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Responses to each prompt should be 2 to 3 paragraphs in length

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Responses to each prompt should be 2 to 3 paragraphs in length. Please provide musical examples as needed to illustrate your point. (You can use time stamps if you're speaking about a specific section of a piece).

In the vocal music of the Late Renaissance, early Baroque period, what were musical strategies to express the affective states represented in the sung texts.

In the Spanish Colonies of the Americas, how was music used to convert the indigenous population to Christianity? How were the colonized subjects represented in the Villancicos so-called “negrillas” of the Oaxaca Cathedral Songbook,?

Comparative listening:

Polyphony Vs. Monody

Listen to M. Casulana’s “Morir non puo il mio cuore” (My heart cannot die) and C. Monteverdi’s “Tu sei morta” (You are dead).

1) What are some striking (clearly audbile) differences with regards to:

• The musical texture.
• The vocal delivery (performance style)

2) How are the lyrics of the pieces expressed through music?

What was the guiding extra-musica discipline that contributed to the musical structure in the music of the baroque period? What was the purpose of such orientation?

Contemporary Extrapolation:

Music has been used in the past for political reasons, like the case of the Spanish colonizers, in order to serve a particular purpose. What are some ways you can think of in which music is used in our time to “influence” or "persuade" the listener in some way?

The Classical Period II The String Quartet The String Quartet In the classical period the string quartet emerges as one of the leading instrumental formations. The quartet is comprised by two violins, a viola and a violoncello: The first violin is the principal voice, the second violin often supports the first violin and often-times is coupled with the viola and the cello, which play the accompanying harmony. The instruments together cover the entire range of pitch, like the voicing distribution of renaissance vocal polyphony. The two violins playing in the higher register, the viola craftfully “filling” the space in between (middle voice) and the cello playing the bass voice, as the carrier of the harmony. Joseph Haydn was one of the composers who contributed greatly to the crystallization of the string quartet as a new instrumental ensemble with over 70 compositions written for the formation. An Economy of Means In the spirit of the enlightenment, the shining light of reason, music of the classical period also reflected the spirit of the time. The clearness of the musical texture: Clear differentiation between sections, a predilection for melodic elaboration. The preference for clarity of musical moments and the resulting foregrounding of the melodic profile gave way to the emergence of a thematic-oriented music. That is a music in which important musical moments are clearly delimited and structured musical themes around which the rest of the content of the piece is organized. The musical theme is the main Idea, (musical thought) which is treated discursively in terms of the further elaboration of the musical idea. The themes are manipulated and varied (subdivided into “elemental components”, as a strategy of discursive development. In most of the music of the classical period, particularly the first movements of symphonies, concertos, instrumental sonatas and chamber music, there are often two contrasting themes or thesis. Some pieces treat these contrasting themes are thesis and anti-thesis. The differences are then “leveled out” throughout the composition. Dialectic approach (Beethoven) Musical themes could also be interpreted as “characters” in a plot. This will be further developed by composers of the romantic period (Berlioz, Wagner). Composition Technique - Motivic Development – An economy of means A new approach to composition emerged during the classical period. This approach was based on the economy of creative means: Composers started to find ways of creating “unity” and ”coherence” throughout a composition. This was achieved by deriving musical material from a somewhat limited repertoire of elemental material. (Building Blocks). The fragmentation of a musical theme into its components yields smaller units of musical meaning, these elemental cells or units are called motifs. Motivic development is a technique of creating a musical discourse from a series of elemental motifs or cells. The manipulation of these motifs acquires a central place in the “dramaturgy” of the composition. Joseph Haydn (1732 - 1809) - “My language is understood in the entire world” Austrian Composer of the Classical Period. Considered one of the leading figures of musical life in Vienna. Instrumental in the development of chamber music such as the piano trio and the string quartet. Prolific composer of different genres and instrumental combinations (Symphonies, Chamber Music, Solo Keyboard music). He was highly regarded by Mozart and tutor of Beethoven for a brief period. Portrait of Joseph Haydn. Thomas Hardy (1791) As a composer, he spent much of his career working for the wealthy Esterházy, an aristocratic family tied to the Austrian royalty. He is one of the first composer to achieve international fame and the first composer/empresario. His music was printed in different cities across Europe (London, Paris, Vienna) from which he collected royalties. Wolfgang Amadeus Mozart (1756 – 1791) Mozart was a child prodigy. Together with Haydn and Beethoven, he is a leading figure of the ”Viennese School of Composition” of the classical period. His life was full of uncertainty, although successful as a composer and highly regarded by his peers, he struggled financially throughout his life. He did not have as much luck as other composers securing engagements in other cities of Europe. Mozart was well in touch with the avant-garde music of his time, his music shows Italian as well as German baroque influences. His creative output shows a vey wide variety of instrumental and vocal formations. He was also a prolific opera composer. Mozart died at the age of 35 from an unknown illness. He was buried in a mass grave due to the lack of money to pay a proper burial Drawing of W.A. Mozart by Dora Stock. 1789 Composition as innovation – Composition as response In 1781 Joseph Haydn composed 6 string quartets, which according to Haydn himself were composed in an entirely different manner. These quartet show several differences in relation to his previous quartets, as well as some innovative treatment of the musical material. Mozart was deeply impacted by these pieces and in the subsequent years, between 1782 and 1785, he composed 6 string quartets in “response” to Haydn’s pieces. These compositions, show a great display of technical ability combined with an organic musicality. They belong to Mozart’s mature pieces for string quartet. Main Theme of the 1st Movement of Haydn’s String Quartet in E-Flat op. 33 “The Joke” 2 Periodic Structure: 2 + 2 Head Motif Tail Motif Splitting: The fragmenting of the theme into smaller elements 2 String Quartet op. 33 in E-Flat major "The Joke" Theme – Section B Theme – Section A q = 120 Joseph Haydn Hob. III:38 Theme Motif 1 ° bb 4 ™ & b4 ™ œ œ œ œ œ. œ œœ ™ . . œ™ œœ ? nœ ? 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J œ ? œ™ œ œ œ. œ. œ. œ œ œ ™ œ™ œ . œ. nœ œ. œ œ œbœ nœ J . œ. . . œ. œ œ œnœ œ. œ œ œ p b &b b œ B bbb œ ™ r œ œ œ œ œ œj ‰ j œ œŒ j‰ j‰ ‰ ‰ ‰ j ‰ ‰ Œ œ. œ. œ. œ. œ. œ. œ. œ. œ. bœ. œ. œ. œ œ œ nœ. œ. œ. œ œ œ . . . ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ œj ‰ œj ‰ œ Œ . . . . . . . . . . . . . . . . . . ‰ ? . . nœ. œ œ œ œ ? œ. œ. bœ. œ œ ? p . œ. œ. œ œ œ ? ? ? ? n? p ?b ¢ b b #? œŒ œ Œ œ Œ Œ œ Œ Œ œ Œ #œ œ œ ‰ œj ‰ Œ J œ. nœ. œ. œ œ œ ? . œ. œ. œ œ œ ? ? w p Development Section – Economy of means (Motivic variation) 3 œ™ œ. 34 ° bb 4 Ó & b4 Œ #œ œ n? . œ œ. œ ? . ‰ œœ œ œœœ œ J ‰ ‰ œ p œ. œ. œ j b 4 j & b b 4 œJ ‰ nœ ‰ #œ ‰ Œ p B bbb 44 œJ ‰ œJ ‰ œJ ‰ Œ p . œ œ. . ? bb 44 œ œ œ œ œ J ‰ Œ ¢ b j nœ ‰ œ J‰ œ J‰ j œ ‰ œj ‰ Œ œ œ J‰ J‰Œ œ™ ‰ œœ ? Œ Œ œ œ œ. œ. œ. œ œ œ™ Œ bœ œ œ™ n œ b œ œ™ œœ ? œ. œ œ. œ. œ nœ œ. œ #œ œ œ#œ. œ. œ ™ J . . . n? nœ œ œ. œ œ œ œ. œ. œ œ œ œ #? ? nœ œ™ œ œ #œ ‰ œœ ? œ™ ‰ œœœ‰ œœ œ ? œ œ Œ œ Œ œ œ™ œ™ œœ œ œ ‰ œœ ‰ œ œ œ ‰ bœ œ œ œ #œ J‰ J‰Œ 41 ° bb œ & b œ. œ. ? œbœ Œ œ n œ n œ. œ b œ œ. œ œœ. bœ œ bœ œ™ œ™ nœ bœ œ œ œ œ œbœ nœ J . . œ. œ œ. œ. œ. bœ œ œ œ #œ œ Œ Œ ‰ œbœ bœ œ ? œ œbœ œ™ œ œœnœ p sf b œ œ. œ. œ & b b œœ B bbb œ œœ œœœœ‰ œœœ œ Œ œœœ œ œ œ œ œ. œ. œ Œ œ œœœ‰ ‰#œ œœj ‰ . p . ‰ œ œœJ ‰ ‰ œ#œ œj ‰ . . ‰ nœ œœJ ‰ ‰ nœnœ œj ‰ . . ‰ œbœ œJ ‰ j œ‰ j j œ ‰ œ ‰ ‰ œbœ b? ™ œ‰ J œ ‰ œJ ‰ Œ J œ. nœ œ œ ™ nœ#œ ? sf ‰ œ œœ œ œbœ œ œ™ j œ œ™ bœ J œbœ bœ ™ œ bœ ™ J œœ p sf œ™ œœ œ Œ œ Œ ?b ? ¢ bb œ Œ Ó ∑ ∑ Œ ‰ œœ œ™ sf p 48 ° bb ? & b œ œbœ œn œT ? œ nœb œ œ nT œ b œ œ. œ œ. b œ œ œ bœ .œ Œ œ™ œ nœ J‰ J‰ w #w p T œ nœbœ œ nœ ? T b ? & b b bœ œbœ œ nœ œ nœnœ œ. ‰ J œ. ‰ œJ. ‰ J œ ‰ œj ‰ J bœ Œ ‰ œ œj ‰ ‰ œ œj ‰ œ . œ . nœ Œ Ó Œ ‰ œ œ œ. ‰ ‰ œ œ J . . . nœ ™ œ œ œ œ œ œ œ œ œJ ‰ ‰ œ œ œJ. ‰ ‰ œ œ ‰ œ œ™ œ œœœ p B bbb œ ™ ?b ¢ b b #œ ™ j #œ œ™ œ œ™ J œ J œ™ œ œ œ™ j œ œ™ nœ œ ™ J œ œ J #œ nœ œ Œ Œ œ‰ œ‰ J J œ #œ J‰ J ‰ p œ ‰ ‰ œ œ™ J œ œ ‰ ‰ œ œ™ J œ œ œ œ œ 0:00/1:15 (First Section) - Main Theme 0:10/1:25 B part of Theme 0:20/1:34 Main theme with ending 0:28/1:43 Further elaboration of main theme (placeholder for second theme) with motivic imitation of closing motif o theme 0:33/1:48 Motivic elaboration of ”tail” motif of theme and further splitting of motif (faster) 0:47/1:57 Transition to climax 0:52/2:07 Transition to second climax to closing statemen 1:06/2:20 Closing statement with motif of the B part of main theme 2:29/4:43 (Second Section) Development, developing of the Main Theme in all voices 2:33/4:49 Presentation and “treatment” of of the ”Head” of the Theme in all voices 2:47/5:01 Short presentation of first half of Theme 2:55/5:09 Harmonic expansion with Motif from B 3:06/5:21 Developing of part B of theme to Climax 3:28/5:42 Theme beginning in minor key as closing statement before the Recapitulation (repletion of beginning section) 3:39/5:53 Main Theme 3:48/6:02 B part of theme with development and transition (different continuation than in the exposition) 3:58/6:13 Motivic elaboration of tail motif and further splitting of motif (faster) 4:09/6:26 Transition to climax 4:19/6:33 Transition to second climax (victorious!) 