The Baroque Era: 1600–1750
Material chosen from the following:
Part 3 The Baroque Era- p.85–89
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Part 3 The Baroque Era- p.85–89
- Chapter 10- Claudio Monteverdi, Orpheus, selection from Act III p.92-97
- Chapter 11- Henry Purcell, Dido and Aeneas, Overture and Act I p.98-104
- Chapter 14- Johann Sebastian Bach, Fugue in G Minor, BWV 578 p.118-125
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Elements of the Baroque Era
- Homophony- The emergence of opera
- Aristocracy- Court composers
- Sacred/Secular- Music served as a means of conveying teachings of the church
- Baroque Opera/Oratorio
- Virtuosic Performers
Opera Elements
Soprano- The highest voice (women)
Alto- The second highest voice (women)
Tenor- High male voice, lower in range than the alto
Baritone- Middle to low male voice
Bass- Lowest male voice
Opera- A drama sung from beginning to end.
Overture- A purely instrumental opening, occurring at the beginning of the piece. This work may contain thematic material that is later used.
Act/Scene- Divides the piece into sections. A grouping of Scenes form an Act.
Basso Continuo- The accompanying ensemble in early forms of opera. Comprised of two instruments, one chordal instrument and one that can sustain long tones.
Recitative- Sung speech. Provides a way of delivering the text quickly and clearly.
Aria- Lyrical solo piece.
Chorus- Ensemble of singers. Generally appears toward the end of an Act.
Librettist- Author of the text from which opera is sung.
Seconda Practtica- Textural obligation is prioritized over the music.
Prima Practtica- The "first practice" in which musical richness took priority over textural expression.
Ornamentation- A style used by performers in the Barque era, intended to embellish the music that was being performed.
Alto- The second highest voice (women)
Tenor- High male voice, lower in range than the alto
Baritone- Middle to low male voice
Bass- Lowest male voice
Opera- A drama sung from beginning to end.
Overture- A purely instrumental opening, occurring at the beginning of the piece. This work may contain thematic material that is later used.
Act/Scene- Divides the piece into sections. A grouping of Scenes form an Act.
Basso Continuo- The accompanying ensemble in early forms of opera. Comprised of two instruments, one chordal instrument and one that can sustain long tones.
Recitative- Sung speech. Provides a way of delivering the text quickly and clearly.
Aria- Lyrical solo piece.
Chorus- Ensemble of singers. Generally appears toward the end of an Act.
Librettist- Author of the text from which opera is sung.
Seconda Practtica- Textural obligation is prioritized over the music.
Prima Practtica- The "first practice" in which musical richness took priority over textural expression.
Ornamentation- A style used by performers in the Barque era, intended to embellish the music that was being performed.
Composers of the Baroque Era
OPERA
Claudio Monteverdi (1567-1643)- Orpheus 1607
Claudio Monteverdi (1567-1643)- Orpheus 1607
- Principal Characters: Orpheus (tenor); Euridice (originally castrato, now soprano); Apollo (tenor)
Henry Purcell (1659-1695)- Dido and Aeneas 1689
Synopsis: Dido, the widowed Queen of Carthage, entertains the Trojan Prince Aeneas, shipwrecked on his way to Italy, where he will found a new Troy. Dido and Aeneas are in love. Witches plot Dido’s destruction and the Sorceress conjures a storm, to break out when the royal couple are hunting, and the impersonation of Mercury by one of her coven. The storm duly breaks and the courtiers hasten back to town, while the false Mercury tells Aeneas he must leave Dido and sail for Italy. Aeneas and his sailors prepare to leave, to the delight of the witches. Aeneas parts from Dido, who kills herself once he has gone, her death lamented by mourning cupids.
- Principal Characters: Dido, the queen of Carthage (soprano); Aeneas, a Trojan prince (baritone); Belinda, Dido's maidservant (sporano)
Synopsis: Dido, the widowed Queen of Carthage, entertains the Trojan Prince Aeneas, shipwrecked on his way to Italy, where he will found a new Troy. Dido and Aeneas are in love. Witches plot Dido’s destruction and the Sorceress conjures a storm, to break out when the royal couple are hunting, and the impersonation of Mercury by one of her coven. The storm duly breaks and the courtiers hasten back to town, while the false Mercury tells Aeneas he must leave Dido and sail for Italy. Aeneas and his sailors prepare to leave, to the delight of the witches. Aeneas parts from Dido, who kills herself once he has gone, her death lamented by mourning cupids.
