Week4-3-F10-BaroqueSacredMusic

Week4-3-F10-BaroqueSacredMusic - Beloved spouse, dearest...

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Unformatted text preview: Beloved spouse, dearest heart. Where art thou? Woe! Return to him who weeps!  O guilty spirits from thy Erebus altar My face on of complete contempt, I defy thee, wicked spirits! Now playing: Handel, Cara sposa, amante cara (Beloved spouse, dearest heart) Aria di Rinaldo, Act. 1, Sc. 2  Performers: Philippe Jaroussky (1978) and the Ensemble Matheus Week 4: Baroque Culture I: Voice and Spectacle
 Lecture 10: Wednesday, September 17 Baroque Sacred Music: Oratorio and Cantata Announcements Extra Credit Opportunity: Students that attended Alessi’s recital last night and want extra points for that have a week from today to present the oral report. Follow instructions posted on BB and make an appointment with Tania. Next week: In-class writing quiz. Practice with the ‘Critical Listening Form’ – one known musical example from listening guides or lecture and one unknown example, from week 1 to 5) i>Clicker Activity 1
 Which of the following genres is NOT sacred? A.  Oratorio B.  Chorale C.  Sacred Cantata D.  Opera E.  Mass Handel and Late Baroque Opera and Oratorio Late Baroque Opera and Oratorio George Frideric Handel (1685–1759)   German-born composer of Italian, French, and German styles   Later career catered to English audiences Handel’s vocal music Opera seria (Italian serious opera; Rinaldo, 1711) Lascia ch'io pianga (Let me weep over) Cara sposa (Beloved wife) Oratorio (music drama based on a religious subject; Messiah) Hallelujah Rejoice greatly Rinaldo and Armida, by Francois Boucher, 1734; (Louvre Museum) Now playing: Lascia ch’io pianga, Aria from Rinaldo "HALLELUJAH: for the Lord God Omnipotent reigneth (Rev. 19:6). The Kingdoms of this world are become the kingdoms of our Lord and of His Christ; and he shall reign for ever and ever (Rev. 11:1). King of kings, and Lord of lords. HALLELUYAH!" (Rev. 19:16). Handel, Hallelujah (Chorus No. 44, Messiah’s Oratorio) CLIP from Andre Rieu's "Live From Radio City Music Hall" in New York City 2004, with the Johann Strauss Orchestra and the Harlem Gospel Choir. Bach and the Sacred Cantata Bach and the Sacred Cantata Johann Sebastian Bach (1685–1750)   German composer, organist, educator   Culminating figure of the Baroque Style   Career in Northern Germany   Musical family   Organist and composer   Devout Lutheran Secular and church patrons during career Bach’s vocal music Sacred Cantata (One
or
more
solo
vocalists,

 A Mighty Fortress Is Our God (1715/c. 1744) Instrumental
accompaniment,
Chorus,
Sacred
 Typical
of
Bach's
cantatas
in
style
 theme,
For
use
in
the
Lutheran
church
service,
 Set
to
MarCn
Luther's
chorale
 Unified
by
a
chorale)
 The Lutheran Chorale (hymn
tune
associated
 No.
1‐Chorale
Fugue
 (ImitaCve
polyphony
texture)
 with
German
ProtestanCsm,
BaPle
hymns
of
 the
ReformaCon,
Luther‐
church
services
in
 German
rather
than
in
LaCn,
Early
hymns
were
 No.
8‐
Chorale
 sung
in
unison,
Later
hymns
were
wriPen
in
4‐ Chorale
sung
by
full
chorus
with
orchestral
 accompaniment
(Homophonic
texture)
 part
harmony,
with
melody
in
the
soprano,
 Chorales
are
a
unifying
thread
of
the
 Protestant
cantatas)
 In-Class Quiz  (10 questions) i> Clicker No books, notes, or checking responses with your classmates (You have about one minute to submit each response) Q.
1
 •  The
song
you
are
listening
now
is:
 A.  Aria
from
Opera
 (Cara Sposa – from slide 1) B.  Aria
from
Oratorio
 C.  Aria
from
Sacred
Cantata
 D.  Aria
from
Secular
Cantata
 E.  Monody
 Q.
2
 •  A
drama
that
is
sung
is
called:
 A.  Madrigal
 B.  Opera
 C.  Cantata
 D.  Motet
 E.  Mass
 Q.
3
 •  It
was
through
the
musical
innovaCons
of

the
 ____________
thatopera
was
born.

 A.  Medici
family
 B.  Notre
Dame
school
 C.  Roman
forum
 D.  FlorenCne
Camerata
 Q.
4
 •  Who
is
best
viewed
as
the
first
master
of
 opera?

 A.  Monteverdi
 B.  Purcell
 C.  Handel
 D.  Puccini
 Be careful, no E option! Q.
5
 •  The
sacred
cantata
was
an
integral
part
of
the:
 A.  Catholic
church
 B.  Anglican
church
 C.  Lutheran
church
 D.  Pilgrim’s
church
in
the
United
States
 Q.
6
 •  Chorale
tunes
were
adapted
from:

 A.  Gregorian
chant
 B.  Popular
songs
 C.  Secular
art
music
 D.  All
of
the
above
 Q.
7
 •  Which
does
NOT
characterize
an
oratorio?

 A.  Elaborate
scenery

 B.  RecitaCves
 C.  Arias
 D.  Choruses
 Q.
8
 •  Late
in
life,
Handel
turned
his
efforts
from
the
 opera
to:
 A.  The
cantata
 B.  The
symphony
 C.  The
mass
 D.  The
oratorio
 Q.
9
 •  The
opening
movement
of
Bach’s
cantata
A Mighty Fortress Is Our God is
best
described
 as:
 A.  A
fugal
chorale
 B.  A
duet
for
soprano
and
bass
 C.  A
soprano
aria
 D.  A
four‐part
choral

 Q.
10
 •  The
music
you
are
listening
now
is:
 Handel, Messiah No, 18 Aria, “Rejoice greatly” Listening guide 14 A.  From
an
oratorio
 B.  From
a
secular
cantata
 C.  From
an
opera
 D.  From
a
sacred
cantata
 ...
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This note was uploaded on 08/25/2011 for the course MUS 302L taught by Professor Dell'antonio during the Fall '08 term at University of Texas.

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