4:33/6:48 Closing statement Exposition Development Recapitulation 4th Movement of Mozart’s Quartet no. 14 in G Major – First Theme Second Theme Imitation – “Fugato” Thematic Development : Combination of both themes 0:00/1:42 Theme A ”Fugato” – Voices imitate the theme 0:14/1:55 Transition and closing statement 0:25/2:05 Secondary Theme A (Triumphant) 0:31/2:13 Transition to Theme B 0:41/2:22 Theme B – “Fugato” – Voices imitate each other 0:55/2:36 Theme A combined with Theme B 1:14/2:55 Transition to Closing Statement 1:26/3:07 Closing Statement 3:22 Development – imitation of transition passage of closing statement 3:38 Theme A in minor key ”passed around” in the voices 3:52 Development to climax and “dissolution” 4:06 (Recapitulation) Transition to Secondary Theme A 4:36 Theme A combined with Theme B 4:42 Theme A introduced as a culmination 4:53 Transition to Closing Statement 5:07 Closing statement 5:20 imitation of transition passage from the development - 5:33 Theme A introduced as a culmination 5:41 Theme A as closing statement Exposition Development Recapitulation Listening Examples Joseph Haydn - String Quartet in E-Flat op. 33 “The Joke” – 1st movement, in Haydn: String Quartets Op. 33, Cuarteto Casals Wolfgang Amadeus Mozart – String Quartet no. 14 in G-Major K.387 – 4th Movement, in Mozart, 6 String Quartets Dedicated to Haydn, Quatour Ysaÿe Bibliography Eggebrecht, Hans Heinrich, Musik im Abendland, 7. Auflage, Piper Verlag, München, 2008. Michaels, Ulrich, DTV-Atlas Musik, Deutscher Taschenbuch Verlag, Münschen 2001 The Classical Period I Continuity and Rupture in Music History The development of Musical Discourse (all elements pertaining to music: Notation, Music Theory/conceptual framework, Musical Taste/styles) does not always follow a linear path. The development of characteristic features regarding musical genres take place within a given historical period (i.e. Notre-Dame School of Polyphony, Franco-Flemish Polyphony, The Madrigal, Opera, etc) . This observation can only be arrived through analysis of works following the development of certain stylistic traits and features. Musical History attempts in some way to create a narrative of progress of musical material across historical epochs. Stylistic ”rupture” and the emergence of new styles take place through generational change and through outside influences, often times from extra-musical elements such as politics, philosophy, technological innovation, etc., which shift the artistic priorities and effect change in the conception (or definition) of music. Uncontrolled emotion – The Sentimental Style in German Music Originated as a contrast to the (impersonal/abstract) representation of affect and the seeming continuous discursive flow of Baroque music. The music of the Sentimental Style (Empfindsamer Stil) aims at the representation of subjective emotion. Emphasis on features such as extreme expressive contrasts with disruptive incursions, instability of key, sudden changes of register, dynamic contrast, and exciting orchestral effects. Carl Phillip Emanuel Bach (1714, 1788) Also known as the Berliner or Hamburger Bach. Was a composer and church musician part of the Bach family. From Bach’s sons he was the most famous. He was an acclaimed keyboardist, teacher and composer of Music for keyboard. His music is a clear transition between the baroque and the classical period. C. P. E. Bach was very influential in the composers of the Viennese school. In his later years, his fame exceeded that of his father. Carl Philipp Emanuel Bach, Portrait by his nephew Johann Philipp Bach Symphony no. 2 in E-flat Major – 1st Movement – Allegro di Molto 0:00 Opening 0:08 First Idea 0:19 Transition 0:36 Closing Statement and instrumental transition 0:46 Instrumental transition (Solo Instruments) 0:54 Second Idea – Reintroduction of the Opening but with different development 1:08 Instrumental Transition and closing statement 1:21 Development starting with the first idea Solo Instruments- taking the material from the instrumental transition from 0:47 2:07 Opening 2:13 First Idea 2:24 transition 2:40 Closing statement 2:51 Instrumental transition (Solo Instruments) 3:03 First Idea 3:12 Development of instrumental transition (no presentation of second idea) 3:20 Instrumental Transition and closing statement 3:38 Reintroduction of Opening with slightly different accompaniment (triumphant) 3:48 First Idea as transition 4:01 Transition to next movement The Classical Period – A search for Clarity The Enlightenment of the 18th century brought a new valuation of mankind, which was based on rationality and critical judgement and were believed to lead mankind towards independence and maturity. Gradual shift from an almost exclusive court and church-sponsored to a privately-managed cultural production. Emergence of public and private performance spaces independent from aristocratic contexts: music salons, private house, public concert venues. In the second half of the eighteenth century (1750 - ) a new style of music started to “cristalize”, which was characterized by the clarity of the musical moments. In contrast to the music from the Baroque period (1650-1750), which was much more complex and required a cultivated audience, the classical music was meant to be accessible to everyone. Period Characteristics The aesthetic ideals of the classical period lie in direct opposition to the artificiality and intricacy of the Baroque period. The preference for simplicity in construction and almost “organic” naturality . It is nature, that which imbues art with beauty (Scheibe) Pierre Henri De Valencienne. “A Capriccio of Rome with the Finish of a Marathon” 1788 Giovanni Panini, Roman Capriccio: The Colosseum and Other Monuments. 1735 New Cultural Centers Music from the Classical period has a lighter, clearer texture than Baroque music. Variety and contrast within a piece became more pronounced than before and the orchestra increased in size, range, and timbre variety. The musical center of this time was the city of Vienna became an important musical center, in part because of the the musical inclination of the Austrian monarchy. Music was an important element of aristocratic life. The aristocracy demanded high quality entertainment and hired renown musicians from different parts of Europe. The influence of Italian taste and musicality with the discursiveness inherent in German music gave way to a new style of music. Many composers from different parts of Europe went there in order to find engagements. That was the case of Mozart, and Beethoven, as well as many other composers from Italy, Spain, France, and Germany. Musical Characteristics In contrast to the music from the Baroque period (1650-1750), which was much more complex and required a cultivated audience, the classical music was meant to be accessible to everyone. The clarity in the musical form and the melodic expression was a result of the appreciation of periodicity, symmetry and measure, in part inspired by the clarity of classical architecture, as well as by the simple and natural expression present in popular music. This mandate (the universality of the language of music) was a result of the Enlightenment’s postulates that human reason was a universal given. Rationality was human kind’s way to “decode” the secrets of nature. New Music, New Musical Forms In the 18th Century, a convention regarding the structuring of instrumental compositions emerged. The Sonata form and later the composition cycle crystalized from a collection of different music genres. Sonata comes from the Italian “sonare” (to play an instrument). The pieces, which were denominated sonatas shared some similarities regarding their structure (ABA). For the listener, the conventional structure, which was based on expectation and ”surprise”, served as an orientation. For the composers, this conventional basic structure, which was individualized from piece to piece, served also as an orientation. It was up to the composer’s imagination and creativity to use this organizational theme to compose a piece A new musical Form – Listening Conventions The Sonata form developed from some musical of the Baroque period (Suites, Overtures, Concertos). The Baroque musical forms were binary (A B). Each part was repeated twice. The sonata form of the classical period expanded the binary form into a ternary form A B A. The third section of the Sonata is a kind of varied repetition of the first part with a harmonic change that favors the main key of the piece. The sonata form is not a Formula!, it is more of an orientation. The basic model is an abstraction that resulted from observation and analysis. Music and its orientation towards Rhetoric Musical Rhetoric continued to be an important element in the music of the Classical period. However, the linear and discursive flow present in baroque music ultimately gave way to a musical style in which contrast became an important discursive element. Music in the Classic period is much more related to Drama (theater) than to a Speech (monolog). The contrasting elements become characters in the plot, each with its own developing plot. The unfolding of musical situations is still discursive, but the structuring of musical moments is much more differentiated with contrasts, variations or slightly altered repetitions. Basic Structure of the Sonata Form The exposition is the section where the main musical themes are introduced. The exposition, in most cases, consists of two contrasting musical themes (A and B in the representation). The contrast also takes place at the level of tonality. The quality of this section is mainly melodic. The Development is the section where the musical material introduced in the first section is recombined, varied, and altered. The quality of this section is mainly harmonic. The material is presented in different keys. The function of this key is to explore harmonic possibilities with the intention of arriving at the original key at the end of the section. Basic Structure of the Sonata Form The Recapitulation is a kind of return to the beginning of the piece. The difference between the exposition and the recapitulation lies in the leveling of harmonic contrast so that both themes –in most cases- are in the original key. Marianna Martines (1744-1812) Born in Vienna, daughter of Theresia and Nicolò Martines, an apostolic nuncio (ecclesiastical diplomat) from Naples. Her musical education was supporting from an early age by Pietro Metastasio, Vienna’s court poet and a friend of the family. Prolific Composer and Concert Sponsor in Vienna. Studied singing with opera composer Nicolo Porpora, harpsichord with Joseph Haydn, composition with Marianna Martines Portrait by Anton von Maron ca. 1780 Performed periodically for Empress Maria Theresia and was well connected with important artists and poets in the city. Later in her life she had her own music salon and became an important sponsor of concerts. Regular attendants to her music soirées were composers such as Mozart and Beethoven. In 1773 she was accepted in the renown Accademia Filarmonica of Bologna in Italy. She was a very prolific composer of Masses, Motets, Oratorios, Symphonic music, and Chamber music Marianna Martines Concerto for Harpsichord and Orchestra in E Major – 1st Movement, Allegro 0:00 First theme (Orchestra) 0:11 Transitional passage 0:21 Second transitional passage 0:28 Closing statement 0:37 Second Theme (Orchestra) 0:47 Second theme and continuation 0:54 Closing statement of second theme 1:10 First Theme (Orchestra with harpsichord solo) 1:20 Transitional passage with new idea 1:25 New “idea” 1:44 Closing statement 1:58 Closing statement of first theme 2:16 Second Theme (Solo harpsichord) 2:25 Repetition of Second Theme lower (Solo harpsichord) 2:32 Closing statement (last section of second theme) (Solo harpsichord) 2:43 Closing statement (Orchestra with harpsichord) 2:51 Development (Section B) (Orchestra with Harpsichord) Presentation of new material as well as presentation of old transitional passages and harmonic exploration (minor) 4:06 Closing statement (Orchestra with solo cadence of the harpsichord) 4:35 Re-exposition - First Theme (Orchestra with harpsichord) 4:44 Transitional passage with development 5:07 Transitional Passage to closing statement of first theme group 5:45 Second theme (Solo Harpsichord) – Closing statement and solo cadence 6:10 Closing Statement of the Orchestra (Orchestra with Harpsichord) 1st Theme Group 2nd Theme Group Exposition Development Recapitulation Section Analysis of the 1st movement of Bologne’s Violin Concerto in G-major Op. 8 Orchestra Exp. Solo Exp. First Section of the piece With the characteristic Two-Themes. In the Concerto – the orchestra plays the exposition without the soloist. Instead of repetition of Exposition. In the concerto, the solo instrument plays the themes solistically. Development Presentation of new material Harmonic exploration. Maybe minor tonality…? Recapituation Similar to the Second exposition, the Harpsichord and the orchestra play together. In this particular piece, the recap is very similar to the solo exposition. Joseph Bologne/Chevalier de Saint-George (1745-1799) Was a champion fencer, classical composer, virtuoso violinist, and conductor. Born in the French colony of Guadeloupe in the Caribbean. Son of George Bologne de Saing-George, a wealthy planter, and Anne ”Nanon”, George’s wife’s slave. Bologne, although married to Elisabeth Mérican, acknowledged his natural son with Nanon and gave him his surname. Joseph Bologne was taken to France at an early age where he received his musical education as well as his training as a swordsman. He was a Marie Antoinette’s private musical instructor at her court and