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The Late Seventeenth Century. Opera in seventeenth-century France. Absolute monarchy — established by Cardinal Richelieu under Louis XIII Académies 1635 Académie française (for belles lettres) set up by Richelieu — rationalistic, idealistic, classicistic in sense of restraint, balance - PowerPoint PPT Presentation
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The Late Seventeenth Century
Opera in seventeenth-century France
• Absolute monarchy — established by Cardinal Richelieu under Louis XIII
• Académies– 1635 Académie française (for belles lettres) set up
by Richelieu — rationalistic, idealistic, classicistic in sense of restraint, balance
– Académie de musique (1669)• Ballet de cour
– social, participatory with courtiers as dancers– danced in center space in open hall– included instrumental music, spoken narrative and
dialogue, airs• Opera’s arrival in France
– Italian works during regency of Anne of Austria (1643–1653)
– nationalism — exploited by librettist Pierre Perrin (ca. 1620–1675) under Louis XIV
Jean-Baptiste Lully (1632–1687)
• Florentine, moved to Paris 1646• Instrumental composer to Louis XIV from 1653
– member of existing Vingt-quatre violons du roi– Petits violons (sixteen, later twenty-one) under
Lully from 1656 set new performance standards– superintendent of music from 1661
• Comédies-ballets with Molière 1663–1672, e.g., Le bourgeois gentilhomme 1670– fused music, dance, poetry — developing style– influence of Italian pastoral operas, French ballet
de cour• 1672 — took over Académie de musique —
complete control of musical life in France
Tragédies lyriques• Lully and Philippe Quinault (1635–1688)• Mythological plots with allegorical allusions to
France and king• French style
– five acts — Classic model from Greek antiquity– emphasis on ballet derived from ballet de cour
tradition– more chorus than contemporary Italian opera– spectacle — machines, sets– récitatif — carries action, carefully measured,
simple– air modeled on French air de cour —
nondramatic, often employs dance rhythms and forms
– functions of instrumental music• articulative — especially overture• dramatic — accompaniment to singing• dance accompaniments
English music in the late seventeenth century
• Isolation — especially under Cromwell and Commonwealth 1649–1660
• Restoration began to recover court following French model
English church music in the seventeenth century
• Beginning of century continued music of English Reformation– Services– full and verse anthems
• Church musicians abolished under Puritan regime
• Restoration recovered choral music tradition, including concerted compositions
Instrumental music in England
• Keyboard tradition from sixteenth century– dances– variation sets
• Ensemble music – fantasy (fancy) for consort of viols– later, Italian-style sonatas
Musical drama during the Restoration period
• Theater music tradition of court masque– recitatives– songs– choruses– dances
• Theater suppressed during Commonwealth — concerts still permitted
• Opera after the Stuart Restoration still very limited
Henry Purcell (1659–1695)• Time of Stuart Restoration, worked in court
and Westminster Abbey• Sacred works associated with church
employment — anthems, services• Dramatic music for court milieu– opera Dido and Aeneas– semiopera, e.g., The Fairy Queen
• Odes and welcome songs — royal welcomes, weddings, birthdays, St. Cecilia’s Day
• Songs• Instrumental — keyboard, ensemble
(fantasies, sonatas, etc.)
Spanish opera in the seventeenth century
• Based on pastoral court entertainment tradition — use of mythical, allegorical plots
• Solo singing– all female in leading parts — except for
comic male peasant– not separated into distinct style of
recitative and aria but used strophic songs for both dialogue and affective moments
• Spanish instrumentation — continuo uses harp and guitar
• Choruses in familiar style
Neapolitan opera in the late seventeenth century
• Naples as focus of stylistic progress in Italy
• Sharp distinctions– serious vs. comic scenes — later to be
split away– solo almost completely displaces chorus,
mostly displaces ensembles– recitative extremely differentiated from
aria — differentiated as simple, accompagnato; arioso
Da capo aria design
A Ritornello home keySolo modulatingRitornello contrast keySolo modulatingRitornello home
keyB Solo modulating
A da capo — ornamented in performance
Cantata
• Chamber vocal genre (cubicularis) for– voice (possibly voices)– continuo (possibly obbligato instruments)
• Multiple movements• Vocal styles of opera– recitative– aria
Later seventeenth-century instrumental genres
Organ music, Suite, Sonata, Concerto
German organ music in the late seventeenth century
German organ music in the late seventeenth century
Two classifications of organ compositions• Frei — figurational material; free from
contrapuntal texture– prelude, toccata, etc.
