Baroque Period And Opera

churrigueresco Period And operaEarly baroque composers favoured homophonic grain all over the polyphonic food grain typical of Renaissance music. They felt that phonate communication could be projected much than cl early(a)(a)(a) by using just matchless(prenominal) primary(prenominal) nervous strain with a chordal accompaniment. Homophonic textures still characterise early baroque, by the late(a) baroque period, polyphonic texture returned to favour.To depict extreme emotions, early baroque composers routined dissonance with a new freedom. Never forward were unstable chords so prominent and emphatic. Contrasts of sound were stressed, i or to a greater extent fly singers against a choir, or gos against instruments.A baroque piece ordinarily expresses one basic mood what begins dexterously will remain gaietyful byout. Emotional states like joy, grief, and agitation were represent-at the time, these moods were called affections. Specific rhythms or suff erorous patters were associated with particular moods. The prime exception to this baroque principle of unity of mood occurs in vocal music. Drastic changes of emotion in a text whitethorn inspire corresponding changes in the music.Rhythmic anatomys head at the starting canal of a piece are repeated throughout it. This rhythmic pertinacity provides a compelling drive and energy the forward motion is seldom interrupted.Baroque suffers also creates a feeling of continuity. An opening telephone circuit will be heard again and again in the none of a baroque piece. And even when a melody is presented in varied form, its character t send aways to remain constant. at that place is a continuous expanding, unfolding, and unwinding of melody. This sense of direct motion is frequently the result of a melodic sequence, that is, successive repetition of a tuneful idea at higher or tear start pitch levels. Many baroque melodies sound elaborate and ornamental, and they are not e asy to sing or remember. A trivial opening word is lots followed by a longer phrase with an unbroken course of rapid notes.Volume tends to stay constant for a stretch of time. When the kinetics do shift, the shift is usually sudden, like physically stepping from one level to an separate. This alternation between loud and soft is called terraced projectiles. The organ and harpsichord were some(prenominal) wellhead suited for continuity of dynamic level. take-off between various lines, or voices, of the texture is rattling common. A melodic idea heard in one voice is likely to make an appearance in the other voices as well.In the baroque period chords became significant. As composers wrote a melodic line, they thought of chords to mesh with it. Indeed, sometimes they composed a melody to last a specific chord progression. This interest in chords gave new hump to the low-pitched part. Basso continuo or figured bass is do up of a bass part together with numbers which spec iate the chords to be vie supra it. Usually the bass part is compete by the left hand of an organist or harpsichordist and a cellist or bass voiceonist. The right hand, the keyboard player improvises chords or even a melodic line, pursuance the indications of the numbers.Word painting was use. Heaven might be stria to a high tone and hell to a low tone. Rising scales represented upward motion descending scales depicted the reverse. Descending chromatic scales were associated with pain and grief. Composers emphasised linguistic communication by writing piecey rapid notes for a single syllable of text. opera is the fusion of music, acting, poetry, dance, scenery and costumes. Began in Italy around 1600. vowel system typesColoratura triplex very high range can turn tail rapid scales and trillslyric soprano rather light voice sings roles career for grace and charm hammy soprano full, powerful voice is equal to(p) of passionate intensitylyric tenor relatively light, bright v oicedramatic tenor powerful voice is capable of high-minded expression bass buffo takes humorous roles can sing very rapidlybasso profondo very low range, powerful voice takes roles calling for great self-worthAriaA song for solo voice with orchestral accompaniment. Its an outpouring of melody that expresses an emotional state. In an aria, I love you, might be vocal ten times to accommodate the expansion of the idea. Often the action clams magic spell the characters feelings are revealed through music. An aria usually lasts several minutes. It is a arrant(a) piece with a definite beginning, high point, and end.RecitativeA vocal line that imitates the rhythms and pitch fluctuations of speech. In a recitative, talking to are sung apace and clearly, often on repeated tones. There is usually only one note to each syllable in a recitative. Recitative is used for monologues and dialogues that connect the much melodic sections of the opera.In opera multiple characters can exp ress incompatible feelings at the identical time when different melodies are combined. This is only realizable in opera and cannot be duplicated in spoken drama.An opera emit generates atmosphere and makes comments on the action. Their sound creates a kind of tonal stress for the soloists.Most operas open with a purely orchestral composition called an advancement or a prelude. Since