enjoyed her protection. As a composer, he enjoyed success, composing instrumental music, concerts, and operas. He was active during the French revolution serving the monarchy, but later sided with the revolution. After the revolution, he had difficulty getting back into music having several attempts at re-establishing an orchestra. Chevalier de Saint-Georges, Mather Brown, 1787 Joseph Bologne - Violin Concerto no. 9 in G-Major – 1st Movement 0:00 First Orchestra Theme 6:41 New Theme in the violin – minor – 0:08 Elaboration and conclusion 7:07 Arpeggios and figurations 0:29 Transition with repetition and closing statement 7:29 Closing statement 1:00 Second Orchestra Theme repeated twice 7:53 New Violin Theme (high register) - developed 1:29 Transition 8:30 Orchestral transition 1:45 Closing Statement – two sections and closing statement 9:09 2:20 First Orchestra Theme (violin solo) First Orchestra Theme with First Violin solo Theme (Violin Solo) 2:27 New Violin Theme – new material 9:33 Figuration (arpeggio) passage - transition 2:48 Figuration (arpeggio) passage - transition 9:53 Second Figuration (arpeggio) passage– closing statement 3:08 Figuration (arpeggio) – closing statement 10:04 Second Orchestra Theme (Violin Solo with Orchestra) 3:19 Second Violin Theme – new material 10:20 Second Orchestra repeated with full orchestra 3:41 Transition with arpeggios 10:35 Figuration and virtuoso passage 3:54 Closing Statement – contrasting arts 10:52 Closing statement 4:15 Second Theme repeated 4:44 Figuration Transition – repeated 5:04 Closing Statement 5:22 First Theme (“Reexposition”) 6:07 Third Violin Theme - 6:36 Orchestral Transition 6:41 Development (Harmonic expansion) Section Analysis of the 1st movement of Bologne’s Violin Concerto in G-major Op. 8 Orchestra Exp. Exposition Of main musical themes of the orchestra Solo Exp. Repetition of Exposition with additional violin Themes Development Reintroduction of First orchestra theme but then presenting new melodic material of the Violin. Harmonic exploration, character change Recapituation Repetition of Exposition with solo performance of the themes. Listening Examples Carl Phillip Emanuel Bach - Symphony No. 2 in E-Flat major, Wq. 182/2 - 1st Movement Allegro di Molto in, C.P.E. Bach: Symphonies 1-4/Cello Concerto in A, The English Concert, Andrew Manze Marianna Martines – Cembalo Concerto in E Major – 1st Movement Allegro, in Marianna Martines: Il Primo Amore, Nuria Rial, La Floridiana, Nicoletta Paraschivescu Joseph Bologne – Violin Concerto in G Major, Op. 8 – 1st Movement Allegro, in Saint-Georges: Violin Concertos Op. 5, Nos. 1-2 and Op. 8, Cologne Chamber Orchestra, Takako Nishizaki, violin, Helmut Müller-Brühl Bibliography Dunbar, Julie C., Women, Music, Culture an Introduction, Second Edition, Routledge, New York 2016. Eggebrecht, Hans Heinrich, Musik im Abendland, 7. Auflage, Piper Verlag, München, 2008. Michaels, Ulrich, DTV-Atlas Musik, Deutscher Taschenbuch Verlag, Münschen 2001 Joseph Bologne/Chevalier de Saint-Georges, https://ritaporfiris.com/black-composersforum/blog/joseph-bologne-chevalier-de-saint-georges BAROQUE MUSIC: MUSICA POETICA Musica Poetica “Musica poetica or musical composition is a mathematical science through which an agreeable and correct harmony of the notes is brought to paper in order that it might later be sung or played, thereby appropriately moving the listener to Godly devotion as well as to please and delight both mind and soul” – Johann Gottfried Walter In order ultimately to move the listener to greater Godly devotion, music was to express both the text and its associated affections. “Next to Theology, I give music the highest place” – Luther This type of music was originally reserved to the opera because it was there that Word and Music were combined for dramatic purposes. However, slowly this approach was also incorporated into instrumental music, particularly in protestant Germany. Classical Rhetoric - the ancient art of persuasion Rhetoric was the cornerstone of classical education. In ancient Greece and Rome, it was the academic discipline that guided the skillful production and critical evaluation of discourse in all its usual settings (law courts, commerce and professions, ceremonial oratory, diplomacy and public relations, cultural and political debate) In the music education of Baroque period, Classical Rhetoric was part of the curriculum. The many concepts were applied to music in order to create “persuasive” music pieces, as if they were speeches. Musical Rhetoric The mandate to express and explain the text encouraged not only the development of the concept of musicalrhetorical figures but also led to the introduction of a musical inventio, dispositio, and elocutio/elaboratio, along with the associated rhetorical methods and devices. Inventio, one of the five canons of rhetoric, is the method used for the discovery of arguments in Western rhetoric and comes from the Latin word, meaning "invention" or "discovery". Inventio is the central, indispensable element of rhetoric, and traditionally means a systematic search for arguments. A speaker uses Inventio when he or she begins the thought process to form and develop an effective argument. Often, the invention phase can be seen as the first step in an attempt to generate ideas or create an argument that is convincing and compelling. In Music, the inventio was related to the identification of the theme or concept, which will be presented in the piece, and the subsequent identification of the means necessary to bring develop the composition. Musical Figures – a musical “dictionary” Part of the musical inventio was concerned with deciding the character of the piece: joyful, serious and solemn, for which specific tempi (speed) and key (tonality) were used; and the employment of particular musical motives or figures, which had specific semantic meanings. . While the focus of the musical-rhetorical figures was initially on the text, the expression of the affections through the figures gradually gained prominence, eventually replacing the text’s dominating role. […] Some music theorists listed words to be musically expressed such as rejoicing, weeping, fearing, wailing, mourning, pleading raging, laughing, pitying as “affective words”; standing running, dancing, resting, leaping, lifting, lowering, ascending, descending, heaven, hell, mountain, abyss, heights, etc. as words of motion and place; quickly, fast son, slowly, early, late, twice, thrice, four times, again, once more, often, rarely as adverbs of time and number; and other words such as light, day, night, darkness. Words describing human states are also found: childhood, youth, old age, etc… Dietrich Bartel, Musica Poetica, Musical-Rhetorical Figures in German Baroque Music, University of Nebraska Press, 1997. Musical Rhetoric Dispositio is the system used for the organization of arguments in Western classical rhetoric. The word is Latin, and can be translated as "organization" or "arrangement". The first part of any rhetorical exercise was to discover the proper arguments to use, which was done under the formalized methods of inventio. The next problem facing the orator or writer was to select various arguments and organize them into an effective discourse. The musical Dispositio deals with the organization of the musical arguments into a convincing “musical speech” Musical Rhetoric Elocutio is the term for the mastery of stylistic elements in Western classical rhetoric and comes from the Latin loqui, "to speak". Although the word elocution is now associated more with eloquent speaking, it connoted "style" for the classical rhetorician. An orator or writer had a number of things to decide in developing a style for a particular discourse. First, there was the level of style; plain (attenuata or subtile), middle (mediocris or robusta), or high (florida or gravis). Writers were instructed to match the basic style to their subject matter and audience. For instance, Quintilian in his Institutio Oratoria deemed the plain style suitable for instruction, the middle for moving oration, and the high for charming discourse. Today, elocution and rhetoric are associated with the last of the styles, but for rhetoricians, each style was useful in rhetoric. In Music, the Elocutio is replaced by the Elaboratio, which deals with the performance of the composition. This part of the musical rhetoric deals with the setting of ornaments and decorations to ”adorn” the melody and contribute to the expression of the piece. Music as Speech Six rhetoric elements that were used to structure a rhetorical speech were first listed by Johannes Mattheson In 1739 in his “the complete Chapel Meister”, a thereticalpractical treaty for composers/conductors/performers of church music published in Northern Germany. These elements belong to the Dispositio, the arrangement of musical ideas into a piece. Exordium/ Introduction Narratio/ Statement Propositio/Proposition Confutatio/ Argument Confirmatio/ Refutation Peroratio/ Conclusion Title Page of Mattheson’s ”The Complete Chapel Master” Music as Speech Exordium/Introduction: It’s the beginning of the melody in which the “purpose” and the “intention” is presented so that the listeners are prepared and encouraged to listen. Narratio/Statement: Is both a “report”, and a narration in which the nature and the “point of view” of the piece are “sketched out”. It is related to the introduction, which precedes it by means of skillful continuity. Propositio/Proposition or the actual “speech/presentation” contains in a resumed form the content and “purpose” of the sounding-speech. Confutatio/Argument: An annulment of objections. It’s expressed either through ligatures (sutained notes) or through the introduction and refutation of seemingly unfamiliar melodies and musical situations. Confirmatio/Refutation – It’s an artful reinforcement of the musical Idea. The variated repetition of the introductory melody or passage. Peroratio/Conclusion – It’s the ending or closing statement of the sound speech. In some cases, a return to the introduction can be found instead of a closing statement. Theory and Practice In practice, composers used these (or similar) elements as an orientation, or as a guide to help them structure the musical material in a way that was most convincing or persuasive. Composers were more-orless free to adapt these, as well as the musical figures to fit their compositions. From our present perspective, these elements could also help us approach the music from this period and maybe understand it better. This doesn’t mean that one will find these elements in all pieces, or that all pieces were structured in a similar way, however, by considering that music was approached as “musical speech”, we can get a sense of the role music played in society and the way people listened to it. Baroque Music Johann Sebastian Bach (1685 –1750) was a German composer and organist of the Baroque period. Born into a family of musicians, learned to play organ at an early age. In his later years he worked for many patrons, devoting himself primarily to the composition of sacred protestant works of the Lutheran choral tradition. He approached all the genres of his time: vocal music, music for organ, keyboard, lute, cello, large ensemble concertos and concertos for solo instruments. He is known for instrumental compositions such as the Art of Fugue, the Brandenburg Concertos, and the Goldberg Variations, and for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival he has been generally regarded as one of the greatest composers of the Western musical canon. Bourrée from the Suite for Lute BWV 996 - 2 Voices Constant presentation of the same rhythmic pattern: figura corta (short-short long) 0:00 Presentation of main Idea Introduction 0:06 Repetition of main idea, with a conclusion Statement 0:13 Repetition of Introduction 0:19 Statement – concluding the presentation. 0:25 Proposition – Elaboration of discourse. Contrary movement of main figure. First Part Preposition 0:31 Continuation of proposition – intensification. 