1. 西洋音樂史 I 第 13 週 Chamber and Church Bernini: The Ecstasy of Saint Teresa (1652)

2. 西洋音樂史 I 第 13 週 Chamber and Church 2010/5/31

3. I. Style and Function Theorists 風格場合而分 church, chamber, and theater music. Composers gave increasingly distinctive flavors to genres in both vocal and instrumental music. Styles and techniques developed for opera 歌劇風格繼續影響 其他樂種.

4. Venice 音樂 The city of Venice An independent state run by several important families, with an elected leader called the doge One of the chief ports of Europe Controlled territories in surrounding areas Patronage of the arts The government spent lavishly on public music and art. Through the arts, the city could maintain the illusion of greatness despite wars and misfortunes that diminished its position in the sixteenth century.

5. IV. Music in Venice (Contd.) Church of St. Mark The private chapel of the doge The location of great civic and religious ceremonies (Figure 12.8)Figure 12.8 The position of choirmaster was the most coveted musical post in Italy. Willaert, Rore, and Zarlino held the post in the sixteenth century. Monteverdi held the post in the seventeenth century. Cori spezzati 多合唱團樂曲 ( 對唱 對比 )

6. IV. Music in Venice (Contd.) A permanent ensemble was instituted in 1568. Cornetts and sackbuts were the core. 木小號 伸縮號 Violin and bassoon were also included. For major feast days as many as twenty-four instrumentalists might be added. Counter-Reformation

7. IV. Music in Venice (Contd.) Giovanni Gabrieli (ca. 1555–1612) 風琴師 (Andrea 的姪子 ) Worked for St. Mark’s from 1585 until his death (see HWM biography, page 283 and HWM Figure 12.9) Composed for multiple choirs Composed the earliest substantial collections for large instrumental ensemble Works include about one hundred motets, over thirty madrigals, and almost eighty instrumental works.

8. IV. Music in Venice (Contd.) Polychoral motets Works for two or more choirs (up to five in Gabrieli’s music) Divided choirs, cori spezzati, had been common Forces could be placed in the two organ lofts of St. Marks, one on each side of the altar, and another on the floor. grand concerto, 大協奏 ( 唱 ) 曲, In ecclesiis 在教堂讚美主 Sacrae symphoniae, 1615 Ensemble canzonas Instrumental version of divided choirs Gabrieli’s Sacrae symphoniae (Sacred Symphonies, 1597) uses two groups of four instruments, with organ accompaniment. Instruments are not specified, but they would probably have been cornetts and sackbuts. The organ doubles the lowest note in the ensemble (basso seguente).

9. III. Catholic Sacred Music Stile antico 老風格 polyphony continued to be used throughout the seventeenth century. Pure stile antico, exemplified by Palestrina’s style, carried associations of tradition, reverence, and sanctity. Over time, basso continuo was added and the style was updated. Gradus ad Parnassum (Steps to Parnassus, 1725) Treatise by Johann Joseph Fux Codified the neo-Palestrina style counterpoint of the time. Used as a counterpoint textbook for over two hundred years

10. III. Catholic Sacred Music (Contd.) B.Sacred concerto The Church incorporated dramatic tools from opera to convey its message. Large-scale sacred concertos For major feast days at large churches Many voices, sometimes in chori spezzati (divided choir) Settings of Vespers, psalms, and movements from the mass Orazio Benevoli (1605–72) composed works using three or more choirs and organ for St. Peter’s in Rome.

11. III. Catholic Sacred Music (Contd.) C.Small sacred concerto For solo singer(s) with organ and one or two violins Lodovico Viadana (ca. 1560–1627) composed over one hundred He published the first book of church music to use basso continuo. HWM Example 15.4, Exsulate Deo, uses four-voice imitation in a two-voice piece by having each voice enter twice with the theme. The continuo fills in the harmony, making it possible to perform the piece even if one of the soloists is absent.

12. III. Catholic Sacred Music (Contd.) 3.NAWM 70 and HWM Example 15.5, O quam pulcrha es (1625), blends elements of recitative, solo madrigal, and lyric aria. By Alessandro Grandi (1586–1630), who worked for Monteverdi at St. Mark’s Grandi composed solo motets using monody. The sensuous text from Song of Solomon represents God’s love for the church. Grandi’s sense of drama parallels that in Bernini’s dramatic religious sculptures.