the eighteenth century, the music for an overture has been drawn from substantive heard later in the opera. The overture is thus a short musical statement that involves the audience in the overall dramatic mood. orchestral introductions to acts in the opera other than the scratch are always called preludes. opera was born in Italy.During the late baroque, operas consisted largely of arias linked by recitatives. These recitatives were usually accompanied only by a basso continuo, in which trip they are called secco recitatives. At emotional high points and aftermaths of tension, however, they mi ght be support by the orchestra, they are then called accompanied recitatives. Late baroque arias followed the organize of ABA called da capa aria.Monteverdis Orfeo is considered to be the branch great opera. Orfeo is about Orpheus, the gifted submissiveist of Greek mythology. Orpheus, son of the god Apollo, is ecstatically happy after his brotherhood to Eurydice. But his joy is shattered when his bride is killed by a poisonous snake. Orpheus goes batch to hades hoping to bring her back to life. Because of his musical talent, he is granted this privilege, as long as he does not look back at Eurydice while leading her out of hades. Orpheus looks back in a moment of anxiety and Eurydice vanishes. Apollo pities Orpheus and brings him up to heaven, where he can gaze eternally at Eurydices radiance. Orfeo includes recitatives, arias, duets, let loosees, and instrumental interludes.Tu se morta in come II of Orfeo is an example of a secco recitative. Orpheus sings solo in a recitat ive style with accompaniment by a basso continuo vie by an organ and bass lute. The texture of this piece is homophonic, as was popular in early Baroque music. There is no time signature which gives the performer the freedom to portray emotion in their singing. Word painting is also be in this piece. terminology such as stelle (stars) and solo (sun) are sung high in the performers register while abissi (abysses) and morte (death) are sung low.Roman opera was base to a greater extent on religious subjects than on Greek mythology, and it made much use of the choruses. Distinction between recitative and aria began to emerge. The prototype of comic opera were intermezzi, comic interludes between the acts.The principal distinctives of Venetian opera were to a greater extent emphasis on formal arias, the beginning of bel canto style and more attention to vocal elegance than to dramatic expression, less use of chorus and orchestral music, analyzable and improbable plots, elaborate stage machinery, and short fanfare-like instrumental introductions.As compared to Italian opera, the outstanding traits of French opera were use of ballet, greater importance of the drama, more use of the orchestra and instrumental music, shorter and simpler dance-like airs, careful attention to accentuation of the text, more communicatory and melodic recitative, less emphasis on virtuosity, the French overture.In Baroque music, ritornello was the word for a recurring passage for orchestra in the first or final movement of a solo concerto or aria (also in workings for chorus). In ritornello form, the tutti opens with a theme called the ritornello (refrain). This theme, always play by the tutti, returns in different keys throughout the movement. However, it usually returns in incomplete fragmentsIn the Prologue of Orfeo on that point is a recitation by La Musica, there are cardinal verses, each introduced by a ritornello. The same ritornello appears at the end of displace II and at the beginning of Act V.La serva padrona was originally an interlude to Pergolesis opera seria Il prigioniero superbo (The Proud Prisoner). The two were premiered on 5 kinsfolk 1733, the first performance after an earthquake in Naples had caused all theatres to be closed, and celebrated the birthday of the Empress of Habsburg.Il prigioniero was unsuccessful in its day1 and is not a recognized title in todays operatic repertoire. in conclusion the two pieces were separated, and La serva padrona went on to enjoy fame throughout Europe for age after its premiere. The importance of this intermezzo can hardly be unmarked in the history of opera. With a new finale, the French version played a large part in the Querelle des Bouffons. It was appealing because of its origination of characters that were relatable to any audience, namely the cunning maid and her aging master. La serva padrona is often seen as the quintessential piece that bridges the gap from the Baroque to the unequ ivocal period. Owing to its importance, over time it came to be cognize as more than just an intermezzo and was performed as a stand-alone work.Intermezzo IDressing room.Uberto, an elderly bachelor, is angry and impatient with his maidservant, Serpina, because she has not brought him his chocolate today. Serpina has blend in so arrogant that she thinks she is the schoolmistress of the household. Indeed, when Uberto calls for his hat, wig and coat, Serpina forbids him from leaving the house, adding that from then on he will wear to obey her orders. Uberto thereupon orders Vespone to find him a womanhood to bond so that he can rid himself of Serpina.Intermezzo IISame dressing room.Serpina convinces Vespone to antic Uberto into marrying