0:37 Third instantiation of proposition – further intensification (higher in register) (Argument) 0:44 Elements of main idea re-introduced bringing the discourse to a close. Refutation/ Conclusion 0:50 Repetition of Second section: Proposition 1 0:56 Proposition 2 1:03 Proposition 3 1:09 Elements of main idea re-introduced bringing the discourse to a close. Second Part Two-Part Invention in C-Major MWV 772/786 A dialog between two speakers? presentation of the thesis and the anti-thesis (its contrary). Each voice “presents” its arguments and counter arguments. 0:00 Exhibition of main theme - (upward motion) Introduction 0:05 The elements of the main theme inverted (downward going) – presented 3 times and brought to a conclusion. Statement 0:12 Main theme comes again in the bass (low voice) and brings the section to a conclusion. 0:16 Dialog between both hands with the main theme 0:22 The elements of the main theme inverted now in the left hand (downward going) – presented 3 times and brought to a conclusion. 0:33 Main theme comes again in the higher voice and brings the section to a conclusion. 0:39 Dialog between both hands with the main theme inverted at first, then in original form repeated twice Argument 0:50 Sequence with the main theme to reach climax Refutation 0:55 Main theme in the lower voice and beginning of closing section. Conclusion Proposition Partita no. 2 for Violin in D – Minor Suite for violin solo composed around 1720. Bach was composing this piece while doing a tour. When he returned home he found out his wife had died and had been buried. Although the piece contains different pieces (stylized dances), all have a solemn and serious character. With regards to the symbolism assigned to D-minor, this tonality is solemn and ceremonial, modest, calm but also pompous. Ideal for sacred offerings and calmness. The music is demanding for the performer, who in some cases has to play more than one melodic line at the same time and create the illusion of a duo. Allemande: - Dialog between 2 voices – in one instrument. “Immanent polyphony” - Sonic discourse based on the generation of tension (dissonance) and its subsequent release (consonance) - Use of figures (tone motives): Repetition, Sequencing, - Expression of the melodic line. How is the register used? Brandenburg Concertos The Brandenburg Concertos are six instrumental pieces for large ensemble (orchestra), in which there is an interplay between soloist and the entire orchestra (tutti). Each concert has a slightly different instrumentation: No. 1 in F major: two corni da caccia (natural horns), three oboes, bassoon, violino piccolo, two violins, viola and basso continuo (harpsichord, cello, viola da gamba and/or violone) No. 2 in F major: Concertino (soloist): natural trumpet in F, recorder, oboe, violin; Ripieno (orchestra): two violins, viola, violone, cello and harpsichord (as basso continuo) No. 3 in G major: three violins, three violas, three cellos, and harpsichord (as basso continuo) No. 4 in G major: Concertino (soloists): violin and two recorders (described in the original score as "fiauti d'echo"); Ripieno (orchestra): two violins, viola, violone, cello and basso continuo (harpsichord and/or viola da gamba) No. 5 in D major: Concertino (soloists): harpsichord, violin, flute ; Ripieno (orchestra): violin, viola, cello and violone No. 6 in B? major: Instrumentation: two viole da braccio, two viole da gamba, cello, violone, and harpsichord The pieces were composed around 1721 and were dedicated to Christian Ludwig Margrave (Count) of Brandenburg, who commissioned the pieces. Brandenburg Concerto no. 3 BWV 1048: I. Allegro - Rhythmic fixation on the figura corta (short-short-long) for the entire first movement Registral “cascades” from high up (violins) to the lower strings) Moments of tension and release - Rhetorical structure? Music and Rhetoric - In the Baroque period, following the “separation” of vocal music from instrumental music, strategies and resources from classical rhetoric were applied to music. - Music composition was approached from the point of view of language for which musical “words” (figures) were used as a means of communicating specific topics. - The organization of the musical compositions was strongly oriented by the elements of the classical rhetoric, which were used in the composition of persuasive speeches. - Johann Sebastian Bach’s music shows a deep rhetorical inclination. However, he achieves a persuasiveness in his music, which exists independent of any text-source. Assigned Readings: The relationship between words and tones in Baroque Instrumental Music, Nikolaus Harnoncourt, in Music as Speech From Baroque to Classicism , Nikolaus Harnoncourt, in Music as Speech MIDTERM WRITE-UP The assignment will be published Monday morning of Week 6 and will be due on Monday of Week 7 at 11:59pm PST. The assignment will consist of 5 prompts, following the format of the first assignment. Remember to include examples to illuminate your points. Listening Examples: Bourrée from Suite in E-minor BWV 996, in Bach: Complete Lute Works CD 2, Konrad Junghänel Two-Part invention in C-Major, in Bach: Inventionen und Sinfonien / Französische Suite V, Till Fellner Allemande from D-Minor Partita no. 2, in Johann Sebastian Bach: Sonate e Partite, Stefano Montanari Brandenburg Concerto no. 3 in G Major – 1st. Movement – Allegro, in Bach, JS : Brandenburg Concertos Nos 1 – 6, Concentus Musicus Wien, Nikolaus Harnoncourt Bibliography Eggebrecht, Hans Heinrich, Musik im Abendland, 7. Auflage, Piper Verlag, München, 2008. Michaels, Ulrich, DTV-Atlas Musik, Deutscher Taschenbuch Verlag, München 2001 Unger, Hans-Heinrich, Die Beziehung zwischen Musik und Rhetorik im 16.-18. Jahrhundert, Georg Olms Verlag, Hildesheim, 2004 Baroque Music The Baroque Period In Art History, the Baroque is the period following the Renaissance. It comprises the time between the end of the Renaissance at the beginning of the 17th Century and the Classical period in the last third of the 18th century. There are some discussions regarding the word Baroque, some suggest it’s a Portuguese word that denotes a flawed pearl. The word acquired a rather “negative” connotation to denote exuberance, and pompousness. It’s a period of great changes in the field of science (Galileo, Newton, Kepler), philosophy (Descartes) in which all fields of knowledge undergo a process of systematic categorizations. In the arts, it’s a period characterized by contrast, symbolism, dramatic affect representation and artificiality. Musical Landscape (overview) Vocal music with accompaniment took place both in religious contexts or in the case of secular music, in private performances. Diversification of musical practice: Religious music, instrumental music, music for stage performance (Opera, Ballet), development of national styles (German, Italian, English, French – predominantly). Music combined with stage performance (Opera and Ballet). The first public opera house was inaugurated in Venice in 1637. Proliferation of instrumental music Monody and Basso Continuo The understanding of melody in which each voice was treated independently following certain rules of pitch combination made possible the classification of chords, which were now played by an instrument accompanying the solo voice. Solo Soprano Soprano Alto Tenor Bass Accompanying Instrument (Lute, Cembalo …) Representation of a polyphonic passage. The frames mark the moments where important chords appear. These were gradually classified with regards to their “function” in a system of (tension and release) Additional Chord notes Bass Line Monophonic arrangement. Representation of the upper voice with a chordal accompaniment. In some cases, only the bass notes were written with additional numbers and signs to specify which additional notes to play on top of the bass note (figured bass). This allowed for freedom and improvisation for the instrumentalists who had some flexibility to decide which notes to play (and how) always taking into consideration the main solo line. This new approach based on chords gave way to the establishment of major and minor tonality. Our present music system. Representation of emotion The affections –emotions such as sadness, joy, anger, love, fear, excitement, or wonder– were thought of as relatively stable states of the soul. Opera composers for example, sought to render a psychological portrait of a character aroused by a certain emotion. This was later employed in non-dramatic settings and became a characteristic or “feature” of the music of the time. By imitating the emotion in musical gestures –such as melodic and rhythmic motives, harmonic motion, meter and figuration- the composer expected to create the corresponding affection on the listener. Musica Poetica: Word painting, originally a used in vocal music was used in instrumental music to represent certain affects or concepts. (High register - mountain, descending chromatic tone-series –death) Barbara Strozzi (1619-1677) Italian virtuoso singer and composer. Born in Venice. Adopted by her natural father, Giulio Strozzi a poet and librettist who was an active participant in Venice’s intellectual circles. Strozzi studied composition with Pier Francesco Cavalli, the leading composer of his time. Through her father, she gained access to the elite, intimate circle of music connoisseurs in which her music and that of his contemporaries was performed. Between 1644 and 1664, Strozzi published eight collections of music. Her publications comprise many different genres such as madrigals, arias, cantatas, and motets. She was one of the most prolific composers of vocal chamber music of her time. Bernardo Strozzi – Viola da Gamba player. This painting is considered a portrait of the composer. Barbara Strozzi - Giusta negativa Right Refusal – Aria for soprano and basso continuo Non mi dite ch'io canti poter d'amor, perché dirò che sete de' musici il flagello e degli amanti. No no no signor no, bocca non aprirò. A chi cantar dev'io s'il bell'idolo mio lungi è da me? Venga l'idolo mio ch'io canto affé. Non mi dite ch'io suoni, forza del ciel, vi manderò là dove non mancano altri a voi musici buoni. No no no signor no, tasto non toccherò. A chi sonar dev'io s'il bell'idolo mio lungi è da me? Venga l'idolo mio ch'io suono affé. Don’t tell me to sing by the power of love, because I’ll say that it’s the bane of musicians and lovers. No, no, no sir, no! I won’t open my mouth. To whom should I sing if my beautiful idol is far away from me? Let him come and then I’ll certainly sing! Don’t tell me to play by the power of heaven, or I will send you to where there is no lack of other good musicians besides you! No, no, no sir, no! I won’t touch the keyboard. To whom should I play if my beloved is far away from me? Were he to come then I would surely play! Barbara Strozzi- Lagrime mie Lagrime mie, à che vi trattenete? Perché non isfogate il fier dolore Che mi toglie'l respiro e opprime il core? Lidia, che tant'adoro, Perch'un guardo pietoso, ahi, mi donò, Il paterno rigor l'impriggionò. Tra due mura rinchiusa Sta la bella innocente, Dove giunger non può raggio di sole; E quel che più mi duole Ed' accresc'al mio mal tormenti e pene, È che per mia cagione Provi male il mio bene. E voi, lumi dolenti, non piangete? Lagrime mie, à che vi trattenete? Lidia, ahimè, veggo mancarmi L'idol mio che tanto adoro; Sta colei tra duri marmi, Per cui spiro e pur non moro. Se la morte m'è gradita, Hor che son privo di spene, Dhe [deh], toglietemi la vita, Ve ne prego, aspre mie pene. Ma ben m'accorgo che per tormentarmi Maggiormente la sorte Mi niega anco la morte. Se dunque è vero, o Dio, Che sol del pianto mio Il rio destino ha sete, Lagrime mie, à che vi trattenete? Tears – represented through long downward melisma Change of affect/ questioning My tears, why do you hold back? continues inquiry. Expressive Why do you not let burst forth the fierce pain representation of pain change of affect/ sad that takes my breath and oppresses my heart? Because she looked on me with a favorable glance, change of affect. Lidia, whom I so much adore, Remembering? is imprisoned by her stern father. Between two walls describing