Hanning Chapter 13, Part 2 (Lully and Purcell) PDF

Chapter 13, part 2 of 2 Page 250 (at “Church Music”) to 260 1  TODAY’S TOPICS, Chapter 13 part 2  France: Orchestral music  France: Sacred music  England: Musical theater  England: Other music for voice  England: Public concerts  Germany a...

Chapter 13, part 2 of 2 Page 250 (at “Church Music”) to 260 1  TODAY’S TOPICS, Chapter 13 part 2  France: Orchestral music  France: Sacred music  England: Musical theater  England: Other music for voice  England: Public concerts  Germany and Austria: Opera  Germany: Lutheran vocal music  Postlude to chapter 13 2 TERMS AND PEOPLE TO KNOW, CHAPTER 13 PART 2 Vingt-quatre Violons du Roi, Henry Purcell Petites Violons incidental music Jean Hotteterre dramatic opera/semi-opera Baroque oboe catch petit motet, grand motet verse anthem Marc-Antoine Charpentier Reinhard Keiser Michel-Richard de Lalande Georg Philipp Telemann masque, antimasque Johann Pachelbel Commonwealth, Oliver Cromwell, Restoration Abendmusik 3  France: Orchestral music  Lully’s predecessor had established the Vingt-quatre Violons du Roi (Twenty-Four Violins of the King), with a five- part texture  In 1648, the Petits Violons (Small Violin Ensemble) with 18 instruments had been created for Louis XIV’s personal use  Musicians in France and Germany admired the discipline of Lully’s ensembles and imitated his scoring his large ensembles of the violin family became the model for the modern orchestra by 1670s, the term “orchestra” was used for such ensembles 4  France: Orchestral music (cont’d)  Louis XIV kept a stable (literally) of wind, brass, and timpani players They performed at military and other outdoor ceremonies, sometimes joining the chapel, chamber, or opera ensembles These musicians had status, job security, and the ability to pass their position to their sons  Musical employment in the Great Stable allowed several families of wind players to perfect their craft A member of one such family was Jean Hotteterre (c. 1610–c. 1692), who also experimented with the construction of wind instruments 5  France: Orchestral music (concluded)  Hotteterre made his instruments from wood, sometimes ornamenting with ivory and ebony  His newly refined instruments… inspired Lully to include woodwinds in his opera orchestra stimulated instrument makers and players to strive for a sweeter, more refined sound  Wind players and instrument makers at the French court improved the flute and are generally believed to have created the Baroque oboe (next slide) 6  Replica of a transverse flute in three sections, after those made by the Hotteterre family from ebony wood and carved ivory. A Baroque oboe, c. 1700, made in three sections out of boxwood and ivory with brass keys and a freestanding reed (not shown). Images and information from textbook, 7  Viewing: Baroque oboe demonstration Introducing the Baroque Oboe Introducing the Baroque Oboe (5:07; WATCH UNTIL AT LEAST 2:13) 8  France: Sacred music Until c. 1650, French church music used Renaissance counterpoint. After that, French composers borrowed from Italy the sacred concerto and oratorio but wrote in French styles:  petit motet: sacred concerto for a few voices with continuo  grand motet: vocal soloists, double chorus, orchestra several sections in different meters and tempos; Lully and Marc-Antoine Charpentier (1634–1704) excelled at these 9  Listening/Viewing: Lully, Te Deum, conclusion The Te Deum is a long hymn of praise that provides composers with plenty of material to create contrasting sections. Settings were often performed on solemn occasions. You will listen to the conclusion of Lully’s Te Deum (1677, NAWM 86). This is the piece he was conducting when he fatally injured himself. Text of the conclusion: In te, Domine, speravi: non confundar in aeternum. O Lord, in thee have I trusted: let me never be confounded. Jean-Baptiste LULLY - In te, Domine, speravi Jean-Baptiste LULLY - In te, Domine, speravi (2:14. Live performance, no subtitles.) 10  England: Musical theater English music drew inspiration from Italy, France, native traditions. Masques, a favorite court entertainment since Henry VIII, appealed to all segments of society.  Similarities to opera: costumes, scenery, stage machinery, instrumental music, dancing, songs, choruses  Differences from opera: (1) spoken parts; (2) masques were long collaborative spectacles rather than unified dramas with music by one composer  Shorter masques were produced by aristocrats, theaters, schools 11  Masque costume examples Costume designs from about 1610 by Inigo Jones, probably for masque (left) and antimasque (right). An antimasque is a scene of low comedy. 