13. III. Catholic Sacred Music (Contd.) Oratorio 神劇 Definition: religious dramatic music incorporating narrative, dialogue, and commentary The text was in Latin or Italian. Called “oratorio” 於 oratorio (oratory) 演出, where people met for nonliturgical worship. Developed in Rome in the seventeenth century

14. III. Catholic Sacred Music (Contd.) Differences from opera Almost never staged Used a narrator 講述者 (a singing role) The chorus took on different roles and functions. Giacomo Carissimi (1605–1674) was the leading composer of Latin oratorios.

15. III. Catholic Sacred Music (Contd.) Jepthe (ca. 1648), by Carissimi, exemplifies the midcentury oratorio. a.Biblically-based libretto (Judges 11:29–40) with paraphrasing and added material b.Jephte promises God that he will sacrifice whatever creature first greets him on his return home if God will help him defeat the Ammonites. c.The narrator introduces the story and describes the action in recitative. d.Stile concitato helps to depict the battle scene. e.In NAWM 71, Jeptha’s daughter laments her impending death, accompanied by two sopranos and a small vocal ensemble, using rhetorical devices such as a descending tetrachord in the bass.

16. IV. Lutheran Church Music Both Catholics and Protestants adopted concertato medium and monody. Sacred concerto Both large- and small-scale were composed Johann Hermann Schein (1564–1637) Published two collections (1618, 1626) Book 1 features duets in the Italian style but based on Lutheran chorales. Book 2 has more varied styles than Book 1, with solo instruments that contrast with ensembles and more varied styles. Schein’s style set the precedent for later Lutheran works.

17. IV. Lutheran Church Music (Contd.) C.Heinrich Schütz (1585–1672) Biography (see HWM biography, page 339, and HWM Figure 15.2) Studied with G. Gabrieli in Venice 1612: Returned to his home (Kassel) 1615 to his death: Was in the service of the elector’s court in Dresden Composed in all genres, including the first German opera (1627), German psalms, Latin motets, sacred concertos, and works based on the life of Christ.

18. IV. Lutheran Church Music (Contd.) 2.Early works Psalmen Davids (Psalms of David, 1619): German-texted but influenced by Gabrieli Cantiones Sacrae (Sacred Songs, 1625): sacred songs (motets) using madrigal-like word-painting 3.Effect of the Thirty Years’ War (1618–1648; see HWM Source Reading, page 340) The economic hardship of the war reduced the number of musicians at the Dresden chapel. Schütz delayed publication of his Kleine geistliche Konzerte (Small Sacred Concertos, 1636, 1639) because of the war.

19. IV. Lutheran Church Music (Contd.) 4.O Jesu, Nomen Dulce, 1636) Schütz used Italian monody to portray the text. 5.Saul was verfolgst du mich: Post-war works From Schütz’s post-war book of Symphoniae sacrae (1650) Return to large-scale forces, with two choirs, doubled by instruments, six solo voices, and two violins. The style merges Gabrieli’s polychoral style with Monteverdi’s expressiveness.

20. IV. Lutheran Church Music (Contd.) D.Schütz’s historiae Historia, a musical setting based on a biblical narrative, was a prominent Lutheran genre. Schütz’s Seven Last Words of Christ (possibly composed in the 1650s) sets Jesus’ words in expressive monody and narration in recitative or chorus with sinfonia. His Christmas history (1664) sets the narration in recitative and scenes in concertato medium. Passions, settings of the story of Jesus’ crucifixion, were the most common type of historia. Schütz used plainsong and polyphonic motet style for his three passions.

21. II. Italian Vocal Chamber Music Secular works in concertato style For solo voice or small vocal ensemble with basso continuo Included madrigals, canzonettas, strophic songs, dialogues, and recitatives Widely published and performed

22. II. Italian Vocal Chamber Music (Contd.) B.Monteverdi and concerted madrigals Madrigals with instrumental accompaniment Monteverdi’s madrigals after 1605 used basso continuo and sometimes additional instruments. Book 7 (1619), titled Concerto Book 8 (1638), Madrigali guerrieri et amorosi (Madrigals of Love and War), his last book of madrigals Large variety of forces: solo voice, small vocal ensemble, chorus, continuo, instrumental ensemble Includes dramatic works Styles range from sixteenth-century madrigal style to stile concitato and operatic recitative.

