Music History II

1
Music History II

• Lecture Notes 6

2
Syllabus 3.55-3.56

• Overview of events in Europe Central
  Europe (3.55) Russia (3.56)

3
Opera or Operetta?

• Opera a large-scale production where the entire
  libretto is set to music
• Operetta a lighter form of musical drama with
  spoken dialogue as well as singing

4
Opposing Views

• From its beginnings in the early 17th century,
  the demands of music were often set against the
  demands of drama

5
Rossini and bel canto

• Beautiful singing
• Lyrical melodic lines
• Legato phrasing
• Execution of difficult passages seems effortless
• Only the basics of harmony and counterpoint in
  the orchestra

6
Figaro, Figaro, Figaro

• Figaro, Count Almaviva, Rosina, Doctor Bartolo
• Repetition of melodic fragments
• Octave leaps on largobravo

• Recitative for forward motion
• Rhythmic energy
• Sudden chromatic shifts in harmony

7
Cabaletta

• Aria in 2 parts (slow, lively)
• Rosinas aria more lyrical
• Melodies designed to show off the singers
  virtuosity
• In the bel canto style
• Cabaletta an aria made up of two sections (slow
  opening, lively conclusion)

8
Official Meddling

• Government censors took exception to the
  unflattering portrayal of royalty in Rigoletto
• The story philandering ruler hides behind the
  protection of his position
• The writers Victor Hugo (1802-85) and Francesco
  Piave (1810-76)

9
Italian Opera

• Arias
• Duets
• Choruses
• Accompanied Recitative

10
In the hands of Verdi?

• Energetic prelude
• Fast dance
• Dukes entrance
• Dynamic melody
• Homophonic acc
• Countess enters
• Minuet
• Festive dance

• Perigordino
• Ballet to galop
• Enter Merullo
• Recitative style
• Duke, Rigoletto, Count Ceprano and company
• Enter Monterone
• Curtain

11
Mozart and Verdi

• Clear harmonic goals
• Classical style
• Arias less demanding
• More secure tonally

• Rapid changes in melody, harmony and rhythm
• Extra effort to reflect the changes in the story
  line

12
Verdi and virtuosity

• The flow of the drama is affected very little by
  Verdis demand for virtuosity on the part of the
  main characters

13
Opera and Politics

• Opera house a gathering place for socialites and
  entrepreneurs
• Politics and morals embedded in the drama
• Censors constantly on the prowl looking for even
  the most subtle of subversive ideas in dramatic
  presentations

14
Carmen by Bizet

• Grand Opera
• Historical
• Lavish scenery
• colorful ballets
• large choral numbers
• Lengthy
• Favored by the establishment

• Comic opera and lyric theater
• Real life
• Less demanding in stage construction
• Lighter in character

15
Wagner et al

• Wolfgang Amadeus Mozart (1756-91)
• Ludwig von Beethoven (1770-1827)
• Carl Maria von Weber (1786-1826)

16
Wagner vs. tradition

• The drama a pretext for the music and virtuosity
  in singing
• His indictment neither the text nor the music
  could stand on its own
• Solution integrate drama and music in a way that
  would work to the advantage of both

17
Wagners music drama

• Gesamtkunstwerk (unified, whole, self-contained
  artwork)
• Deeds of music made visible
• Leitmotiv (leading musical idea)
• Voice and orchestra
• Structure of dramatic text
• Endless melody
• The Tristan Chord

18
Verdis Life and Work

• Now its your turn.

19
Back to operetta

• Came from the desire for musical theater on a
  smaller scale
• Middle of 19th century
• Spoken dialogue
• Lighthearted subjects
• From long tradition of songs with plays

20
Richard Wagner

• Can you say Richard?
• What else do you know?

21
Sacred Music

• Overshadowed by emphasis on instrumental music
  and opera
• The Mass got longer performed in concert rather
  than as a design for worship
• Requiem Mass and oratorio
• The Caecilian Movement

22
Virga Jesse floruit

• Key?
• Final cadence?
• Homophonic or polyphonic?
• How much chromatic harmony?
• Texture
• Dynamics
• And?