1 2  England: Musical theater (cont’d)  King Charles I of England (r. 1625–1649; pictured) was unpopular  This led to civil war, and Charles was captured and executed in 1649  The monarchy was then abolished and replaced with the Commonwealth, a Puritan government led by Oliver Cromwell  In 1660 the monarchy was restored (the Restoration) under Charles II, son of Charles I The unpopular 13  England: Musical theater (cont’d)  Cromwell’s Puritan government (1649-1660) prohibited stage plays but not concerts or private musical entertainments  This policy allowed performance of the first English “operas,” with spoken drama plus dances, songs, recitatives, and choruses  After the Restoration in 1660, audiences eagerly returned to theaters French music and court ballet were increasingly influential An attempt to introduce French opera was not successful Only two completely sung dramas had success: John Blow’s Venus and Adonis (c. 1680); Henry Purcell’s Dido and Aeneas (c. 1689) 14  England: Musical theater (cont’d) Henry Purcell (1659–1695) was England’s leading composer and a royal favorite  Organist at Westminster Abbey  Extremely prolific; composed music in nearly all genres Focused on vocal music; also wrote chamber music, music for the theater Greatest achievement: English song Purcell in 1695, in a that sounded natural and expressive portrait by John 15 Closterman  Plot of Purcell’s opera Dido and Aeneas Libretto by Nahum Tate, based on his play Brutus of Alba and Virgil’s Aeneid  Dido, widowed queen of ancient Carthage, meets Trojan hero Aeneas when he and his men stop in Carthage on their way to found Rome  They begin a relationship  Witches who hate Dido trick Aeneas into leaving her by sending him a fake messenger in the form of Mercury, who tells Aeneas to leave Carthage immediately to go found Rome  Aeneas leaves to found Rome and Dido dies of grief after asking her serving maid Belinda to remember her, but to forget her fate (in Virgil, she kills herself by In a painting by Andrea Sacchi (1599– 1661) dating from the 1630s, the abandoned queen Dido holds her lover’s sword, which is to be the instrument of her suicide, to her breast. 17 Aeneas’s travels from the end of the Trojan War to the founding of Rome at Latium (red box added to show Carthage, in what is now Tunisia) Source: vanrossenclassicalstudies.wikispaces.com Viewing: Opera cheats: Purcell’s Dido and Aeneas Opera Cheats: Dido and Aeneas Opera Cheats: Dido and Aeneas (3:12) 19  England: Musical theater (cont’d) Dido and Aeneas (c. 1689) is a masterpiece of opera in miniature.  First known performance was in an exclusive girl’s boarding school, but it may have been intended for performance at court  Four principal roles, three acts, one hour in length  Indebted in many ways to John Blow’s Venus and Adonis  Incorporates elements of English masque, and of French and Italian opera 20  England: Musical theater (cont’d)  French elements French overture and homophonic choruses in dance rhythms Scene structure typically follows Lully’s example, with solo singing and a chorus leading to a dance  Italian elements Several arias (rare in French opera or English masque); three are the ground-bass type Example: Dido’s lament, “When I am laid in earth” (NAWM 89b), with a ground bass that includes a chromatically descending tetrachord (next slide) 21  Dido’s famous lament, “When I am laid in earth” Ground bass featuring a chromatically descending tetrachord 22  England: Musical theater (cont’d)  English elements Use of dance for dramatic purposes comes from the masque Many solos and choruses are in the style of the English air, i.e., tuneful, diatonic, major mode, simple and catchy rhythms Others convey a profound sense of sorrow, e.g., the closing chorus “With drooping wings” (NAWM 89c) Recitatives draw on English and French precedents; melodies are molded to the accents, pace, and emotions of the text. Example: “Thy hand, Belinda” 23 Listening/Viewing: Purcell, Dido and Aeneas, conclusion Recitative: Thy hand, Belinda, darkness shades me, on thy bosom let me rest. More I would, but death invades me; death is now a welcome guest. Aria: When I am laid, am laid in earth, may my wrongs create no trouble, no trouble in thy breast. Remember me, remember me, but ah! forget my fate. Remember me, but ah! forget my fate. Henry Purcell - Dido and Aeneas / Maria Ewing / Дидона и Эней - Г. Пёрселл / Мария Юиг Henry Purcell - Dido and Aeneas / Maria Ewing 24 (7:34; no subtitles, but the opera is in English)  England: Musical theater (concluded)  Dido and Aeneas had no successors because the English strongly preferred spoken drama. For public theaters, Purcell wrote incidental music for nearly 50 plays. He also wrote music for 5 dramatic operas, aka semi-operas, spoken plays with an overture and four or more masques or substantial musical episodes, e.g., The Fairy Queen (1692).  