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

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2: the Bourbon family failed to gain support of the growing and powerful middle class and in 1830, Louis-Philippe of the Orléans line on the throne as a constitutional monarch in the bloodless "July Revolution" b) the government continued to subsidize opera and concerts with the opera theater leased to a businessman Louis Véron who found wealthy sponsors - anyone could purchase tickets but the boxes rented at high prices 2. But with the change in political control and the comparative decline in royal patronage change came to the French opera 3. New forms a) Gasparo Spontini (1774-1851) united the heroic character typical of the late Gluck operas with the dramatic tension of the then popular rescue plot - resulted in a new type of serious opera clothing the whole in a grand display of solo, choral, and orchestral magnificence b) Grand Opera 1: with the continued decline of royal patronage, this was designed to appeal to the relatively uncultured audiences who thronged the opera theaters looking for excitement and entertainment 2: leaders of this school were the librettist Eugène Scribe (1791-1861), the composer Giacomo Meyerbeer (1791-1864), and the director of the Paris Opera Theater Vèron 3: the French ideal of grand opera stayed alive to some extent throughout the 19th century, influencing the work of Verdi and Wagner 4: it also still survives in 20th century works such as Darius Milhaud's Christophe Colomb, Samuel Barber's Antony & Cleopatra, and John Corigliano's The Ghosts of Versailles 5: Composers around 1830 most productive in the Grand Opera genre i- Francois Auber (1782-1871) ii- Gioachino Rossini (1792-1868) iii- Jacques Fromental Halévy (1799-1862) c) Opéra Comique 1: pursued its course in France side by side with Grand Opera i- used a spoken dialogue instead of the recitative of Grand opera ii- less pretentious than Grand Opera, requiring fewer singers and players and was written in a simpler musical idiom iii- the plots - as a rule - presented straightforward comedy (comic type) or semi-serious drama (romantic type) instead of the historical pageantry of Grand Opera 2: Composers of Opéra Comique i- Francois Adrien Boieldieu (1775-1834) ii- Ferdinand Hérold (1791-1833) iii- Daniel Francois Esprit Auber (1782-1871) d) Opéra bouffe 1: another new genre - not to be confused with the 18th century Italian opera buffa - emphasised the smart, witty, and satirical elements of comic opera
1: another new genre - not to be confused with the 18th century Italian opera buffa - emphasised the smart, witty, and satirical elements of comic opera 2: founder was Jacques Offenbach (1819-1880) - works influenced the operettas of W.S. Gilbert (librettist), Arthur Sullivan (composer 1842-1900), and Johann Strauss the Younger (the Waltz King, eldest son of Johann Strauss I 1825 -1899) e) Symphonic Drama 1: the connecting plot is considered familiar to all thereby permitting the composer to choose only those scenes most suitable for musical treatment 2: Hector Berlioz (1803-1869) i- most important dramatic work Damnation de Faust is a symphonic drama ii- his Les Troyens represents the Romantic consummation of the French opera tradition descended from Lully, Rameau, and Gluck f) French Lyric Opera 1: the romantic type of opéra comique developed into a genre that best be termed Lyric Opera i- lying somewhere between opèra comique and grand opera - larger than opèra comique and smaller than grand opera ii- main appeal is through melody, its subject matter is romantic drama or fantasy 2: Georges Bizet (1838-1875) i- his Carmen (Paris, 1875) became a landmark in the history of French opera ii- a stark, realistic drama ending with a tragic murder was called comique - indicated that the distinction between opera and opéra comique had become a technicality iii- his rejection of a sentimental or mythological plot signaled a small but important move toward realism 3: Composers i- Ambroise Thomas (1811-1896) ii- Charles Gounod (1818-1893) D. Germany 1. Overview a) The interaction between music & literature - typical of 19th century Romanticism developed most fully in Germany b) Singspiel - at the root of German opera - soaked up Romantic elements from French opera while keeping and intensifying its national features 1: illustrated by Undine (1816) by E.T.A. Hoffmann (1776-1822) and Faust (1816) by Ludwig Spohr (1784-1859) 2: established by Der Freischütz (1821) by Carl Maria von Weber (1786-1826) c) French opéra comique was also popular in Germany between 1830 & 1850 2. Carl Maria von Weber (1786-1826) a) Principal music teachers were Michael Haydn (1739-1806) and Georg Joseph Vogler (1749-1814), became director of the opera at Prague in 1813 & at Dresden in 1816
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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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i) corresponds to the Latin motet i
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Baroque
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ii) Bach & Handel owed much to the
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) typical texture of the Baroque pe
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(2) Giovanni Bardi (1534-1612) one
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(2) in his Orfeo of 1647 the antiqu
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3. Formal articulation was achieved
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iii) Jocob Handl (1550-1591) active
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ii) passacaglia iii) chaconne iv) c
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ii) melody would receive different
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a) Venitian (1) Pietro Francesco Ca
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(2) his librettist - playwright Jea
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c) Serenata - a semi dramatic piece
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