her. She informs Uberto that she is to marry a military man named Tempesta. She will be leaving his home and apologizes for her behavior. Vespone, disguised as Tempesta, arrives and, without locution a word, demands 4,000 crowns for a dowry. Ube rto refuses to reconcile such a sum. Tempesta threatens him to either pay the dowry or marry the girl himself. Uberto agrees to marry Serpina. Serpina and Vespone reveal their trick exactly Uberto realizes that he has loved the girl all along. They will marry after all and Serpina will now be the true mistress of the household.The piece is for bass, soprano, and a mute actor.Opera is the fusion of music, acting, poetry, dance, scenery and costumes. At the end of the sixteenth century a small group of dark intelligentsia, known as the Camerata, met frequently in Florence. The Camerata had the intention of reproducing the combination of words and music which made up Greek theatre. The text was the main centralise of this music with all the words beingness sung naturally, in the same manner as normal speech, and the music must interpret the core of the text. This resulted in a new style of music which was mostly homophonic, in contrast to polyphonic music that was popular at the time. The first live opera, Peris Euridice in 1600, was a flop, Monteverdis Orfeo seven years later, however, was not. Orfeo managed to fulfil the requirements posed by the Camerata and while also being dramatic and portraying extreme emotion. everyplace the baroque period opera evolved and developed into different types and varied in different areas. Orfeo was characteristic of a Florentine opera and an opera seria. each(prenominal) forms of opera shared similar musical components such as solo song, in opera called aria pieces for two or more solo voices, duet, trinity etc recitative, a singing style that replicated the rhythms and pitch fluctuation of speech chorus the orchestra and the overture, the instrumental introduction to an opera.The various cities of Italy each had variants on the opera. Florentine opera, such as Orfeo, was based off Greek mythology. spot Roman opera was based on religious subjects and made more use of choruses. Venetian opera had an emphasis on forma l arias, less use of chorus and orchestral music, complex and improbably plots and short fanfare-like introductions. Choruses were nearly non-existent in Neopolitan opera and there was a new style of operatic song, arioso, which was a unite between recitative and aria. Castrati were popular and drew great interest from audiences.Opera spread to France and include the use of ballet, more extreme drama, more use of the orchestra and instrumental music, more expressive and melodic recitative and less emphasis on virtuosity.Towards the end of the Baroque period a new style of opera appeared known as opera buffa. These comic operas originated as intermezzi between the acts of opera serias. Opera buffa differed from opera seria due to its light and humorous subjects, commonplace characters rather than heroic figures, popular tunes replaced the dramatic and formal aria and characters, subjects and melodies of opera serias were parodied. Pergolesis opera buffa La serva padrona was an inte rmezzo to Pergolesis opera seria Il prigioniero superbo.Monteverdis Orfeo and Pergolesis La serva padrona show the development and similarities between early baroque and late baroque opera. Whilst the pieces are of differing style and were written over 100 years apart many characteristics of baroque music and opera appear in both.The plots of Orfeo and La serva padrona differ greatly as one is a opera seria and the other an opera buffa. Orfeo tells the tale of Orpheus, the gifted role player of Greek mythology. Orpheus, son of the god Apollo, has just married Eurydice only when his joy is soon crushed after she is killed by a poisonous snake. Orpheus goes down to hades hoping to bring her back to life and further drama and calamity ensues. La serva padrona features the old bachelor Uberto and his maidservant Serpina. Uberto and Serpina are contantly fighting however Serpina manages to trick Uberto into marrying her and becomes the homes mistress. Verspone, a servant of Ubertos, is a mute character but is important to the plot. The opera is light hearted and made up of common people. everyplace the baroque period the plots of operas changed dramatically in style as can be seen in Orfeo and La serva padrona.All operas were mostly homophonic, this way words could be projected more clearly with only one main melodic line. Both Orfeo and La serva padrona are mostly homophonic. In fact, whilst concerted music came back into fashion as the baroque period progressed, La serva padrona is less adventurous in terms of harmony in comparison to Orfeo. Orfeo makes use of polyphony in choruses, duets and trios. This can be seen in Act I lo non diro qual sia nel tuo gioir with Euridice, Chorus, Nymph and the Sheperds singing two different melodies in a round-style which in the end join together in a homophonic ending. pull from Orfeo Act I lo non diro qual sia nel tuo gioirLa serva padrona is rather simple, only written for a draw in quartet and a soprano and bass. The second violins generally threefold the first violins and the viola generally doubles the bass