After that, no more full-fledged English opera until late 19th century. 25   England: Other music for voice  The royal family often commissioned large works for chorus, soloists, and orchestra for special occasions, e.g., Purcell’s Ode for St. Cecilia’s Day (1692)  Purcell composed many vocal solos, duets, and trios for home use  He and others wrote catches (rounds or canons with humorous, often bawdy text, for singing by men)  Anthems and services remained principal Anglican church music  Blow, Purcell, and contemporaries wrote many verse anthems (soloists with chorus) 26  England: Public concerts  The public concert was pioneered in England  In London in the 1670s, several factors converged to cause this: a middle class interested in listening to music a large number of excellent musicians who served the royal court and London theaters the inability of the king to pay his musicians well, making it necessary for them to seek supplemental income  Public concerts gradually spread to the Continent, reaching Paris in 1725 and major German cities by the 1740s 27  Germany and Austria: Opera  Opera in Italian: central to musical life at German, Austrian courts Italian composers made operatic careers in Germany German and Austrian composers also wrote Italian opera, e.g., Handel, Hasse, Gluck, Mozart  Opera in German: first public opera house was in Hamburg, 1678 Venetian librettos translated or adapted; new ones written Composers wrote Italian-style recitative Composers wrote eclectic arias, some in French style and some as short, strophic songs in the popular style of northern Germany (used especially for lower-class or comic characters) 28 Germany’s first public opera house was in Hamburg, built in 1678 to seat 2,000. It was designed by the Italian theater architect Girolamo Sartorio. 29 The stage of Hamburg’s opera house decorated for a festival in honor of King George I of England. Note the deep perspective. From R. Petzoldt, Georg Philip Telemann: Leben und Werk (Leipzig: VEB Deutscher Verlag für Musik, 1967) 3 0  Germany and Austria: Opera (concluded)  Reinhard Keiser (1674–1739) foremost and most prolific German opera composer wrote nearly 60 works for the Hamburg stage  Georg Philipp Telemann (1681–1767) 1722–1738: directed the Hamburg opera and wrote numerous works for it prolific composer; over 3,000 (!) vocal and instrumental works in every genre and style of the era more widely published and popular in his day than J. S. Bach 31  Germany: Lutheran vocal music  After the Thirty Years War (1618–1648), two musical tendencies existed in the Lutheran church: Orthodox Lutherans favored choral and instrumental music in services Pietists emphasized private devotions and Bible readings and distrusted formality and high art in worship This division gave rise to two distinct genres: elaborate works for public worship and devotional songs for private use  The chorale was the foundation for public and private worship: new poems and melodies continued to be written many were intended for private devotions at home 32  Germany: Lutheran vocal music (cont’d)  Orthodox Lutheran centers provided a favorable environment to develop the sacred concerto, whose components included… a concerted vocal ensemble singing a biblical text, with chorale tunes an important ingredient solo arias in the Italian style with strophic, nonbiblical text  Both components combined to create multi-movement works: today these are usually called “cantatas” their composers called them “concertos,” “sacred concertos,” or “the music” for a service 33 Germany: Lutheran vocal music (concluded)  Dieterich Buxtehude and Johann Pachelbel (1653– 1706) wrote sacred concertos for chorus, solo voices, and orchestra, with or without chorale texts and melodies  Buxtehude (organist at St. Mary’s Church in Lübeck) composed and played much of his sacred music for the Abendmusiken: long, varied public concerts at St. Mary’s Church during the Advent season the Abendmusiken attracted musicians from all over Germany including J. S. Bach, who at age 20 walked about 225 miles to Lübeck to hear Buxtehude play 34  Postlude to chapter 13 Oversimplified summary of chapter 13:  Alessandro Scarlatti created the most forward-looking trends in Italy  Jean-Baptiste Lully had a monopoly over musical stage in France  Henry Purcell synthesized French and Italian elements with English styles  German composers drew on French and Italian styles, which they blended with German traditions 35  Sources for these slides  Hanning, Barbara Russano. Concise History of Western Music. Fifth edition, anthology update. New York: W. W. Norton & Company, 2019.  Labonville, Marie. Prior knowledge; prior and current research in reputable secondary and tertiary sources.  YouTube and its many excellent contributors. 36