Dido & Aeneas Overture
Dido's Lament When I am laid in earth
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Act III of the English opera Dido and Aeneas by Henry Purcell
Libretto: Nahum Tate Role: Dido, Queen of Carthage Voice Part: soprano|mezzo-soprano Fach: lyric mezzo|lyric soprano Setting: Dido's palace, Ancient Carthage Synopsis: With Aeneas gone back to Rome and Dido dying of grief, Dido asks for Belinda to remember her when she is dead. 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. |
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Der Hölle Rache
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Act II, Scene III of the German opera Die Zauberflöte by Wolfgang Amadeus Mozart
Libretto: Emanuel Schikaneder Role: The Queen of the Night Voice Part: soprano Fach: dramatic coloratura Setting: Pamina's room Synopsis: Giving her a knife, the Queen of the Night tells Pamina to kill Sarastro in order to get the Shield of the Sun from him. The vengeance of Hell boils in my heart, Death and despair flame about me! If Sarastro does not through you feel The pain of death, Then you will be my daughter nevermore. Disowned may you be forever, Abandoned may you be forever, Destroyed be forever All the bonds of nature, If not through you Sarastro becomes pale! (as death) Hear, Gods of Revenge, Hear a mother's oath! |
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Largo al Factotum
Act I, Scene I of the Italian opera Il Barbiere di Siviglia by Gioacchino Rossini
Libretto: Cesare Sterbini
Role: Figaro, a Sevillian barber
Voice Part: baritone Fach: lyric baritone
Setting: Outside Dr. Bartolo's house at daybreak
Synopsis: Figaro sings of his many talents that make him a good doctor, barber, matchmaker, etc.
Libretto: Cesare Sterbini
Role: Figaro, a Sevillian barber
Voice Part: baritone Fach: lyric baritone
Setting: Outside Dr. Bartolo's house at daybreak
Synopsis: Figaro sings of his many talents that make him a good doctor, barber, matchmaker, etc.
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Handyman of the city.
Early in the workshop I arrive at dawn. Ah, what a life, what a pleasure For a barber of quality! Ah, bravo Figaro! Bravo, very good! I am the luckiest, it's the truth! Ready for anything, night and day I'm always on the move. Cushier fate for a barber, A more noble life cannot be found. Razors and combs Lancets and scissors, at my command everything is here. Here are the extra tools then, for business |
With the ladies... with the gentlemen...
Everyone asks me, everyone wants me, women, children, old people, young ones: Here are the wigs... A quick shave of the beard... Here are the leeches for bleeding... The note... Here are the wigs, a quick shave soon, The note, hey! Figaro! Figaro! Figaro!, Etc.. Alas, what frenzy! Alas, what a crowd! One at a time, for goodness sake! Figaro! I'm here. Hey, Figaro! I'm here. Figaro here, Figaro there, Figaro up, Figaro down, Swifter and swifter I'm like a spark: I'm the handyman of the city. Ah, bravo Figaro! Bravo, very good; Fortunately for you I will not fail. |
L'amour est un oiseau rebella
Act I of the French opera Carmen by Georges Bizet
Libretto: Henri Meilhac
Role: Carmen, a gypsy
Voice Part: mezzo-soprano Fach: lyric mezzo|dramatic mezzo
Setting: A square in Seville
Synopsis: After appearing out of the cigarette factory, Carmen seductively sings about love and its unpredictable actions.
Libretto: Henri Meilhac
Role: Carmen, a gypsy
Voice Part: mezzo-soprano Fach: lyric mezzo|dramatic mezzo
Setting: A square in Seville
Synopsis: After appearing out of the cigarette factory, Carmen seductively sings about love and its unpredictable actions.
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Love is a rebellious bird
that nobody can tame, and you call him quite in vain if it suits him not to come. Nothing helps, neither threat nor prayer. One man talks well, the other's mum; it's the other one that I prefer. He's silent but I like his looks. Love! Love! Love! Love! Love is a gypsy's child, it has never, ever, known a law; love me not, then I love you; if I love you, you'd best beware! etc. |
The bird you thought you had caught
beat its wings and flew away ... love stays away, you wait and wait; when least expected, there it is! All around you, swift, so swift, it comes, it goes, and then returns ... you think you hold it fast, it flees you think you're free, it holds you fast. Love! Love! Love! Love! Love is a gypsy's child, it has never, ever, known a law; love me not, then I love you; if I love you, you'd best beware! |
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Elements of Fugue
p.118-125
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Johann Sebastian Bach ( 1685-1750)- Fugue in G Minor, Well Tempered Clavier 1722
Johann Sebastian Bach (1685-1750)- Fugue in G Minor, BWV 578 ("Little") 1705
Recording of the original version for organ
Leopold Stokowski arrangement of Fugue in G Minor 1931 "The Big Broadcast of 1937"
Begin video below at 2:37