part one musical octave higher. The instrumentation of Orfeo is more expansive than that of La serva padrona. Orfeo utilises 2 clavicembalos, 1 double harp, 2 chitarrones, 2 bass cithers, 3 bass gambas, 2 variety meat with wood pipes, 1 organ with reed pipes, 2 small violins, 4 violins, 4 violas, 2 violoncellos, 2 contrabass viols, 4 trombones, 2 cornetts, 1 fautino, 1 high trumpet, 3 soft trumpets.Orfeo makes use of this range of instruments through its varying pieces. Orfeo has arias, recitatives, choruses, dances, sinfonias and duets. La serva padrona on the other hand is made up of only arias and recitatives and a duet to end each act. The range of instruments in Orfeo also results in contrast of dynamics between pieces. The use of more and less instruments changes the volume from loud to soft, suddenly, rather than gradually. This is known as terraced dynamics and is characteristic of the baroque period. La serva padrona remains a similar dynamic for most of the opera. Dynamics are altered through the doubling of sop up parts and the removal of string parts.Two different types of recitative were used in baroque opera. The first being secco recitatives, which were usually accompanied by only a basso continuo. The second being accompanied recitatives which were accompanied by the orchestra. Tu se morta in Act II of Orfeo is an example of a secco recitative. Per altro io penserei in Act II of La serva padrona is an example of an accompanied recitative. This style of recitative is used for an emotional high point in the opera. Arias are also found in both pieces. La serva padrona being a piece of the late baroque period, the arias follow the structure of ABA known as de capa aria.Excerpt from La serva padrona Act II Per altro io pensereiThe ascending violin patterns in the excerpt above are an example of the musics use in supporting the text. The fast, ascending, scalic pattern is representative of the excitement and confusion in this piece of the opera. This is a technique known as word painting. Words may be set to higher and lower tones according to the emotion or type of word. This is seen in Te se morta in Act II of Orfeo in which the words stelle (stars) and solo (sun) are sung high in the performers register while abissi (abysses) and morte (death) are sung low. Word painting was used throughout the hale baroque period in opera.Excerpt from Orfeo Act II Te se mortaBeyond the standard soprano, alto, tenor, bass, there were different types of opera voices. These included coloratura soprano, lyrics soprano, soprano castrato, dramatic soprano, lyric tenor, dramatic tenor, basso buffo, basso profondo. Orfeo makes use of a variety of voice types. Orfeo is performed by a dramatic tenor, due to their powerful voices, while Eurydice and La Musica were performed by soprano castrato. In La serva padrona Uberto is performed by a basso buffo as they could sing very fast and were perfect for comic roles. Serpina is performed by a coloratura soprano which is evident due to her rapid scales and trills and high range. The contrast in voice types in the two operas is due to their different style with one being an opera seria and the other an opera buffa.Reoccurring passages for the orchestra in baroque music are called ritornellos. Ritornellos are found throughout Orfeo. The ritornello is introduced in Act I and it appears at the end of Act II and at the beginning of Act V.Excerpt from Orfeo Act I PrologoRitornellos do not appear in La serva padrona as there is only a string quartet and voices. Imitation however does appear. The imitation of various voices of texture was common of the baroque period. lyrical ideas that are shown in one voice appear in other voices as well.Excerpt from La serva padrona Act I Sempre in contrasti payable to the increased use of homophony in the baroque period chords became much more significant than they were in the past. Basso continuo or figured bass is a bass part that is used together with numbers which desexualise the chords to be played above it. Usually the bass part is played by the left hand of an organist or harpsichordist and a cellist or bassoonist. In Orfeo the basso continuo is played by many instruments but mainly by organs. In La serva padrona the basso continuo is played by the cello or double bass and is doubled by the viola an octave higher. Basso continuo is a primary characteristic of the baroque period and lasted over all 150 years.Monteverdis Orfeo and Pergolesis La serva padrona both share many characteristics that are common of the baroque period. They also have a few significant differences that are due to the differing style of opera. French and German operas would offer further contrasts to these two Italian operas. On first glance it appears that Orfeo is more evolved and later opera than La serva padroma, this, however, is not true. While Orf eo does offer more instruments and a greater contrast of pieces La serva padroma takes a small part of the first operas and expands on them so that it stands as a genre of opera on its own. The evolution of opera through the baroque period wasnt through the invention of new techniques or massive rhetorical changes but rather through refinement of the original techniques and slight tweaks to the musical and lyrics content.