• Gebunden — based on established melodic material, follows contrapuntal rules– chorale-based pieces– fugues
Chorale settings for organ
• Chorale fugue — chorale melody treated in fugal texture
• Chorale fantasia — extended elaborations of each phrase with repetitions and interruptions in c.f.
• Chorale prelude — one more-or-less continuous statement of chorale melody as c.f. – c.f. with or without ornamentation —
ornamentation usually only if c.f. is soprano– accompaniment either independent or
derivative — Vorimitation• Chorale partita — series of short chorale
settings in contrasting styles– alternatim usage in service — organ, choir,
congregation
Fugue• Antecedents – sixteenth-century imitative pieces based on
vocal models — ricercar (from motet) and canzona (from chanson)
– early seventeenth-century monothematic fantasia or ricercar
• Theoretical and stylistic principles in mature fugue– monothematicism– subjects more instrumental in melodic and
rhythmic profile, unlike ricercar and fantasia– tonal answer– countersubject– tonal unity and plan for entire piece– pedal point — especially approaching final
cadence– stretto, especially for end of piece
The French keyboard suite (ordre)
• Importance of dance — court ballet tradition
• Harpsichord — intimate style suited to taste of courtly amateurs
• Rhythm — derived from dance styles• Melody — agréments; ornamented
doubles• Forms– binary dance form — variety of midpoint
cadence choices– rondeau
Standard order of dances in the late seventeenth-century
suiteDerived from publication of suites by Johann Jacob Froberger (1616–1667)
• Allemande — duple meter, moderate tempo
• Courante — flowing triple meter (often with hemiola)
• Sarabande — slow triple meter, emphasis on second beat 2 of the measure
• Gigue — fast compound meter
Two important French suite composers
• Elisabeth-Claude Jacquet de la Guerre (1665–1729)
• François Couperin "le grand" (1668–1733) — often used descriptive titles rather than dance names, turning dance movements into character pieces
Sonata• Scoring– violin(s) or other melodic instruments and
b.c.– instrumental idiom, not vocal style
• Ensembles– trio sonata — duet and b.c.• most popular• combines clarity of b.c. texture with
polyphonic interest– solo sonata — solo and b.c.• allows for more virtuosity
• Major composer — Arcangelo Corelli (1653–1713)
Sonata types
• Sonata da camera (chamber sonata)– stylized dances — actually a dance suite
• Sonata da chiesa (church sonata)– abstract movements (at least ostensibly)– alternating tempos, usually slow-fast-
slow-fast
Concerto
• Derived from sonata by reinforcing some passages with multiple instruments
• Two major composers– Giuseppe Torelli (1658–1709) —
established structural principles– Antonio Vivaldi (1678–1741) — worked
out types of material to exploit principles of form
Concerto types
• Ripieno (full) concerto — uses all instruments freely
• Solo concerto — solo vs. ripieno group• Concerto grosso — concertino group
(often trio group) vs. ripieno
Form in the Baroque concerto
• Three movements (usually) — fast, slow, fast
• Outer movements usually in ritornello form:
Ritornello
Solo Ritornello Solo Ritornello
Tutti Solo and b.c.
Tutti Solo and b.c.
Tutti
Home key
→ → → Contrast key
→ → → Home key
Questions for discussion
• How did political structures affect musical life and express themselves through musical style in the late seventeenth century?
• Why would it be appropriate to describe a large Italian opera aria as a concerto movement for voice? What significant differences are there between the two structures?
• How did the idea of affective expression and of key center support large forms in instrumental and vocal music in the seventeenth century?