the scene. Emotional distress the beautiful innocent one is enclosed, where the sun's rays can't reach her; and what grieves me most further build-up of sadness, guilt and and adds torment and pain to my suffering, frustration. is that my love suffers on my account. And you, grieving eyes, you don't weep? My tears, why do you hold back? Alas, I miss Lidia, the idol that I so much adore; she's enclosed in hard marble, the one for whom I sigh and yet do not die. Because I welcome death, now that I'm deprived of hope, Ah, take away my life, I implore you, my harsh pain. But I well realize that to torment me all the more fate denies me even death. Thus since it's true, oh God, that wicked destiny thirsts only for my weeping, tears, why do you hold back? The naturalistic sentiment of the renaissance gave way to an artificiality, which became possible only after a naturalistic view matured and became “aware” of itself, a control over nature. The arts of the Baroque period in contrast to those of the Renaissance are invested in affective representation as a means of “moving” the spectator. Example of Baroque Garden. Belvedere Palace. Vienna, Austria During this time, the inclination of music towards language exceeds the field of vocal music. Instrumental music “detaches” itself from an explicit connection to the human voice while at the same time maintains the expressive ideals of affect representation. Instrumental Music In the Renaissance music instruments were often used to reinforce the vocal parts. Gradually, dedicated music for instruments began circulating. First editions of printed instrumental music at the turn of the 17th century Arrangement of vocal pieces for Instruments. New music composed for keyboard instruments, plucked instruments. Music books were printed for home entertainment. Gradual development of an instrumental music independent of vocal music Lavinia Fontana – Self-portrait at the clavichord with a servant [1575] Instrumental Music In the early stages of instrumental music there were no specifications regarding the instruments. Only the different registers (soprano, alto, tenor.. etc) were specified. Different instruments were used for different contexts: trumpets, horns, drums - royal instruments (played at official ceremonies), also hunting events. Strings, Cembalo: court instruments. Trombone, organ – religious music The interest in affect expression of the baroque period contributed to the consolidation of the baroque orchestra. Preferred were instruments, which could have some possibility of loudness control. Gradually, the orchestra consolidated. In lofty courts, baroque orchestras had more than 20 musicians. Comprised by cembalo, violins, cellos, flute, oboe, horn. Renaissance vs. Baroque Architecture – An artistic analogy of important characteristics On top of the Elementary structure: Angular Design Few Decorations Preference for curvature and relieve Mostly Flat and static Heavy Ornamentation Preference for straight lines Dynamic instead of static impression Solemn and austere Dramatic and highly decorative San Giorgio Maggiore, Venice, 1576-1610. Arch. Andrea Palladio Neumunster Church, Würzburg, Germany. 17121716. Facade – Johann Baptiste and Dominicus Zimmermann Baroque music, as architecture, displays an interaction between the orderliness of structure and the dynamic nature of ornamentation. The latter enhances the underlying structure by adding decorative elements. Virtuoso performers and Composers Elisabeth-Claude Jacquet de la Guerre (1665-1729) was the French composer and virtuoso cembalo player. Born into a family of musicians and Instrument makers. Her talent as a gifted cembalo player granted her from a young age the sponsorship of Louis XIV and his wife Madame of Montespan. She is best known for her two published collections of harpsichord pieces and three books of cantatas. She also composed chamber music for different formations. She embraced the styles of her time such as dance suits and virtuoso chamber sonatas. She also composed the opera “Céphale et Procris”, which was premiered in Paris in 1694. Élisabeth Jacquet de La Guerre, Porträt von Jean François de Troy (1638 -1691). Cembalo Music Stylization of popular dances was a common genre in the baroque period. This does not mean that the pieces were danced to. It was a way to create a link of reference with an identifiable cultural object and through personal invention and creativity create music, which followed significant stylistic traits of that particular dance. The baroque suite contains different types of dances: Allemande, Courante, Sarabande, Gigue, Minuet. It could also contain other lesser known dances. Elisabeth Jacquet de La Guerre’s suites for cembalo display a high level of virtuosity. The ornamentation of the higher melody is characteristic of baroque keyboard music. Courante I from the “Pièces in D Minor”: Gigue from the Pièces in D Minor 0:00 First Section 0:00 First Section 0:28 Repetition of first section 0:28 Repetition of first section 0:55 second section 0:55 second section 1:29 Repetition of second section 1:27 Repetition of second section Similar to the toccatas (from the Italian ”toccare” to touch/play), Sonata from the Italian “sonare” (to play) are in the early baroque period instrumental pieces of great virtuosity. A sonata could be a singular piece, or a collection of character pieces put together. Contrary to the suite, which also is a collection of different stylized dances to be performed together, the music of sonatas is not related to dance music but might have more in common with vocal music in that the solo instruments have the same role as the solo singer of a monodic piece. Trio Sonata in G Minor I. Grave – Solemn and slow II. Presto – Presto – Adagio: Much more dynamic with imitation motives and contrary motion of ascending and descending figures. Energetic interaction between the voices. The last section changes suddenly in character. III. Presto – Récit de Basse – Virtuoso piece for the bass viol player. Concentration on a particular “gesture”/”figure”. The organ In addition to the cembalo and harpsichord, the organ belongs to the keyboard instruments, which were central to the music life of the baroque. In the context of religious music, the organ is the most representative instrument. The music practice developed somewhat differently in the catholic and the protestant contexts. The distinctive sound qualities (registers) that the instrument enabled made it a very versatile instrument to express different affective qualities. Organ music is technically demanding as well as sonically captivating. It became the signature sound of the music of the protestant faith. Dietrich Buxtehude Danish organist and composer active in Germany in the second half of the 17th century. Composed music for the protestant liturgy: Cantatas, choral preludes and variations. Also, secular instrumental works such as sonatas and music for keyboard. Influential figure, teacher of Bach. Preludium in D Minor, Bux WV 140 0:00 Opening – virtuoso section 1:05 Next section – fugato (imitative elaboration) 2:23 Next section - (change in sound/timbre) – similar to the beginning 3:10 Change of timbre (thin flute sound) 3:39 Mixing of registers (timbres-as if it were different instruments) 4:31 Closing section – Dense sonority Portrai of Buxtehude playing a viol from “A musical party” by Johannes Voorhout, 1674 Important Traits of the Baroque Period Dramatic affect representation, contrasting sections. Heavy ornamentation and artificiality as a way to “distort” the natural image. Stylization of popular dances for the enjoyment of the upper class Development of Instrumental music for different contexts. Listening Examples: Barbara Strozzi– Giusta Negativa (aria), in Las pasiones del alma, Cynthia Sánchez, Antiqva Metropoli Barbara Strozzi – Lacrime Mie (aria), in Las pasiones del alma, Cynthia Sánchez, Antiqva Metropoli Elisabeth Jacquet de La Guerre – Courante in D minor, in Jacquet de La Guerre: Complete Harpsichord Works, Francesca Lanfranco Elisabeth Jacquet de La Guerre – Gigue in D minor, in Jacquet de La Guerre: Complete Harpsichord Works, Francesca Lanfranco Elisabeth Jacquet de La Guerre – Trio Sonata in G Minor: II Presto – Presto – Adagio, in The Paris Album, Ensemble Diderot, Johannes Pramsohler Dietrich Buxtehude – Praeludium in D Minor, BuxWV 140, in Dietrich Buxtehude: Das Orgelwerk, Vol. 2, Totentanzorgel, St. Marien zu Lübeck, Ernst-Erich Stender Bibliography Dunbar, Julie C., Women, Music, Culture an Introduction, Second Edition, Routledge, New York 2016. Eggebrecht, Hans Heinrich, Musik im Abendland, 7. Auflage, Piper Verlag, München, 2008. Michaels, Ulrich, DTV-Atlas Musik, Deutscher Taschenbuch Verlag, Münschen 2001 Russano Hanning, Barbara, Concise History of Western Music, Fifth Edition, W. W. Norton & Company, New York, 2014. MUSIC IN THE SPANISH COLONIES OF THE AMERICAS The old world meets the “new world” Maps of cartographers Claudio Ptolemy (left) and Americo Vespucci A “New World” - The European ”Discovery” of the Americas Universalis Cosmographia or Waldseemüller map (1507) The old world meets the “new world” Aztec Music The Aztecs possessed no system of music notation –of if they did, none that the Europeans knew anything about; therefore, the Aztec musicians needed prodigious memory. Music had no independent life of its own apart from religious and cult observances; music as an art (in the western concept) was a concept alien to them. Music was regarded as essentially a means of communal rather than of individual expression, and therefore concerted rather than solo music was the norm. Instrumental performance was always conjoined to singing. Aztec Instruments Certain Instruments were thought to be of divine origin. Two instruments: the teponatzlli (wooden “reed drum”, and the huehuetl, were even held to be gods temporarily forced to endure earthly exile. They were both treated as idols as well as music instruments. Teponaztli – (wooden reed drum) of Malinalco Huehuetl Affinity in affective expression between European and Aztec music Aztec music communicated states of feeling that even the Spaniards, habituated in alien patterns of musical expression, could grasp and appreciate. Aztec music seems to have communicated in many instances the same emotions to Indian and European listener alike. A sad song, as they conceived it, was sad not only in the opinion of the Indians who heard it and understood the words, but also in the opinion of the Spaniards who heard it and did not know the words. Aztec dance depiction from the Tovar Codex The old world meets the “new world” In 1492 Christopher Columbus arrives for the first time to the Caribbean Islands. This is the beginning of a long process of an inequal cultural exchange, economic exploitation and cultural expansion. By the 1520’s most native civilizations (Aztecs, Incas, Toltecs, Maya) of the had been defeated by the Spaniards. The establishment of Spanish colonies throughout the continent set forth an ethnic and cultural miscegenation. Music was as important to the Aztecs as to the Europeans. It became a prominent role in the religious conversion of local population. Music as link between two different worlds Even at the moment of their initial contact with the Indians the Spaniards emphasized the primacy of music in worship […] The very first Sunday after they set foot on the spot later re-christened Veracruz two Indian governors arrived on an embassage from Montezuma; before any business could be transacted Cortés ordered an altar built, after the hasty erection of which Fray Bartolomé de Olmedo, “who was a fine singer, sung Mass”. True History of the Conquest of New Spain, Bernal Díaz del Castillo Few years after the siege of Tenochtitlan, the capital of the Aztec empire (now Mexico City) the first schools, monasteries, and chapels were built. The friars who were tasked to carry out the conversion of the slaves discovered that Music attracted the Natives. “At the time when the Indians began to learn the Ave Maria and the Pater Noster the friars in order to make the learning easier