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

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iii- clavecinists included Louis Couperin (1626-1661), Jean Henri d'Anglebert (1635-1691), Elisabeth-Claude Jacquet de La Guerre (1665-1729), & François Couperin (1668-1733) (2) The French style was carried to Germany by Froberger (1616-1667) who established the allemande, courante, sarabande, & gigue as standard components of dance suites j) Improvisatory Compositions (1) toccata - virtuoso piece - meaning to just "touch the keys". (2) Frescobaldi sacrificed virtuosity in favor of quite contemplation - and unusual trait for this genre (3) Froberger wrote more solidly constructed though less exuberant toccatas - his free improvisatory passages provide a framework for systematically developed sections in the contrapuntal style of the fantasia II. Opera and Vocal Music in the Late Seventeenth Century A. Opera - Italian opera in the late 17th century tended toward stylized musical language and simple musical texture, concentrating on the melodic line of the solo voice - supported by ingratiating harmonies 1. Aria styles - It was common in mid century go have two dozen arias in an opera - by the 1670's, sixty arias were the norm a) the favorite form was the strophic song - several stanza's sung to the same music b) also common was the two part AB form and the the three part ABB', ABA, or ABA' forms c) some arias consciously parodied the heroic opera for comic effect d) typical arias used characteristic rhythms from the march, gigue, sarabande, or minuet - others relied on ostinato basses sometimes in combination with dance rhythms e) musical motives in both vocal and accompaniment reflected the content of the text f) running bass - composers in the last quarter of the century often used the quasiostinato "running bass" accompaniment - a steadily flowing pattern of eighth notes g) continuo aria - its accompaniment consists only of harpsichord & bass - framed by orchestral ritornellos h) motto beginning - the voice announces a short musical subject developed later in the aria but which continues only after an instrumental interruption i) da capo aria - taken from the "da capo" indication, inserted at the close of the second section of a two section form instructing the performer to repeat the first section 2. Recitative styles a) rectative simplice (later called rectative secco) - accompanied by a basso continuo it traversed stretches of dialogue or monologue in as speech-like fashion as possible b) recitativo obbligato (latter called recitaitvo accompgnato or strumentato) - used stirring and impressive orchestral outbursts to dramatize tense situations c) recitativo arioso (or arioso) an aria like recitative which stood somewhere between the free recitaive & the rhythmically regular aria 3. Composers a) Venitian
a) Venitian (1) Pietro Francesco Cavalli (1602-1676) belonged to the second phase of the "New Music" - monodic style (2) Antonio Sartorio (1630-1680) 13 operas from 1661 (3) Giovanni Legrenzi (1626-1690) 18 operas, 6 oratorios (4) Alessandro Stradella (1644-1682) 1 opera, 6 oratorio, over 20 cantatas and instrumental works - murdered after eloping with a Venetian (from Bourdelot in his "Historie" of 1715) (5) Carlo Pallavicino (1630-1688) brought Italian opera to German Courts, working chiefly in Dresden (6) Agostino Steffani (1654-1728) active in Munich & Hanover - one of the best Italian opera composers of his time, his works are not only important in themselves but also for their influence on 18th century composers, especially Keiser & Handel b) Neapolitan (1) Alessandro Scarlatti (1660-1725) made the trasition from the older 17th century opera to the newer style centered in Naples c) French (1) Robert Cambert (ca. 1627-1677) his "Pomone in 1671 was the earliest French opera (2) Jean-Baptiste Lully (1632-1687) reconciled the demands of drama, music, and ballet in a new genre tragèdie lyrique (3) Georg Muffat (1653-1740) an Alsatian strongly influenced by Lully adopted the French manner of compositon and orchestal playing in Germany (4) Andrè Campra (1640- 1744) initiated the "opèra-ballet" expanding on the styles developed by Lully d) England (1) Henry Lawes (1596-1662) worked music for Milton's "Comus" (an English masque (2) Matthew Locke (ca. 1621-1677) composed "Cupid and Death" (1653 (3) Christopher Gibbons (1615-1676) worked on "Cupid and Death with Locke (4) John Blow (1649-1708) organist & composer in the Royal Chapel - Venus and Adonis (5) Henry Purcell (1659-1695) pupil of Blow, composed Dido and Aneas (1689), Dioclesian (1690), King Arthur (1691), The Fairy Queen (1692) an adaption of Shakespeare's A Midsummer NIght's Dream, The Indian Queen (1695), The Tempest (1695) e) Germany (1) Sigmund Theophil Staden (1607-1655) "Seelewig" (1644) (2) Johann Sigismund Kusser (1660-1727) combined German gravity with Italian elegance (3) Reinhard Keiser (1674-1739) the foremost and most prolific of the early German opera composers, late in life setting many farces to music showing the beginning of German Comic Opera 4. Venice a) The principal Italian center remained Venice - with the singers and arias attracting the cosmopolitan public
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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
Page 19 and 20: 2. Technical Achievements a) Codifi
Page 21 and 22: d) Polyphonic virelais, rondeaux, &
Page 23 and 24: (3) Characterized by graceful vocal
Page 25 and 26: c) Knowledge of 14th Century Englis
Page 27 and 28: d) Prestige of the Burgundian Court
Page 29 and 30: c) Continued the treble dominated s
Page 31 and 32: (1) Brought in the most talented co
Page 33 and 34: a) Pertrucci's 1st publication (1)
Page 35 and 36: iv) Bass took over the foundation o
Page 37 and 38: a- the most important genre of Ital
Page 39 and 40: g) Cipriano de Rore (1516-1565) - e
Page 41 and 42: (2) monophonic art of the Minnesing
Page 43 and 44: (4) Vicentino, Rore, & Lasso (pupil
Page 45 and 46: a- essential step in this developme
Page 47 and 48: d- German hymns replaced most to th
Page 49 and 50: (1) texts were translated by Clème
Page 51 and 52: i) corresponds to the Latin motet i
Page 53 and 54: Baroque
Page 55 and 56: ii) Bach & Handel owed much to the
Page 57 and 58: ) typical texture of the Baroque pe
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
Page 69: ii) melody would receive different
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)
Page 101 and 102: c- A2 begins by restating the melod
Page 103 and 104: c) composers 1: early: J.J. Quantz
Page 105 and 106: ii) there may be a coda ii- this is
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
Page 119 and 120: v- content and form may be suggeste
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1: a distinctive school of pianists
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3: Liszt experimented with harmonie
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c) works for chorus & orchestra 1:
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1: a continuous succession of orche
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1: another new genre - not to be co
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ii- the words convey the outer aspe
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20 th Century
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: more difficult to realize musical
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a) Norway - Evard Hagerup Grieg (18
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i- immediate background included Fr
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c) in most of his music a primary t
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1: held to some recognizably famili
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3. also used "pointillism" a) spare
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) 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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