Week 14

Walking Bass

Bass line in Baroque music—and later in jazz—that moves steadily and continuously.

Suspensions

Dissonance created when a note is sustained while another voice moves to form a dissonance with it; the sustained voice descends a step to resolve the dissonance.

Sonata da chiesa

• Means church sonata

• Baroque instrumental work intended for performance in church; usually in four movements—slow-fast-slow-fast—and scored for one or more treble instruments and continuo 

Sonata da camera

A chamber sonata. Typically a suite of dances for treble instruments and basso continuo 

Concertino

A short concerto or the small group of soloists in a concerto grosso.

Ripieno/ripienists

 Italian for “full.” referring to an ensemble in its entirety. Really just means tutti. 

How did late seventeenth-century sonatas differ from their counterparts from earlier in the century?

• Sonata = work with multiple contrasting sections, → as the century continued those sections became separate movements. In the 1670s sonatas were divided into movements. These movements (and sections) were contrasting, usually they had: 

• Change in meter

• Idiomatic sections (lyrical vs technical)

• Slow vs fast 

At the beginning of the century sonatas were often used to refer broadly to any piece for instruments. Gradually it came to resemble a canzona in form, and used only 1-2 instruments + basso continuo. More soloistic. 

What is the typical arrangement of movements in the late seventeenth-century sonata with respect to tempo?

Slow-fast-slow-fast

In what types of contexts might sonatas have been performed?

Sonata da chiesa were performed in church or in other religious contexts. Sonata da camera were not church acceptable and were stylized dances instead (chamber).

What combination of instruments was the most common in trio sonatas?

2 violins + basso continuo

 How might performers turn a sonata into a concerto?

 Concertos stem from arrangements of sonatas → they keep the soloist but add people to the accompanist 

Da Capo Aria

Ria form with two sections. The first section is repeated after the second section’s close, which carries the instruction da capo, creating an ABA form

Cantata

In the 17th and 18th centuries a vocal chamber work with continuo, usually for solo voice, consisting of several sections or movements that include recitatives and arias and setting a lyrical or quiasi-dramtic text

oratorio

dramatic music that originated in 17th century, combining narrative, dialogue, and commentary through arias recitatives, ensembles, choruses, and instrumental music like an unstaged opera

Secco Recitative

Speech like melody that is sung by a solo voice accompanied only by a basso continuo.

How did late seventeenth-century Italian opera differ from its early and mid-century counterparts? 

• There was a reduction in comic elements so that they could focus on dramatic elements. 

• The importance and role of music in operas grew significantly. Composers began developing more complex and elaborate pieces for operas to support more dramatic narratives. 

• The uprising of neoclassicism in Italy at the time was bringing back ideals studied by ancient Greeks and Romans. They sought to replicate the principles of balance, symmetry, and harmony found in classical works. 

How did the overall form of the late seventeenth-century/early eighteenth-century cantata differ from mid-century cantatas (e.g., between the Scarlatti example and Barbara Strozzi’s Lagrime mie)?

• Late 17th century cantatas were shorter in structure in comparison to the mid century cantatas. They used short drama in verse, with two or more arias separated by recitatives. An example of a cantata that demonstrates this would be those by Giacomo Carissimi.

• Later however, Composers like Scarlatti, Bassani, Vivaldi standardized the structure as two or three da capo arias separated by recitative. This also standardized the Da Capo aria, creating a predictable structure.

• 17th century cantatas were primarily for solo voice, or basso continuo. There would only occasionally be a few instruments. In the 18th century, there were often larger orchestral accompaniments.

• Initially in the 17th century, cantatas were primarily used for secular purposes, such as familial gatherings. In the 18th century, the cantata also merged into sacred music (cantata da chiesa) as well as secular music (Cantata da camera). 

• Strozzi's work featured many short, contrasting sections. At the end of the century, poets and composers settled on a pattern of alternating recitatives and arias, normally 2 or 3 each.

You should also be able to discuss differences between mid- and late Baroque oratorios (e.g., Carissimi, Charpentier, Scarlatti).

Mid-Baroque oratorios, often exemplified by Caccini and Carissimi, tend to be simpler, often featuring recitative-aria structures with a greater emphasis on text declamation. Late-Baroque oratorios, like those by Scarlatti and Charpentier, are characterized by more elaborate orchestration, complex vocal textures, and a greater focus on virtuosity, particularly in the vocal parts.

In what types of contexts might have cantatas and oratorios been performed?

 Cantatas:

• Church Services: Cantatas were commonly used as a part of the Lutheran church service, often during the service or as part of a broader liturgical setting. 

• Private Concerts: Some cantatas were also performed in private settings, like the homes of wealthy patrons. 

• Public Concerts: As the concert tradition grew, cantatas were sometimes presented in public concerts as well. 

Oratorios:

• Concert Halls: Oratorios were often performed in concert halls as a form of public entertainment, with or without theatrical elements.

• Churches: While not intended for liturgical use, oratorios could also be performed in churches, sometimes as part of special events or festivals.

• Courts and Theaters: In the 17th century, oratorios began to be performed in courts and public theaters, reflecting a trend toward secularization of religious music