and more pleasurable gave theme these and other prayers, along with the commandments, in their own tongue and set to a pleasing plainchant melody. They were so eager to learn, and there were so many of them, that they fairly piled up in the courtyards of the churches and shrines and in their own sections of the town, singing and learning prayers for three or four hours on end; and their haste was so great that wherever they went, by day or by night, one could hear them on all sides singing and reciting the whole catechism. The Spaniards were amazed” Friar Pedro De Benavente “Motolinía”, History of the Indians 1524. “I can tell Your Majesty [Charles V] without exaggeration that there are already Indians here who are fully capable of preaching, teaching, and writing {in behalf of the faith]. And with the utmost sincerity I can affirm tht there are now trained singers among them who if they were to sing in Your Majesty’s Chapel at this moment would do so well that perhaps you would have to see them actually singing in order to believe it possible” Letter of Pedro De Gante (one of the first missionaries) to Charles the V from 1532. Experience has taught us how greatly edified the Indians are by sacred music; indeed the fathers who work directly with them and who hear their confessions tell us that more than by preaching the Indians are converted by the music. They come from great distances in order to hear it, and they ardently desire not only to learn the fundamentals but also to become really proficient in it”. Juan de Zumárraga, First Bishop of Mexico in a letter to King Charles V in 1540. Manuscript from mid 1500’s representing two Franciscan friars preaching to the Indigenous population. Music and Power Music became central in the conversion of the native Indigenous population. Musicians even enjoyed some privileges with regards to the other population. This was later strictly regulated due to a gradual change in the strategies of colonial governance. At first, musical manuscripts were brought from Spain, then came the Chapel Masters who were responsible for the musical activities in Cathedrals and relevant religious centers; lastly, new music was composed by Composers, both of European and indigenous decent. New compositions were written in Nahuatl (native Aztec language) with Christian-related topics. It was through these pieces that the Natives were gradually indoctrinated into the Christian faith. After realizing that music facilitated the conversion of the Native populations, friars were sent to the most remote places of the colonies in order to implement the same model used in the center and south of Mexico. The missions in California are a product of that colonial project. Franciscan Missions in California – Mid 18th Century Two prayers in Nahuatl Language attributed to Hernando Franco (Spain 1532 – Mexico 1585) Hernando Franco was the first chapel master at the Mexican Cathedral. Before arriving to Mexico city he was also active in Guatemala. Trained in Spain. Composed religious music most of which has been lost. He was known to lead a group of indigenous musicians and was a strong propulsor of the composition in native language to engage the indigenous community. Sancta maria yn ilhuicac cihuapille tonatzin dios yn titotenpantlatocantzin. Ma huel tehuatzin topan ximotlatolti yn titlatlaconhuanimen. Dios itlaconantzine cemicac ichpochtle cenca timitztotlatlauhtiliya ma topan ximotlatolti yn ilhuicac ixpantzinco in motlasoconetzin Jesu Christo. Ca onpa timoyeztica yn inahuactzinco yn motlaso conentzin Jesu Christo Holy Mary, Queen of Heaven, Mother of God, thou art our mediator. Intercede ("speak thou well") for us who are sinners. Oh precious Mother of God, oh eternal Virgin, we earnestly implore of thee: intercede for us. In heaven thou art in the presence of thy dearest Son, Jesus Christ. For thou art there beside Him. In heaven thou art in the presence of thy dearest Son, Jesus Christ. Musical landscape There is evidence of the existence of converted Indigenous, and African slaves participating in the musical culture, who contributed to the musical repertoire that gradually enhanced the existent European music repertoire. Unfortunately, many compositions have been lost. Indigenous Composers were active in religious life in Guatemala, and Oaxaca. In regions primarily inhabited by the native populations. The “peaceful” indoctrination of the indigenous populations was instantiated at first through the Friar Bartolomé de Las Casas, who advocated for a dignified treatment of the indigenous population. In addition to missions, many cities such as Mexico City, Puebla, Oaxaca, and Cusco in Perú had active musical chapels. Music production was almost exclusively in the hands of the church. Así Andando – Tomás Pascual 17th Century Tomás Pascual was a Chapel Master in San Juan Ixcoy, present day Guatemala who was active from from the second half of the 16th century to the first half of the 17th Century. He was of indigenous descent, he spoke Nahuatl, and was in charge of teaching reading, writing and singing to the indigenous population of his surroundings in addition to his duties as composer, copyist and musical director of the chapel. The text is sung in a homophonic manner. Showing a transitional style between the renaissance harmonic language with the baroque clarity of the text delivery. Así andando, el parto se me va acercando, andando así, quedando Virgen parí. As I’m walking, the birth is getting near. As a virgin I gave a birth. (Choir) Sin dolor parí con mucha alegría, y en Nazaret, al Señor que de los cielos venía, fue [en] mi vientre concebido, este día el mundo le está esperando en Belén. Without pain I happily gave birth, and in Nazareth, to the Lord that from heavens came, in my womb he was conceived. The world awaits him on this day in Belén. Colonial Society – The caste system The Spaniards that arrived from Spain to the American Colonies were categorized according to their lineage. They were either “old Christian” – Spanish Christian, Jewish or Moorish (north African Arabs and Christians). The slaves brought from Africa and the native populations created additional racial distinctions. The caste system was a hierarchical system, based on lineage purity (favoring the Christian Spanish – white- lineage). The system charted the different “offspring” of inter-racial partnerships. These depictions of inter-racial families such as this painting are fairly common in the 1700’s. However, diverse the society appeared to be. It was a quite hierarchical system, in which only those who had direct ties to the white colonizers were somewhat favored by the colonial administration. The Musical Songbook of the Oaxaca Cathedral This songbook was composed Gaspar Fernandez, a composer of Spanish descent born in Guatemala between 1609 and 1615. Fernandez was originally a chapel master at the Cathedral in Guatemala but then moved to Puebla to continue his work there. The songbook contains religious music, which was partially sung at religious festivities not necessarily pertaining to the actual mass celebration. The songbook is a historical document of importance because of the diverse musical styles and languages in which the pieces are composed. Additional to Spanish and Latin, there are compositions in Portuguese, Nahuatl (the language spoken by the Aztecs and other Indigenous groups), as well as a creole Spanish dialect, which was spoken by the African slaves. The Villancico An imported genre from Spain. The name villancico refers to the music sung by farmers/peasants alluding to an idealized, simplistic life in the countryside. The genre became popular in the territories occupied by the Spaniards. The themes were almost exclusively religious. They were sung at the end of religious ceremonies and were also used for dramatic representations of religious events. Some of the pieces, composed by composers of the ruling Spaniard class, incorporated musical traits from these communities as a strategy to make this new music seem familiar. The texts of the so called ”Negrillas” mock the Spanish spoken by the African slaves. These pieces represent scenes re were most likely dramatized. The lyrics to these pieces bare witness to the ill treatment they were subjected to. In some pieces, the Christian worldview of the time is presented as the answer to the condition of the slave population: Life is suffering but there is salvation in the after life. Representation of otherness Even though the colonial society was ethnically diverse, the white colonizers still controlled almost all aspects of society. The representations of Indigenous and African populations was always from the point of view of the Spaniards. In many pieces there are clear racial distinctions and clear reference to a pigmentocracy, in which “whiteness” is considered superior. Unfortunately, to this date there is no evidence of music of that period in which these marginalized groups of people “speak” for themselves. The Four Parts of The World – 9 sheet Panel – Juan Correa – End of the 17th Century Gaspar Fernandez - Ah negrito de cucurumbé Negrito de Cucurumbé Bisicaino losámi acé Qui vai buscan ñamé – Ah, black boy of Cucurumbé. – Let me cook Biscayan Go fetch the ñame. ¿y si cansarte? – And if you should get tired?– Ma, si que cansame, Que preso hartáme, De si pan qui dame Qui trasi pañoli de Santo Tomé Of course I get tired, I was stuff with that bread they gave me, In the hold that brought me From São Tomé (Saint Thomas) Gurumbé Gurumbé, gurumbé, Gurumbé...– Sidra piensas, sidra bebes, mientes, ¡sangre de Dios es! que por eso tanto puedes, que vuelves hombre al revés cuando comas como debes If you think of cider, you drink cider, You lie, it is the blood of God! Thus you are so powerful That you turn men aroundWhen you eat as you should. Expressing exhaustion, suffering and frustration. Possibly a place, but also a parody of the way the slaves spoke spanish Eso rigor e repente – Gaspar Fernandez Explicit depiction of white dominance and differentiation on the base of color. Whiteness as representing happiness, and joy Depictions of different African groups (Guinean, Angolan) and their steretypes. Gaspar Fernandez - Venimo con Glan Contento (We come with much joy) Dialog between different villagers. One group accounting for the birth of Jesus. The other group celebrating preparing for celebration. But reprimanded in their celebration A: Venimo con glan contento De Sevilla plima mía A: We come with much Joy from Sevilla, my cousin B: Di, ¿qué viste, hermana Amalia? B: Tell us, what did you see, sister Amalia? A: De mi dioso lo nacimiento A: The birth of my god. B: Dilo plima, salemo atento B: Tell us, my cousin. We will pay attention. B: Pondemo lo turu Cantalo tu así; Mungo lo mungo Tumbe que tu. A: Cante guineano, allá maricongo, ni mandinga ni tumbe que tu B: ¡Ah Jesú! que saremo cayando que cayado saremo, cantalo tú. B: We will set every thing up Sing it like this: Mungo lo mungo Tumbe que tu. The second group prepares for celebration using their customs. Guinean song and maricongo over there, Neither mandinga, Nor Tumbe que tu The first group sanctions the celebrations B: Oh, Jeus, We will be quiet Quiet, we’ll be You do the singing. The second group abides and lets the first group lead in ”the right way” of singing Gaspar Fernandez – Xicochi Conentzintle - Lullaby for baby Jesus in Nahuatl (Language spoken by the Aztecs) Xicochi conetzintle. Caomiz huihui joco in angelos me, Aleloya. Gently sleep, little Child. Cry no more, for the angels are here. Alleluia. Juana Inés de la Cruz[ (12 November 1648 – 17 April 1695) was a Mexican writer, philosopher, composer, poet of the Baroque period, and Hieronymite nun. She was known as "The Tenth Muse" and "The Phoenix of Mexico”. She was an outspoken woman who spoke critical of the "religious authoritarianism” under which she lived. She held correspondence with philosophers in continental Europe such as Athanasius Kircher and wrote extensive mystical poems, theatre plays, composed villancicos and even wrote a musical treatise (now lost). Portrait of Sor Juana