CONCERTMUSIC(1630-1750)

EDITED BY

GERALD ABRAHAM

OXFORD NEW YORK

OXFORD UNIVERSITY PRESS

1986

CONTENTS

ILLUSTRATIONS XU

INTRODUCTION TO VOLUMES V AND VI xiii

EDITOR'S NOTE xxi

I. ODE AND ORATORIO IN ENGLAND.(a) DIALOGUE AND ODE. By ROSAMOND MCGUINNESS,Senior Lecturer in Music, Royal Holloway College, Universityof London 1

The Problem of Nomenclature 1The Biblical Dialogues 2Court Odes 7Texts of the Odes 8Literary Origins 9Charles II as Catalyst 10The Earlier Restoration Odes 11The Heyday of Blow and Purcell 15Handel's Birthday Ode 21

(b) ORATORIO AND RELATED FORMS. By ANTHONYHICKS and GERALD ABRAHAM 23

The First English Oratorio 25Text and Music of Esther 26The Chapel Royal Connection 30Gates's Performances 31Oratorio, Ode, and Serenata: 1732-41 34Oratorio at Covent Garden 34Handel's Deborah 37Athalia 40// Parnasso in Festa 42Variety of Forms: 1736-40 45Alexander's Feast 47// Trionfo Reworked 50Saul 51Israel in Egypt 54The Cecilia Ode and L'Allegro 56An Alternative Tradition 64Greene's Deborah 65Boyce's David's Lamentation 70Greene's Jephtha 74Boyce's Solomon 78Messiah 82

CONTENTS

The Oratorio Concept 84Handel's Last Decade of Oratorio 88Jephtha 92Arne's Judith 92

II. SOLO SONG AND VOCAL DUET.(a) ITALY. By HANS JOACHIM MARX, Professor of Musicology,University of Hamburg 97

The Chamber Cantata 97The Cantata in Rome 99Venetian and Bolognese Composers 102Alessandro Scarlatti 106Handel's Italian Cantatas 110Neapolitan Cantatas in the Early Eighteenth Century 114The Chamber Duet 120

(b) GERMANY. By HANS JOACHIM MARX 124

Diffusion of the Italian Cantata 124German Cantata Texts ^ 126The German Secular Cantata 127The German Continuo Song 130

(c) ENGLAND. By IAN SPINK, Professor of Music, RoyalHolloway College, University of London 134

Declamatory and Tuneful Ayres 134Purcell and his Contemporaries 139Cantata and Ballad: 1710-50 147

(d) FRANCE. By DAVID TUNLEY, Professor of Music, Universityof Western A ustralia 154

The Seventeenth-Century French Air 154Categories of Seventeenth-Century Song 159Poetic Texts 160Serious Songs 161Dance Songs and Drinking Songs 167Antecedents of the Cantate franqaise 172New Influences on the Cantata 172Stylistic Traits of the Cantate franqaise 173Cantata Texts 180Development of the Cantata 181The Cantatille 183

III. MUSIC FOR INSTRUMENTAL ENSEMBLE: 1630-1700.By WALTER KOLNEDER, Professor of Musicology, Hochschulefur Musik, Karlsruhe

Variety of Instrumental FormsThe Canzon in ItalyThe Canzon in the German Lands

CONTENTS vii

The Sonata da chiesa 194The Concerto grosso 206Corelli's Concerti 210Origins of the Contrast Principle 214The Opera Overture 217The French Overture 220The Three-Movement Sinfonia. 225The Suite 227The Dominance of French Influence 230

IV. ORCHESTRAL MUSIC IN THE EARLY EIGHTEENTHCENTURY. By WALTER KOLNEDER 233

Conditions and Resources 233Constitution of Orchestras 236Output of Works 238The Suite 239

JTelemann's Suites 242The Charaktersuite 247The Suite in Italy 248The Suite in England 250Bach's Orchestral Suites 250The Opera Overture 256The Orchestra in French Opera 257The Non-Operatic Overture 259The Concerto grosso 260The Handelian 'Grand Concerto' - 262Bach's Brandenburg Concertos 263Other Masters of the Concerto grosso 268The Concerto in England 272The Concerto in France 274The Concerto ripieno 276The Orchestra in Church Music 284Music of the Lutheran Church 286From Sinfonia to Symphony . 290The Sinfonia in Transition 292The Change in Melodic Style 296The Merging of Streams 300

