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week04_lecture04 - 21M011(spring 2006 Ellen T Harris...

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21M011 (spring, 2006) Ellen T. Harris Lecture IV Baroque Vocal Music Genres : Terms : opera (per musica) aria (air) opera seria recitative opera buffa secco (simple) oratorio accompanied church cantata word-painting castrato Opera 1. Monteverdi, The Coronation of Poppea (1642) K 1.15-16 recitative: recitation, declamation, syllabic, fluid/free form, reduced accompaniment continuo: bass line played by cello and harmonized by harpsichord or lute aria: more elaborate, ornamented, repetitive forms, richer accompaniment castrato: male treble, virtuoso singer music as drama musical characterization of individuals 2. Purcell, Dido and Aeneas (1689) Recitative Æ aria Æ chorus Recitative: “Thy hand, Belinda” K 1.17 Vocal descent through chromatic line, as Dido sinks into death Largely syllabic recitation, but still with some melismas (“darkness” extended like a miasma around her) Aria: “When I am laid in earth” K 1.17 Chromatic ground bass (relentless fate) Rising vocal line pushes away and cadences overlap (elide) until Dido “meets” her fate at the joint vocal and ground bass cadence (“forget my fate”) instrumental postlude: full chromatic scale from top of register Recitative and Aria performed by Ellen Harris (music faculty), voice and piano Chorus: “With drooping wings” K 1.18 Full diatonic scale from top to bottom (moving from the transcendental to those left on earth to mourn) Madrigal word-painting: “drooping,” “scatter,” “soft,” “never”
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3. Handel, Giulio Cesare (1724) : opera seria Recitative Æ aria Recitative: more like recitation, less melody, moves very quickly (secco or simple recitative) NOT INCLUDED with example Aria: “La giustizia” (“Justice”) K 2.8 da capo form unison violins and continuo “revenge aria”: one of many types of affects depicted by da capo arias singularity of the accompaniment rushing scales and forward motion especially long coloratura (melismas) on “vendetta,” “traditor” (=arrow ready for vengeance) high notes on “punire” ornamentation on da capo makes it less a repetition and more of a heightening (racheting up) of intensity 4.
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