Other sections in CHAPTER 10 include:
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Other Vocal Music

  1. Secular Vocal Music in Italy

    1. The Cantata

      1. Evolved from its roots in monodic strophic variations into a genre with many short, contrasting sections usually alternating recitatives and arias for solo voice with continuo

      2. The texts were love poems, dramatic narratives, or soliloquys

      3. It was performed for small audiences in rooms without stages or scenery

      4. Because of their small scale, cantatas attained an elegance and refinement that would not be possible in opera

      5. Alessandro Scarlatti composed over six hundred—HWM, ex. 10.7, Lascia, deh lascia (Cease, O cease)

        1. Expressive dissonances beyond the norm for his generation

        2. Full da capo aria (Ex. 10.7c)

        3. Recitatives

    2. The vocal chamber duet featured two equal high voices over figured bass

    3. Serenata was a semidramatic piece, midway between cantata and opera

      1. Usually composed for a special occasion

      2. Composed for small orchestra and several singers

      3. Composed by Stradella, Scarlatti, Handel, and others

  2. Song in Other Countries

    1. France

      1. Marc-Antoine Charpentier (1634–1704) composed both secular cantatas and sacred oratorios in the Italian style

      2. Louis Nicolas Clérambault (1676–1749) published cantatas with French-style recitatives and Italian-style arias

    2. Germany

      1. Composers used more orchestral accompaniments and ritornellos for solo songs than did composers in other countries

      2. Adam Krieger (1634–1666)

        1. Published Neue Arien (New Airs) in 1667 and 1676

        2. Combined strophic melodies in popular style with short five-part ritornellos

        3. Also composed cantatas

      3. By the end of the seventeenth century, German song was absorbed into cantata and opera

    3. England

      1. Purcell published many vocal pieces (solos, duets, trios) as Orpheus Britannicus, 1698

      2. John Blow published a set of songs in 1700 titled Amphion Anglicus

      3. The catch, or round, with humorous texts was popular for group singing

  3. Church Music

    1. Contrapuntal music in Palestrina's style continued throughout the Baroque period

    2. Church music works in the new style, with concertato style and multiple choirs, were composed by Monteverdi, Carissimi, and Schütz, among others

  4. Italian Church Music

    1. Bologna's basilica of San Petronio was a center of church music composition

      1. Maurizio Cazzati (ca. 1620–1677) published collections of sacred vocal music in stile antico and stile moderno

      2. Giovanni Paolo Colonna (1637–1695) liberated instruments from the role of doubling voice parts

    2. Some composers developed a sentimental style, with balanced phrasing as well as plaintive chromaticism, which was called Empfindsamkeit (sentimentality) in Germany

  5. Catholic Church Music in German-Speaking Countries

    1. Munich, Salzburg, and Vienna were centers of Catholic church music

    2. Johann Josef Fux's Missa di San Carlo (1716) is an example of the conservative style in German church music

    3. Other composers combined Italian and German characteristics, with orchestral preludes, large choruses, and clear major-minor tonality

    4. Antonio Caldara (ca. 1670–1736) worked in Rome before going to Vienna

      1. He composed Masses that contain solo, ensemble, and choral sections

      2. His Masses also included arias and duets and instrumental ritornellos resembling opera styles

      3. His Stabat Mater (HWM, example 10.8) uses chromaticism for expressive effect

    5. Oratorio volgare (vernacular oratorio) with Italian texts were performed in German-speaking lands (e.g., Johann Adolph Hasse's La conversione di Sant'Agostino, 1750)

  6. Church Music in France

    1. Marc-Antoine Charpentier introduced the Latin oratorio, combining Italian and French styles with a prominent role for the chorus

    2. Motets

      1. Solo motets for voice and continuo set biblical texts and were cultivated at the royal chapel of Louis XIV

      2. Grand motets were also performed at Louis XIV's court

        1. They were similar to secular cantatas, with preludes, vocal solos, ensembles, and choruses

        2. The 1712 royal chapel had an eighty-eight-voice chorus and a large orchestra

        3. Michel-Richard de Lalande (1657–1726) was Louis XIV's favorite composer of sacred music. He composed over seventy grand motets

    3. Petit motet

      1. French equivalent of the sacred concerto for few voices

      2. François Couperin (1668–1733) used texts from Matins and Lauds for petits motets, collected in Leçons de ténèbres

  7. Anglican Church Music

    1. Anthems and the Service continued to be the main genres

    2. Coronation ceremonies inspired elaborate works

    3. Some composers, such as Purcell, also composed music to nonliturgical texts

  8. Lutheran Church Music, 1650–1750

    1. After the Thirty Years' War there were two conflicting viewpoints in Lutheran church music

      1. The orthodox view was that all available resources should be used

      2. The Pietists preferred simpler music for personal devotion

    2. Chorales continued to be the basic Lutheran genre

      1. New chorales and hymns were composed for use at home, including those in the collection, Praxis pietatis melica (Practice of Piety in Song)

      2. Settings for congregational singing smoothed out metrical irregularities of the original chorales, resulting in cantional style

    3. Three types of sacred concertos developed in orthodox centers

      1. Arias only or arias and choruses in the concertato medium

      2. Chorales only, in the concertato medium

      3. Both arias and chorales, with the chorales in either simple settings or in the concertato medium (now often incorrectly called cantatas)

    4. Variations on chorales with each stanza of the chorale serving as the basis of variations

    5. Abendmusiken, public concerts following church services in Lübeck during Advent

      1. Given by Dietrich Buxtehude (ca. 1637–1707), who worked at the Marienkirche there

      2. Featured long, quasi-dramatic works with recitatives, strophic arias, chorale settings, and instrumental sections

      3. Influenced musicians from all over Germany, including J. S. Bach

    6. By the end of the seventeenth century there was a somewhat standard pattern for church music:

      1. Motetlike opening chorus on a Bible verse

      2. Solo movements in aria or arioso style

      3. Chorale verse sung by a chorus

    7. The Lutheran church cantata (see vignette in HWM)

      1. Poets wrote sacred poems for musical settings

        1. Texts were based on the church calendar and often came from the day's readings

        2. The poetic forms varied from da capo form to madrigal style, with unequal line lengths and rhyme schemes

        3. Several poets wrote cycles for the entire church year

      2. Georg Philipp Telemann (1681–1767), composer

        1. Published four complete cycles of cantatas

        2. Published another twelve cycles of more than a thousand cantatas

        3. Also published Passions, oratorios, and operas

        4. Famous in his time and known for his vivid interpretations of the texts

    8. Passions

      1. Lutheran Germany preferred the historia, which set a biblical narrative, over the oratorio

      2. The most important type of historia was the Passion, which set the suffering and death of Christ according to Gospel accounts

      3. Passions were performed before the Baroque period also

      4. Oratorio Passion employs recitatives, arias, ensembles, choruses, and instrumental movements (e.g., Schütz, Seven Last Words).

      5. The text comes from one version of the Gospel or combines the versions, and includes poetic meditations at appropriate points

      6. Pietists added realistic details (e.g., The Bleeding and Dying Jesus, 1704)

 

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