • • • • • • • • • 62 40. Sixteen measures of Cleopatra's "Wooing of Caesar" aria • • • • • • • • • • • • • • • • • • • • • • • • • 63 41. Pive measures of Cleopatra's "Prayer" aria • • • • • • 64 42• Twenty-two measures of Cleopatra's "Defeat by Ptolemaeus" aria • • • • • • • • • • • • • • • • • • • 65 43. Ten measures of Cleopatra's "Joy at Caesar's Return" aria • • • • • • • • • • • • • • • • • • • • • • • • • 67 iv LIST OP ILLUSTRATIONS--Continued l"i gure Page 44. teys used in the affinity between Caesar and Cleopatra patte~ • • • • • • • • • • • • • • • • • • • 68 45. Fifteen measures of Ptolemaeus' "Revenge" aria • • • • 69 46. Seven measures of the "Hunting Horn" aria • • • • • • • 71 47. Five measures of Caesar's "Defiance of Ptolemaeus" aria 72 48. Eight measures of Ptolemaeus' "Attack on Cornelia 11 aria • • • • • • • • • • • • • • • • • • • • • • • • • 7 3 49 • Eleven measures of Sextus' "Dedication to Vengeance" •' . " aria • • • • • • • • • • • • • • • • • • • • • • • • • 74 50. 1ic;hteen measures of Caesar's "Return from the Sea 11 aria • • • • • • • • • • • • • • • • • • • • • • • 75 . • • 51. Seventeen measures of Caesar's "Return to Power" aria • 76 52. Keys used in the Enmity Between Caesar and Ptolemaeus . ' pattern • • • • • • • • • • • • • • • • • • • • • • • • 77 • ,J v , CHAP'rER I AFFE.K'rBi~LEHRE IN THE EIGHTEENTH CENTURY Recent performances of the works of eighteenth century com­ posers have stimulated study of their composition, and revealed the presence of certain features of their construction whose existence had not heretofore been known. Analysis of these structural charac- teristics has shown the influence of motivating forces of the eighteenth century upon the composition of music. The contribution of these forces to the growth and development of the fields of science, medicine, re­ ligion, and philosophy has long been recognized. Such a force was the philosophical doctrine~own as ration­ alism which, extending from the seventeenth into the eighteenth cen­ tury, demanded from men of science that reasonable explanations of pre­ vailing beliefs and conceptions should supersede the mystical, super­ natural explanations that had satisfied an earlier age. The scientific spirit, with its craving for the rational operation of cause and effect, its urge toward the crystalization of scientific data into form, produced the methodical studies of Linnaeus. The publication of his Fundamenta Botanica 1736, Systema Naturae 1735, Species Plantarum 1753, and more than a hundred other works, estab­ lished the systematic study of botany and zoology. The scientific spirit of the day and the force of the demand for regulated form are demonstrated in the work of the French Encyclo­ pedists headed by d 'Alembert and Diderot. The collaboration of these -1- :-~~~,-~~~~. ~.i._r.:.. -2- two men resulted in the publication, between 1751 and 1780, of the 1ncycloped1a, ou Dictionnaire Raisonne des Sciences, des Arts, et des Metiers. The thirty-five volumes of this work brought under one head all new writers, new ideas, new opinions, and all knowledge of the times. These forces of rationalism and science and their widespread trend toward organization and form are illustrated in the field of music by the growth of the da capo form of aria. Arising in the sev­ enteenth century as an agency for the intensification of emotional expression, the aria signalized a departure from the continuous recita- tivi employed by the opera composers preceding Cavalli. Although not so prolific a writer as his successors, Cavalli produced more than twenty-seven operas between the years 1639 and 1676. The feature of the arias contained in these operas is that their repetition of the first part points to the beginnings of the da capo fo~. In 1663, the da capo form of aria appeared in the opera La Dori by Cesti, and in 1661 the form was used by Tenaglia in his opera Clearco. Alessandro Scarlatti gave the da capo aria a definite and well-rounded form when he added a second part to the aria, followed by a repetition of the first part. This style of da capo aria remained in use by opera com­ posers until the advent of Gluck, and its use as a vehicle for the expression of emotion resulted in its expansion into various types. These types, the aria cantabile, aria di bravura, aria di port amento, aria di mezzo carattere, and the aria parlante, furnished a mold for the expression of every known human emotion. The growth of the da capo aria was largely responsible for the establishment of the accepted form of opera composition in the first half of the eighteenth century. The distribution or the dirfer­ ent types of aria created the laws that governed the opera form. These -3- laws were so stringent and were held in such high regard by singers and public as to dictate to the composer the use and selection of the different voices, and the number and type of the arias employed. The action of the drama, as conveyed through the recitative, became sub­ servient to the aria; and this separation of the two became still more definite as the leading composers of the day developed the dramatic possibilities of the accompagnato recitative. The gradual increase of the resources led to a freer use of the accompagnato recitativo as a more musical and more powerful means of carrying on the action of the drama than the secco recitativo. The first known example of the use of orchestral
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