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The Baroque Era: 1600 – 1750 Introduction:The Long SeventeenthCentury
• Scientific revolution
• Colonialism
• Capitalism
• Patronage
Europe: Seventeenth Century
Baroque Era: 1600–1750
Original meaning: “abnormal,” “bizarre,” “grotesque”
flamboyant, theatrical, expressive tendencies
diversity of stylesArtemisia Gentileschi, ca. 1620, Judith Slaying Holofernes
From Renaissance to Baroque…
Drama• Literature
Shakespeare, Milton, Cervantes
• Art/architecture Bernini
Ecstasy of St. Teresa, 1647 – 1652
• the affections emotion, humour, passion opera sensory, physical,
psychological
The Musical Baroque
conservatives vs. innovators• prima pratica v. seconda pratica
Instrumental music• ostinato basses• harmonic patterns • recurring tutti sections
Order v. Disorder – dialectic of control/freedom
The Musical Baroque (cont’d)
Concertato medium
Harmony • Chords/dissonance• Chromaticism• from modal tonal
Homophonic textures• melody + bassline
(firm, figured, ground, thoroughbass)
The Musical Baroque (cont’d) Italian trends dominate
• basso continuo (Caccini, Vedrò ‘l mio sol NAWM 72)
• unprepared dissonances• solo voice (florid) + bass line
(firm, figured)• recitative
Regular, flexible rhythms• barlines to mark measures
Homophonic textures• melody + bassline (firm,
figured, ground, thoroughbass)
Forerunners of Opera music and drama – Ancient
Greece• choruses, principal lyric
speeches• Renaissance plays: songs,
offstage music Renaissance antecedents
• intermedio, pastoral drama, Greek tragedy
Florentine Camerata (1570s)• academy, performance,
discussion (ancient v. modern)
The First Operas
Recreate ancient genre in modern form• Bardi in Rome, 1592• Peri and Rinuccini’s Dafne
(1598) pastoral poem, staged drama,
sung throughout
L’Euridice, 1600• NAWM 73 – recitative style,
dialogue Monteverdi’s Orfeo (1607)
• NAWM 74d, ‘‘Tu se’ morta’’
“Tu se’ morta” (NAWM 74d)
Opera in Rome and Venice
Rome: center for opera, 1620s• subjects : lives of saints, episodes from Italian epics,
comedy• spectacular stage effects • recitative and aria
recitatives: speechlike arias: melodious, strophic
• castrati women prohibited from stage in Rome female roles sung by castrati
Opera in Rome and Venice (cont’d)
Venice: • 1637 first public opera
house, Teatro San Cassiano
• audience diversity supported by rich merchants wealthiest families rented
boxes• L’incoronazione di
Poppea (The Coronation of Poppea), 1643