by Juan de Miranda (1680) “You stubborn men that accuse women with no reason, without realizing that you're to blame of the same things you blame on them” From her poem “You stubborn men that accuse” Listening examples Herando Franco – Sancta Mariae inilhuicac, in El Nuevo Mundo 17th Century Music in Latin America, Ensemble Elyma, Gabriel Garrido Herando Franco – Dios Itlazonantzine, in El Nuevo Mundo 17th Century Music in Latin America, Ensemble Elyma, Gabriel Garrido Tomás Pascual, Así Andando, in Bermudez: Música en la Catedral de Guatemala, Ars Longa de La Habana, Teresa Paz Gaspar Fernandez – Negrito de Cucurumbé, in Musique à la Cathédrale d’Oaxaca, Ensemble Elyma, Coro de la Ciudad de Granada, Gabriel Garrido Gaspar Fernandez - Eso rigor de repente, in Música del Pasado de América Vol. 5 Virreinato de Nueva España, Camerata Renacentista de Caracas, Isabel Palacios Gaspar Fernandez – Venimo con glan content, in Musique à la Cathédrale d’Oaxaca, Ensemble Elyma, Coro de la Ciudad de Granada, Gabriel Garrido Gaspar Fernandez – Xicochi Conentzintle, in Música del Pasado de América Vol. 5 Virreinato de Nueva España, Camerata Renacentista de Caracas, Isabel Palacios Bibliography Cruz, Eloy, De cómo una letra hace la diferencia, las obras en Náhuatl atribuidas a Don Hernando Franco, Estudios de Cultura Náhuatl, no. 32, p. 63, UNAM, México, 2001 Michaels, Ulrich, DTV-Atlas Musik, Deutscher Taschenbuch Verlag, Münschen 2001 Stevenson, Robert, Music In Mexico, a historical survey. New York, Crowell 1952. The Renaissance Madrigal Monody and the Development of the Opera Musical Development of the Renaissance (overview) The rediscovery and application of ancient Greek musical concepts The impact of humanism in the shift from a strongly numeric and rational based to a sensory and emotion-grounded musical theory The new discovered relationship between music and language The professionalization of music and the development of a cultivated musical culture in non-religious settings. The Italian Madrigal of the Renaissance Musical Genre inspired by the Italian poetry of the time in which the sound quality of the verses was used as a means to match their meaning - Rough sounding consonants for harsh sentiments - Smooth consonants and rich vowel content for tender thoughts The madrigal of the renaissance through-composed setting of short poems. Unlike the fixed pattern and repetitive musical structure of the trecento madrigal. Through composed: every line of the poem received a different. musical setting reflecting the rhythm and sense of the words. The Italian Madrigal of The Renaissance Originated as an informal genre for the enjoyment of singers in private settings gradually gaining notoriety and expanding into a specialized genre that required highly skilled singers. The subject matter was ether heroic or sentimental becoming more sensual and even erotic as the genre developed. The double entendre (double meaning) of certain texts is explicit in the music: Sexual climax represented as Death – (Little Death was the term given to orgasm in the Renaissance. The content of the text was represented in music through word painting, a strategy to represent objects or concepts musically. The genre emerged in the first half of the 16th century arriving at its high-point at the beginning of the 17th century. Music, language and Double Entendres Il Bianco e Dolce Cigno – The White and Sweet Swan – Jacques Arcadelt (1507 – 1568 ) Composer part of the Franco-Flemish school. Born in Northern France or Belgium, moved to Italy at an early age. Sang at the Papal chapel in Rome and later active as a composer in Florence. He is mostly known for his Madrigals and other secular compositions. Il bianco e dolce cigno cantando more The white and lovely swan dies singing, (homophonic texture - all singers singing together) ed io piangendo, giung' al fin del viver mio and crying I reach the end of my life. (continuation and conclusion of phrase – repeated twice) Stran' e diversa sorte, ch'ei more sconsolato. Ed io moro beato Strange is it that the swan dies without comfort And that I die joyfully (blessed) (polyphonic setting ending all together) Morte che nel morire m'empie di gioia tutt' e di desirio; A death that fulfills me with happiness and desire (homophonic setting) Se nel morir' altro dolor non sento, If in dying I don’t feel other misery (Homophonic setting) Di mille mort' il di sarei contendo. I would be happy to die a thousand deaths a day.( Polyphonic setting – repeating the word mille (thousand) many times (expressing the many deaths) Text representation in Madrigals Word Painting (Object representation through musical/sonic gestures) Sound Affect (character/mood) created through harmony in each passage Maddalena Casulana (c. 1540 – 1590) Renown composer and virtuoso singer of the second half of the 16th century. She studied music at an academy in Venice and was active in Florence in the 16th century and was referenced in print as a “muse” and a “siren”. She was one of the few women in the renaissance who could publish her music. Possibly in part through the support of her employer Isabella de Medici. In the first book of Madrigals she writes a dedication to Isabella de’ Medici, the main musical subject of these madrigals: “I know truly most excellent Lady, that these first fruits of mine, flawed as they are, cannot produce the effect that I desire, which would be in addition to providing some evidence of my devotion to Your Excellency, also to show the world the futile error of men who believe themselves patrons of the high gifts of intellect, which according to them cannot be held in the same way by women. Because of all this, I did not wish to fail to publish them, hoping that in Your Excellency’s bright name they would achieve such light as might kindle some other, higher talent to succed more clearly in that which except for the spirit, I have not been able to show” Venice, April 10, 1568. from Your Excellency’s most humble servant, Maddalena Casulana “Morir non puo il mio cuore” (1566) – Maddalena Casulana Madrigal for four voices with a poetic text about love Things to listen for: Polyphonic setting as voices enter separately and overlap on the text “morir” (die) Opening phrase ending in unison on “cuore” (heart) Homophonic setting of “I would like to kill it” expresses unified desire for pleasure Polyphonic setting of “but it cannot be pulled out” expresses effort and struggle, a reluctance to pull the heart from the breast. Homophonic setting of “where it has been dwelling for some time” Longer note values express the lingering of the heart Polyphonic setting of “I know that you would die, and I would die too”; chromatism, ascending pitch, and peak rhythmic activity signifies tension (climax?) Repeated musical setting of final line of text Anti-climatic ending signified by unison and slowed rhythm My heart cannot die: I would like to kill it since that would please you, but it cannot be pulled out of your breast, where it has been dwelling for a long time; and if I killed it, as I wish, I know that you would die, and I would die too Secular music and the impact of women in music Women were very active in music in Renaissance: From teachers, composers, highly skilled singers, to leaders of singing groups. The activity of highly trained women singers encouraged composers to write challenging music for the higher register (female sung parts). This will have a lasting impact in music. Outside of the professional music world, women played instruments at home. Preferred instruments were those who didn’t distort the women’s expression while playing those who demanded of the ”unlady-like” postures. The Lute (an Arab stringed instrument introduced in Spain), as well as Keyboard instruments were common instruments played by women. Late Madrigal – Manneristic style - Dolcissima Mia Vita – Carlo Gesualdo (ca. 1560 – 1513) Affect representation using chromatic passages (melodic lines using the smallest interval) My sweet beloved (homoponic texture) Dolcissima mia vita, My beloved (homoponic texture) Mia vita Why do you withhold (slow unfolding polyphonic texture manifesting the lag implied in withholding) a che tardate (polyphonic texture) The longed-for relief (homophonic texture) Stressing of the word relief/aid la bramata aita? Perhaps you think Credete forse That the burning desire (fire) where I burn (lively polyphonic texture imitating the flickering of fire) che'l bel foco ond' ardo, Will end because you turn your gaze away sia per finir perché torcete il guardo? Alas, this cannot be Ahi, non fia mai, What my desire longs for ché brama il mio desire To either love you or die - (homophonic texture) – developing polyphonic texture with the word morire (to die) o d'amarti, o morire The Monody and the revival of Greek Music Drama The revival of Greek Music in intellectual circles led to the rediscovery and re-appreciation of music accompanied by poetry. Following the Greek ideal of sung poetry with an instrumental accompaniment, they conceived the Monody: a single melodic line with simple accompaniment on a string instrument such as the lute. This new musical style was called “Seconda Prattica” (second practice) that, similarly to the singerpoets of the antiquity used only one voice and an accompanying instrument. The polyphonic style now named Prima Prattica continued to develop. The freedom of the vocal delivery of the monody allowed for an even closer relationship between music and text. The accompanying instrument(s) provided the harmonic support and contributed to the phrasing of the sung passages. Lasciatemi qui solo – Francesca Caccini – Aria (Monody) Stanza 1 Lasciatemi qui solo – Leave me here alone, Torante augelli al nido – Return, birds, to your nests, Mentre l’anim’e ‘l duolo – While my soul, and my pain Spiro su questo lido – I give up on these shores. Altri meco non voglio – I want no one else with me Ch’un freddo scoglio – Other than a cold rock, E ‘l moi fatal martire – And my fated death. Lasciatemi moirire – Leave me to die Stanza 4 Fekicissimi amanti – Happiest lovers Torante al bel diletto – Return to your beautiful pleasures Fere eccels’o notanti – Wild beasts, whether birds or fish Fuggite il mesto aspetto – Flee from this sad countenance Sol dolcezza di morte – Only the sweetness of death Apra le porte – Should open its doors All’ ultimo Languire – To this final languishing Lasciatemi morire – Leave me to die. Stanza 2 Dolcissime sirene – Sweetest sirens Che’n si pietoso canto – Who with such merciful song Raddolcite mie pene – Sweeten my sufferings and Fate soave il pianto – Soften my weeping Movet’ il nuoto altronde – Go elsewhere to swim Togliete all’onde – Dampen the waves’ I crudi sdegni, e l’ire – Cruel scorn, and their ire Lasciatemi morire – Leave me to die. Stanza 5 Avarissimi lumi – Most avaricious eyes Che su ‘l morir versate – That on point of death spill Amarissimi fiumi – The bitterest rivers Tard’e vostra pietate – Your pity comes too late Gia mi sento mancare – Already I feel myself fail O luci avar’e – Oh eyes, stingy Tarde al mio conforto – And slow to comfort me Gia sono esangu’e smorto – I am already bloodless and lifeless. Stanza 3 Placidissimi venti – Calmest winds Torante al vostro speco – Return to your cave Sol miei duri lamenti – I ask that only my harsh laments Chieggo che restin meco – Remain with me Vostri sospir non chiamo – I do not call upon your sighs Solingo bramo – Alone I wish I miei dolor finire – To end my sufferings Lasciatemi morire – Leave me alone to die The Monody and the revival of Greek Music Drama The singing voice as an imitation of the speaker’s affective state was modelled after the monody of the Greek Tragedy in which the monody was used in affectively charged lament songs The dramatic effect of this new style made the monody appropriate for the Opera: A new genre which combined music and dramatic performance The opera was an attempt of a revival of the Greek Tragedy, as an art form that combined words and music in such a way that the emotional expression of the text could be mirrored in music The new singing style, which