23. II. Italian Vocal Chamber Music (Contd.) Cantata 清唱套曲 Definition Originally simply “ 唱的曲子 ” (from the Italian cantare) By mid-seventeenth century, the term was used for a secular composition on a lyrical or dramatic text, usually for 獨唱 + continuo, 包含若干個 recitative 與 aria. Main composers: Rossi, Cesti, Carissimi, and Barbara Strozzi

24. II. Italian Vocal Chamber Music (Contd.) 3.Barbara Strozzi (1619–1677) (see HWM biography, page 333, and HWM Figure 15.1) Venetian singer and composer Studied with Cavalli Supported by her father (poet and librettist Giulio Strozzi) and wealthy patrons Published eight collections of music in the mid-seventeenth century, for a total of over one hundred works Published more cantatas than any other composer of the time

25. II. Italian Vocal Chamber Music (Contd.) NAWM 69 and HWM Example 15.3, Lagrime mie 我的淚 (1659), by Strozzi Sections in recitative, arioso, and aria styles Recitative (HWM Example 15.3) uses descending line, minor mode, and augmented intervals to portray a weeping lover. Other sections portray different emotions, using styles appropriate to each. Secular music outside of Italy Italian genres of monody spread to northern Europe, especially England and Germany.

26. II. Italian Vocal Chamber Music (Contd.) 2.In France, the air de cour (court air) was popular. Homophonic, strophic song The text-setting is syllabic, with long and short syllables dictated by the length of the vowel (similar to musique mesurée). Antoine Boesset: Divine Amaryllis

27. VI. Instrumental Music Abstract genres carried over from the sixteenth century were the main focus, but 聲樂風格充滿於器樂. Interest in moving the affections 專注於獨奏 soloist 於炫技的裝飾 Styles such as recitative and arias Violin music imitated the voice and absorbed many vocal techniques.

28. VI. Instrumental Music (Contd.) 器樂分類方式 1.By performing forces Solo works (for keyboard, lute, theorbo, guitar, etc.) Chamber works, for soloist or small group with continuo Large-ensemble works, with two or more players per part (more important after 1650) 2.By venue or social function Church Chamber Theater (e.g., movements in ballets and operas) 3.By nationality Composers in each region preferred certain stylistic elements. Composers sometimes borrowed and blended styles from other lands.

29. VI. Instrumental Music (Contd.) 3.Types of works through ca. 1650: a.Improvisatory pieces 即興風 (toccatas, fantasias, or preludes) b.Fugal or imitative pieces 模仿 (ricercares, fantasias, fancys, capriccios, or fugues) c.Pieces with contrasting sections 對比樂段, often in imitative counterpoint (canzonas or sonatas) d.Settings of existing melodies (e.g., organ verse, chorale prelude) e.Variations of a melody (variations, partitas), or bass line (partitas, chaconnes, passacaglias) f.Stylized dance movements, alone, paired, or in suites 5.Types of works after ca. 1650: a.For keyboard, the principal types were prelude, toccata, fugue, chorale settings, variations, and suite. b.Ensemble music consisted of sonatas, suites, sinfonias, and concertos. c.Elements from one type of work often appeared in others, to the delight of audiences who knew the distinctions.

30. VI. Instrumental Music (Contd.) C.Giralamo Frescobaldi (1583–1643) and the toccata Biography (see HWM biography, on page 345, and HWM Figure 15.4) a.The most important composer of toccatas b.Born in Ferrara and trained in organ there c.1608–1628: Organist for St. Peter’s in Rome, with extra income from performing and teaching harpsichord to noble patrons d.1628–1634: Organist to the Grand Duke of Tuscany, in Florence e.1634: Returned to Rome under the patronage of a noble family f.His keyboard music was renowned in his lifetime, and his compositional style became the model for subsequent generations. g.Works include toccatas, fantasias, ricercares, canzonas, and partitas, as well as some vocal music.

31. VI. Instrumental Music (Contd.) h.His collection of three organ masses, Fiori musicali (Musical Flowers, 1635), contained the music an organist would play at Mass. 2.Music in the Organ masses in Fiori musicali Toccatas before Mass and at the Elevation of the Host before Communion Some extra toccatas in two of the masses Short, sectional pieces with sustained notes idiomatic for organ music

32. VI. Instrumental Music (Contd.) 3.Johann Jacob Froberger (1616–1667) was Frescobaldi’s most famous student. Organist at the imperial court in Vienna His toccatas alternate improvisatory passages with sections in imitative counterpoint. Later generations merged toccata and fugue more completely, following his example (e.g. NAWM 84 by Buxtehude and NAWM 88 by J. S. Bach)

33. VI. Instrumental Music (Contd.) D.Imitative genres: ricercare and fugue Ricercare Serious composition for organ or harpsichord, using one subject or theme in continuously developed imitation NAWM 75 and HWM Example 15.7, from Frescobaldi’s Fiori musicali, uses constantly shifting harmony, a distinctive subject, and a contrasting countersubject.

