Choral and Dramatic Music in the Nineteenth Century.

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Presentation transcript:

Choral and Dramatic Music in the Nineteenth Century

Choral Music “The oldest, truest, most beautiful organ of music, the origin to which our music owes its being, is the human voice.” Richard Wagner Grew in popularity with the middle class  Low cost  Social outlet Most popular genres were:  Part songs (unaccompanied secular songs in 3 or 4 parts  Oratorio—Dramatic composition based on a text of a religious or serious character for solo voices, chorus and orchestra  Mass—Musical setting of the “service” of the Roman Catholic Church [including the Requiem Mass (for the Dead)]

Johannes Brahms: A German Requiem 1868 Requiem (A Mass for the Dead)  Meant to console the living  Chose his own text from the Old and New Testament: from the Psalms, Proverbs, Isaiah, and Ecclesiastes AND from Paul, Matthew, Peter, John, and Revelation

A German Requiem: FORM Seven movements:  One Seven  Two Six  Three Five  FOUR AS CENTERPIECE  “How Lovely is They Dwelling Place (from Psalm 84)  ABACA (Rondo)

Opera

Opera Large-scale music drama that combines poetry, acting, scenery, and costumes with singing and instrumental music

Parts of the Opera Overture (before the show) Solo arias (songs) Recitatives (speechlike) Secco (dry) or accompanied Ensemble numbers (more than one person) Choruses (a whole bunch of people!) Libretto – The TEXT!

More than you want to know... but if you do, check out p. 170 Different “types of operas” from different countries Grand opera – serious, historical with spectacular effects Opera comique – comical, with spoken dialogue Lyric opera – combination of the two above Singspiel – light, comical, with spoken dialogue Opera seria – serious Opera buffa -- comic

Giuseppe Verdi ( ) Wrote 28 operas Requiem Extremely successful (Even held a political seat in parliament) Aida (one of the most famous) Rigoletto (another)

A Little Rigoletto  The Duke  Gilda – Jester’s Daughter (dies at the end!)  Rigoletto – The Jester  Sparafucile – An assasin  Maddalena – Sparafucile’s sister

Richard Wagner ( ) “Looms as the single most important phenomenon in the artistic life of the later 19 th century.” Revolutionary! Wrote literary works Gesamptkunstwerk -- A total work of art unifying all elements Music dramas (Not sectional, but continuous) Leitmotifs – Motives that represent something or someone Use of chromaticism THE RING OF THE NIBELUNG

The Ring of the Nibelungen Endless melody (continuous) Orchestra had a role Leitmotifs (suggested a character, an object, a landscape, an emotion) A complete, complex story: a cycle of four dramas The Valkyrie, Act III: Finale

The Ride of the Valkyries

Valkyrie A Valkyrie is a corpse goddess, represented by the carrion-eating raven. The name in Old Norse, valkyrja, means literally, "chooser of the slain." The leader of the Battle Valkryies was Brunehilde, made popular by Wagner in his music. Brunehilde answered to the goddess Freyja who is also the goddess of love, fertility, and beauty. The Valkyries also share the folkloric motif of the swan maidens, young girls who are able to take on the form of a swan. If you could capture and hold a swan maiden, or seize her feathered cloak, you could make her grant your wish.

The Valkyrie (Second in a cycle of 4) Finale of Act III Wotan, father of the gods Brűnnhilde, his favorite daughter  Listen for continuation of music  Chromatic  4 recurring themes (leitmotifs): slumber, magic sleep, magic fire, and Siegfried