was a combination of singing and reciting “stile recitativo” was combined with instrumental music passages as well as choir following the model of Greek Tragedy The first Operas were composed at the end of the 16th century in the circle of the Florentine Camerata, an academy of intellectual men and women who brought back to life the musical ideals of the ancient Greeks. The content of the operas came from the tradition of the Pastoral drama, a dramatic form that developed from poetry in which nature and rural life were idealized. Also, texts from Greek and Roman mythology. The first fully composed opera with explicit instrumental parts assigned to particular scenes was “Orfeo” from the Italian composer Claudio Monteverdi, premiered in 1607 in Mantua, Italy. Monteverdi’s L’Orfeo Monteverdi’s L’Orfeo tells the Greek myth of Orpheus, a singer and lyre player of extraordinary talent who travels through the underworld to save his deceased wife, Eurydice. The Aria “Tu se’ morta, mia vita, ed io respiro” (You are dead, my love, and I breathe). Is a lament sung by Orfeo to his deceased wife in the second act (large section) of the opera. Tu se' morta, mia vita, ed io respiro? tu se' da me partita per mai più non tornare, ed io rimango? No, che se i versi alcuna cosa ponno n'andrò sicuro a' più profondi abissi, e intenerito il cor del re de l'ombre meco trarrotti a riveder le stelle. O se ciò negherammi empio destino rimarrò teco in compagnia di morte, a dio, terra; a dio, cielo; e sole, a dio. You are dead, my darling, and I breathe? You have departed from me never to return, and I remain? No, that if my verses can do but one thing I will go confidently to the deepest abysses, and having softened the heart of the king of shadows, I will bring you back with me to see the stars again. Or if impious fate were to deny me this I will remain with you in the company of death, farewell, earth; farewell, sky; and sun, farewell. Francesca Caccini (1587 – 1641) Francesca Caccini was born in Florence in 1587. She was part of a musical family. Her Father, Giulio Caccini was a prominent composer and representative of the newly developed Seconda Prattica. Francesca Caccini sang in her family’s ensemble “Concerto Caccini”. Her talent as singer gained her notoriety. She began composing music for events for the courts around Italy and gradually caught the attention of wealthy patrons such as the Regent Archiduchess Maria Magdalena of Austria, wife of Cosismo II de Medici. Francesca Caccini’s La Liberazione di Ruggiero English "The Liberation of Ruggiero from the island of Alcina" Comic opera in four scenes, premiered in 1625 in Florence. It is the first documented Opera composed by a woman. Based on Ludovico Ariosto’s Orlando Furioso (Raging Roland), which has its origins in the medieval French chivalric Romance Chanson de Roland of the 11th century. The opera centers on Alcina and Melissa, two contrasting sorceresses, and their competition for the soul and body of Ruggiero, a warrior. Alcina is sensual in nature while Melissa is moralistic. Melissa’s aim is to save Ruggerio from Alcina’s sexual spells and restore him to his military duty and to his fiancée Bradamante. She seeks out Ruggiero in the disguise of his aging African teacher Atlante and tries to convince him to return to battle. Melissa manages the feat and promises to return for other victims of Alcina’s power. When Alcina returns and realizes that Ruggiero is gone, she seeks him out, confronts him, but ultimately fails to win him back. She calls on monsters for her aid and rides off on a dragon. Creatures that had been trapped in the bodies of the island’s plants rise up and then they plead with Melissa to free the women and men who are plants on the island. She does just that and everyone celebrates. Synopsis of Listening passage: La liberazione di Ruggiero – Francesca Caccini Sinfonia - (Introductory Instrumental Piece) Prologo[At Sea] Neptune, god of the sea, summons other water deities to sing in praise of the visiting Polish royal guest, Prince Wladislas Sigismund. The Spirit of the River Vistula and a Chorus of Other Water Deities call on Phoebus Apollo to help in this praise; then Neptune introduces the story of Ruggiero. What to listen for? The different settings to text – Reciting solo style with instrumental accompaniment Choral singing Prologue: [At Sea] Neptune: Not because the African and chorus, conspiring together Against famous Aeneas, arm themselves with anger; Not because Jove comes to my great kingdom Changed for the sake of gentle Europa into a bull; Ritornello (Instrumental refrain) But to marvel that, within the Tuscan shores Among Flora’s fair suns, the bright Son Of the great Sarmatian King opens his eyes, Do I, Monarch of the Sea, come out of the waves.. Ritornello (Instrumental refrain) Come with me, and with sonorous voices, Spirits of the Waters, honour in peace Him who defeated in war the Moscovite And the Thracian and beat the fierce Tartars. Ritornello (Instrumental refrain) Sovereign irrigator of [my] noble kingdom, Faithful tributary to me, it is fitting for you, Vistula, to sing the immense praises Which gladly the Tuscan kingdom celebrates. River Vistula: O [thou], of the watery kingdom The revered Lord, to utter the praises Of these glorious kings These waters have not the trumpets. Although the heart blazes with deep desire to do so. It is [thus] silent and sighs for it. Only the lyre of Phoebus For this unconquered Mars Whom all admire Can utter [even] a part of [his] glories And fill pages with [his] immortal fame.. We, to the sound of these waves, Will beg him in the meantime That he may satisfy your desires With his fine singing Chorus of Water Deities: Golden-haired god of fair Parnassus Set in motion rich [reverberations] [Of] a most sweet sound from [your] golden strings, And let the harmony consonant Always be To the valour of [this] most brave king. Duo: For [his] ardour, for the toil of Bellona [Goddess of war, sister of Mars] Weave for [his] hair a fair garland. Make audible, O kindly Deity, The wonderful sound of his glory. Trio: Do so none the less, From your fair breast While is silent The fierce trumpet in happy peace. b.180: Tenors and Sopranos: Make audible, o kindly Deity, The wonderful sound of his glory. Neptune: After sky and sea today decree Equal sway to thy great valour, may it please you to hear how Ruggiero Abandoned the love of evil Alcina. Ritornello (Instrumental refrain) Through the ardour of his betrothed for her faithful lover He spurned the evil sorceress’s base deceits. The brave-hearted courage of the loving prince Creates a joyful sight for [her] royal heart. Chorus of Water Deities: Golden-haired god of fair Parnassus Set in motion rich [reverberations] [Of] a most sweet sound from [your] golden strings, And let the harmony consonant Always be To the valour of [this] most brave king. The development of an expressive art between music and language - The Madrigals of the Italian renaissance attempted to express musically the poetic content of the text - The development of an expressive vocal genre in which the representation of the text was reinforced with musical means. - The combination of dramatic texts and music in a new artistic form called the Opera modelled after the Greek Tragedy Listenings Jacques Arcadelt - Il bianco e dolce cigno, in Jacques Arcadelt, The King Singers, Anthony Rooley, Dir. Maddalena Casulana – Morir non puo il mio cuore, English and Italian Renaissance Madrigals, The Hilliard Ensemble Carlo Gesualdo – Dolcissima, Mia Vita, in Gesualdo, Madrigals Books 5 and 6, Delitiae Musicae, Marco Longhini, Dir Francesca Caccini – Lasciatemi Qui Solo, in Il Canto delle Dame, Compositrices du Seicento, Maria Cristina Kiehr, Jean-Marc Aymes, Concerto Soave Claudio Monteverdi, Tu se’ morta, mia vita, ed io respiro?, in Monteverdi, L’Orpheo, Concerto Vocale, René Jacobs Francesca Caccini – Prologue from the Opera La Liberazione di Ruggiero dall’Isola di Alcina, Mauro Borgioni, Allabastrina, La Pifarescha, Elena Sartori Bibliography Dunbar, Julie C., Women, Music, Culture an Introduction, Second Edition, Routledge, New York 2016. Eggebrecht, Hans Heinrich, Musik im Abendland, 7. Auflage, Piper Verlag, München, 2008. Michaels, Ulrich, DTV-Atlas Musik, Deutscher Taschenbuch Verlag, Münschen 2001 Russano Hanning, Barbara, Concise History of Western Music, Fifth Edition, W. W. Norton & Company, New York, 2014. The Renaissance The Renaissance The Term Renaissance was coined by the French historian Jules Michelet in 1855 in his ”Histoire de France” to designate the historical period after the Middle Ages. Artistic currents already strong in the Middle Ages continued while new technologies were introduced such as the oil painting and the printing press as well, which had an impact in the production of new works. Classical antiquity provided an inspiration for something new, including new ways to read and understand the Bible, new literature in vernacular languages, realism in sculpture and painting. In literature and visual arts, the renaissance began in Italy and gradually spread north. In music, northern composers played the leading role in the 15th century. Italy became the center for music in the 16th century. Musical Printing Fragment of “Adieu mes amours” by Josquin des Près As published in one of the first printed collection of polyphonic music in 1501: Harmonice musices odhecaton A (One hundred songs of harmonic music) by Ottaviano Petrucci The economic system also went through important changes. The feudal system of the middle ages gave way to an economy based on trade. Towns and cities prospered from it and many city dwellers accumulated wealth through commerce, banking, and crafts. Rulers sought to glorify themselves and their communities by erecting impressive palaces and country houses decorated with new works of art and by hosting lavish entertainment and supporting talented musicians. The Re-discovery of the Classic Antiquity In the 15th century Italy began to dominate commercially. Its strategic geographical connection contributed to its development as strategic center for commercial enterprises between the far east and the west. Italy’s connection to Byzantium through trade made the link between Western Europe and the Eastern Roman Empire where the knowledge of the classic antiquity was conserved. Additionally, the conquest of Constantinople by the Ottomans produced migration of Byzantine scholars to Italy and other countries in the West, who brought with them numerous Greek writings and taught Greek language to Italian scholars. A new world view centered around human knowledge As a result of this exposure to Greek Language numerous works by classical authors were translated into Latin, including musical treaties by Greek Authors, including writings by Plato and Aristotle. The humanist conception of the classical authors created a gradual a shift in the world view at the time. Humanism replaced Scholasticism in philosophy, which lead to a shift in intellectual priorities from the Natural Philosophy and Logic-dominated Scholasticism to an approach that fostered reasoning and empirical evidence. It was believed that these new teachings developed the individual’s mind and spirit. Musical Culture of the Renaissance The revival of Greek music theory revived the discussion concerning the affective power of the musical modes, which stated that every mode had a particular affect that moved the listener. A renewed interest between poetry and music made composers reconsider musical phrasing to mirror the structure of the poetic text. Musical printing allowed for a multiplication of theoretical texts and repertoire, which became available to a wider audience. New musical institutions and support for musicians led to a flourishing of professional music-making. Rulers all over Europe established their own court chapels and hired musicians and clerics to staff them. The members of the chapel served as performers, composers and scribes furnishing music for church services but also for secular entertainment. New Musical Currents and Centers of M..