34. VI. Instrumental Music (Contd.) 2.Fugue From the Italian fuga, “flight” A term used in Germany for serious pieces that treat one theme in continuous imitation (see HWM Chapters 16 and 18) 3.Fantasia Imitative work on a larger scale than the ricercare Leading composers were Jan Pieterszoon Sweelinck (Dutch, 1562– 1621) and Samuel Scheidt (German, 1587–1654). Sweelinck’s fantasias usually use different countersubjects in a series of sections.

35. VI. Instrumental Music (Contd.) d.Scheidt’s Tabulatura nova (New Tablature, 1624) notates the parts for each voice on a separate staff, instead of tablature. e.English fantasias (called fancy) were composed for consorts of viols by Alfonso Ferrabosco the Younger (ca. 1575–1628) and John Coprario (ca. 1570–1626). 4.Canzona Imitative piece in contrasting sections for keyboard or ensemble Characterized by markedly rhythmic themes and liveliness

36. VI. Instrumental Music (Contd.) c.Frescobaldi’s organ masses included canzonas. d.Some canzonas use a different theme in each section. e.Variation canzona: uses a single theme in each section (e.g. HWM Example 15.9 by Giovanni Maria Trabaci [ca. 1575– 1647])

37. VI. Instrumental Music (Contd.) E.Sonata Early in the seventeenth century, the term meant any piece for instruments. Later the term was reserved for pieces with specific characteristics. Scored for one or two melody instruments, usually violin(s), with basso continuo Idiomatic for instrumental capabilities Similar to canzona in its use of sections

38. VI. Instrumental Music (Contd.) 3.NAWM 76, Sonata IV per il violino per sonar con due corde by Biagio Marini (1594–1663) Marini was a violinist, serving under Monteverdi at St. Mark’s for part of his career. Idiomatic violin techniques, including double-stops, large leaps, and sequential figures Alternation of rhapsodic and metrical sections, similar to Strozzi’s cantatas 4.By the mid-seventeenth century, the sonata and canzona had merged, and both were called sonata.

39. VI. Instrumental Music (Contd.) F.Settings of existing melodies Organists composed settings of liturgical music in both Catholic and Lutheran churches. Frescobaldi set Gregorian chants in his organ masses. Settings of chorales became known as chorale preludes.

40. VI. Instrumental Music (Contd.) G.Variations (also known as partite, divisions) Three common techniques Repetition of melody virtually unchanged, with variation in accompanimental parts (sometimes called cantus-firmus variations) Repetition of melody with different embellishment in each variation and accompanimental parts essentially unchanged Bass or harmonic progression serves as the foundation, as in the romanesca.

41. VI. Instrumental Music (Contd.) 2.Variations over a ground bass The pattern was usually four measures long. Meter was typically triple. Tempo was usually slow. 3.Frescobaldi published Partite sopra ciaccona and Partite sopra passacagli in 1627 (e.g., HWM Example 15.9)

42. VI. Instrumental Music (Contd.) H.Dance music Composed for social dancing, dance movements in theatrical productions, and as stylized chamber music Suites of movements extended the idea of linking dance movements in pairs. Johann Hermann Schein’s Banchetto musicale (Musical Banquet, 1617) contains twenty suites for five instruments and continuo.

43. VI. Instrumental Music (Contd.) b.Schein’s suites have a standard sequence: pavane, galliard, courante, allemande, and tripla (triple-meter variation of the allemande). c.Movements of suites sometimes use the same melodic idea, but may be only subtly linked.

44. VII. Impact of Early-Seventeenth-Century Music for Church and Chamber Grew from sixteenth-century traditions, but intensified the idea of distinct music styles for different venues Genres developed or codified in this era remained important genres for the next hundred years. Composers continued to study the music of this era, even after it was no longer being played.

45. IV. Lutheran Church Music (Contd.) 6.Musical figures Counterpoint patterns that had become associated with specific emotions First developed in Renaissance text-painting and enumerated by Schütz’s student Christoph Bernhard (1627–1592) HWM Example 15.6a uses cadentiae duriusculae (harsh cadential notes) to portray Jesus’ words “Why do you persecute me?” HWM Example 15.6b uses saltus durius (harsh leap) to suggest the hard road ahead for Saul.