An Outline of The History of Western Music Grout ... - The Reel Score

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5. Beginning of Opera Reform a) Some Italian composers wanted to bring Opera into harmony with changing ideals of music and drama b) Sought to make the entire design more "natural" - more flexible in structure, more expressive, less laden with coloratura, and more varied in musical resources 1: modified the da capo aria and introduced other forms 2: alternated arias and recitatives more flexibly to move the dramatic action forward more rapidly and realistically 3: made greater use of obbligato recitative and ensembles 4: made the orchestra more important both for its own sake and to add depth to the harmonic accompaniment 5: reinstated choruses - long absent in Italian opera 6: stiffened their resistance to the arbitrary demands of the solo singers c) Important figures in the reform 1: Nicolò Jommelli (1714-1774) 2: Tommaso Traetta (1727-1779) i- aimed to combine the best of French tragédie lyrique and opera seria ii- in his own way he reconciled the two types of music drama years before Gluck set out to do so d) Christoph Willibald Gluck (1714-1787) 1: achieved a synthesis of French and Italian opera 2: he set out to remove the abuses that had deformed Italian opera and to confine music to its proper function - to serve the poetry and advance the plot i- deal with the outworn conventions of the da capo aria ii- liberties taken by singers to show off their skill in ornamental varitation iii- make the overture an integral part of the opera iv- adapt the orchestra to the dramatic requirements v- lessen the contrast between aria & recitative 3: his operas became models for the works of his immediate followers in Paris i- his influence extended into the 19th century ii- influence extended by Luigi Cherubini (1760-1842), Gasparo Spontini (1774-1851), and Hector Berlioz (1803-1869) G. The Lied 1. the German Lied achieved a special importance with the first significant collection published in Leipzig in 1736 - Die singende Muse an der Pleisse 2. Berlin a) song compostion in the middle of he century centered in Berlin favored lieder in 1: strophic form 2: melodies in natural, expressive folk song style 3: one note to a syllable 4: simplest possible accompaniments completely subordinate to the vocal line b) composers gradually transcended these artificial restrictions primarily by making the structure more flexible and giving the accompaniment more independence c) composers
c) composers 1: early: J.J. Quantz (1697-1773), C.H. Graun (1704-1759), C.P.E. Bach (1710 -1784) 2: later: Johann Friedrich Reichardt (1752-1814), and his daughter Louise Reichardt (1779-1826), Johann Abraham Peter Schulz (1747-1800) H. Church Music 1. conformed to the prevailing secular adopting the musical idioms and genres of opera 2. a few composers (Francisco Valls (1665-1747) & Giuseppe Ottavio Pitoni (1657 -1743) among others) carried on the stile antico tradition of Palestrina or grand polychoral style of Benevoli a) some - particularly in northern Italy, southern Germany, and Austria effected a compromise between conservative and modern elements 1: influenced by the instrumental symphonic forms of the classic era 2: set stage for the sacred composition of Haydn & Mozart 3. Germany a) Lutheran Church music rapidly declined in imporatance after the death of J.S. Bach b) the half sacred half secular Oratorio became the principal medium of the north German composers 4. England a) influence of Handel and innate conservatism of the English kept the Baroque styles of church music alive for a time 1: most gifted composers of church music were a generation older than Haydn and more at home in the older style 2: since the Anglican service did not require long musical settings composers confined thier writing to anthems and hymns b) Composers 1: William Boyce (1710-1779) - official composer for the chapel royal 2: Maurice Green (1696-1755), John Stanley (1713-1786), Charles Avison (1709 -1770) 3: later composers: Samuel Wesley (1766-1837), William Crotch (1775-1847) I. Instrumental Music 1. Sonata a) Early Sonata 1: Domenico Scarlatti (1685-1757) organized his sonata into the standard late Baroque/early Classical binary pattern for dance pieces i- The Scarlatti sonata Form - are organized by means of tonal relationships into the standard late Baroque and early Classic binary pattern used for dance pieces and other types of compostion a- have two sections b- each repeated - the first closing in the dominant or relative major (rarely another key) the second modulating further afield and then returning to the tonic ii- This basic scheme underlies much instrumental and solo vocal music in the 18th century b) Sonata Form
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An Outline of The History of Wester
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Ancient Greece and Rome Through Ren
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(1) Cult of Apollo - lyre (2) Cult
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i) Current belief is that the churc
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) Performance Classification (1) An
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(2) When the melodies are melismas,
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i) They sang, played, and danced to
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1. Organum Purum a) The lower voice
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(9) Phrase endings of different voi
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2. Technical Achievements a) Codifi
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d) Polyphonic virelais, rondeaux, &
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(3) Characterized by graceful vocal
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c) Knowledge of 14th Century Englis
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d) Prestige of the Burgundian Court
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c) Continued the treble dominated s
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(1) Brought in the most talented co
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a) Pertrucci's 1st publication (1)
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iv) Bass took over the foundation o
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a- the most important genre of Ital
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g) Cipriano de Rore (1516-1565) - e
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(2) monophonic art of the Minnesing
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(4) Vicentino, Rore, & Lasso (pupil
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a- essential step in this developme
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d- German hymns replaced most to th
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(1) texts were translated by Clème
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Page 59 and 60: (2) Giovanni Bardi (1534-1612) one
Page 61 and 62: (2) in his Orfeo of 1647 the antiqu
Page 63 and 64: 3. Formal articulation was achieved
Page 65 and 66: iii) Jocob Handl (1550-1591) active
Page 67 and 68: ii) passacaglia iii) chaconne iv) c
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Page 71 and 72: a) Venitian (1) Pietro Francesco Ca
Page 73 and 74: (2) his librettist - playwright Jea
Page 75 and 76: c) Serenata - a semi dramatic piece
Page 77 and 78: ) Charles II particularly liked sol
Page 79 and 80: (3) Andreas Hammerschmidt (1611-167
Page 81 and 82: h- Jan Adam Reincken (1623-1722) i-
Page 83 and 84: iv) Chaconne - a stately movement i
Page 85 and 86: ii) solo instruments were also usua
Page 87 and 88: c) Francesco Germiniani (1687-1762)
Page 89 and 90: c) Leipzig (1723-1750) - as Cantor
Page 91 and 92: d) Oratorios (1) the Italian orator
Page 93 and 94: I. Sonata, Symphony, and Opera in t
Page 95 and 96: c) Baroque - J.S. Bach (1685-1750),
Page 97 and 98: 2. Musical Rhetoric a) first decade
Page 99 and 100: iii- Domenico Cimarosa (1749-1801)
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Page 107 and 108: 8. paved the way for the mature cla
Page 109 and 110: 6: symphonies of 1774-1788 show a s
Page 111 and 112: d) piano works - most important of
Page 113 and 114: I. Ludwig Van Beethoven (1770-1827)
Page 115 and 116: ) two works share the Revolutionary
Page 117 and 118: a) some 19th century writers consid
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Page 121 and 122: 1: a distinctive school of pianists
Page 123 and 124: 3: Liszt experimented with harmonie
Page 125 and 126: c) works for chorus & orchestra 1:
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Page 129 and 130: 1: another new genre - not to be co
Page 131 and 132: ii- the words convey the outer aspe
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Page 137 and 138: a) Norway - Evard Hagerup Grieg (18
Page 139 and 140: i- immediate background included Fr
Page 141 and 142: c) in most of his music a primary t
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Page 145 and 146: 3. also used "pointillism" a) spare
Page 147 and 148: ) by mid 20th century, distinct pit
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An Outline of The History of Western Music Grout ... - The Reel Score

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