V. THE SOLO CONCERTO. By WALTER KOLNEDER 302Solo Concerto Movement and Solo Concerto in Vivaldi 303Structure of the Ritornello 307Recurrences of the Ritornello 315Recapitulation 316Solo in the Ritornello 318The Solo Sections 320Ritornello Motives in the Accompaniment 328

CONTENTS

The Solo CadenzaThe Middle MovementEarly History of the Solo ConcertoTorelli's Concerti MusicaliTorelli in GermanyAlbinoniJacchini's Cello ConcertosTorelli's Later WorksThe Solo Concerto in GermanyBach and the Italian StyleBach and the Concerto FormThe Keyboard ConcertoOther Means of ContrastQuantz on the ConcertoThe Solo Concerto in FranceThe Keyboard Concerto in EnglandThe Italian Solo Concerto after VivaldiTartini and his School

VI. CONCERTED CHAMBER MUSIC. By ERNST H. MEYER,Professor Emeritus, Humboldt University, Berlin

Music for the Individual ListenerThe Forms and Styles of 'Abstract' MusicMethods of UnificationThe Fugal ElementMelodic and Harmonic StyleItalyVeniceBolognaModenaCorelli's Trio SonatasChanges in TerminologyAustriaBohemia and MoraviaInstrumental Music in PolandGermanyThe North German SchoolCentral and South German ComposersSwitzerland and ScandinaviaThe NetherlandsFranceEnglandForeign InfluencesPurcell and the Basso continuoThe Climate of the New CenturyAesthetic Characteristics

339341342344350351352354355356358362363364365368369372

377377378380384385388390393395397399400402408412418420424425429432437439442443

CONTENTS

New EmotionalismCosmopolitan TendenciesNew National ConsciousnessThree Stages of DevelopmentThe New TexturesInstrumentsVaried CombinationsThe Trio SonataThe String QuartetClassical Sonata Form

VII. THE SOLO SONATA. By CHARLES W. HUGHES, ProfessorEmeritus, Herbert H. Lehman College, University of the City ofNew York

Variations on a BassThe CanzonElaboration of the BassThe Sonata da cameraSolo Music for ViolsEarly Italian Masters of the Violin SonataCorelli and his InfluenceVivaldiDall'AbacoVeraciniTartiniLocatelliThe Violin in EnglandGeminianiOther Sonata Composers in EnglandPopular Violin MusicViolin Music in FranceThe Situation in GermanyFrench Influence in GermanyBiberJ. J. WaltherHandel and BachBach's Contemporaries

VIII. KEYBOARD MUSIC: 1630-1700. By JOHN CALDWELL,Lecturer in Music, University of Oxford

Instrumental IdiomsSecular Forms and StylesThe Liturgical BackgroundTonalityFrescobaldiFrescobaldi's Contemporaries

444444449450451453454454456458

462463465468470474477480482483484485487489490492492493498499499500502503

505505506510512514516

CONTENTS

Southern ItaliansItalian Organ MusicBernardo PasquiniPasquini's Variations and ToccatasAlessandro ScarlattiSpain and PortugalJuan CabanillesFrench Keyboard MusicChambonnieres and Louis CouperinLebegue and D'AnglebertFrench Liturgical Music for OrganAustria and Southern GermanyFroberger's MusicFroberger's Contemporaries and SuccessorsNorthern and Central Germany: Treatment of the ChoraleChorale Fantasia and Free FormsSecular German Keyboard MusicThe European PeripheryThe NetherlandsEnglandThe Suite in EnglandPurcell, Blow, and CroftEnglish Organ Music

IX. HARPSICHORD MUSIC: 1700-1750. By PHILIP

RADCLIFFE, Fellow of King's College, CambridgeIntroductoryFrancois CouperinRameauItalyScarlattiHandelHandel's ContemporariesSuite and SonataBach's VariationsBach's Miscellaneous WorksThe PartitasThe English SuitesThe French Suites and InventionsDas wohltemperirte ClavierMusicalisches Opfer and Die Kunst der Fuge

X. ORGAN MUSIC: 1700-1750. By WALTER EMERY

The InstrumentChanges of StyleItaly

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CONTENTS xi

Spain 656France 657England 663Catholic Germany 665Bohemia 667Protestant Germany 668Bohm 668J. G. Walther 672Bach 675Chorale Preludes 676Trio Sonatas 683Preludes, Fantasias, and Toccatas 683Fugues 685Types of Prelude 687Bach's Pupils 691Conclusion 693

BIBLIOGRAPHY 695

INDEX 763