第一節 Europe in A Century of Change...

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Chapter 18 The Early Eighteenth Century in Italy and France p. 414

前言

＊ 1700 年（18 世紀初）: No new compositional technique ＊ 17 世紀普遍的風格特質 The doctrine of affection bass continuo concerto medium tonality genres of opera cantata concerto sonata suite ＊ 18 紀初期：Vivaldi, Couperin, Rameau, J.S.Bach, and Handel ＊音樂時期的重疊

第一節 Europe in A Century of Change 歐洲在一個世紀中的改變

A、 Realignment and revolution 重整與革命 p. 415 1）France：擁有最強大的武力，但皇室花錢揮霍 2）Britain：擁有最強大的海軍，擴展殖民地 3）Vienna：為奧匈帝國所在地，成為歐洲音樂的主要中心 4）Prussia：以歐洲主要的軍事力量嶄露頭角 5）Poland：區分為 Prussia, Russia, and Austria 6）American Revolution & French Revolution

B、 Economic expansion 經濟的擴展 1）改良的農業 2）貿易行為 3）工業化與都市化

C、 Education and learning 教育與學習 1）new schools 2）識字程度提升 3）書籍出版 4）Enlightenment

D、Demand for new music 對「新的音樂」的需求 p. 416、 E、Changing styles

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第二節 Music in Italy 義大利的音樂

A、 Naples 那不勒斯 p. 417 1）Independence 獨立

於 1734 年獨立成為一個獨立的王國 2）4 conservatories p. 418

（conservatory：保存之處，溫室，收容所，音樂院） a）最早，conservatory 為孤兒的收容所，在裡面施行音樂的教育 b）之後，conservatory 亦負起學生們的所有費用 c）從 conservatory 中畢業離開的學生們在歐洲各地旅行，以音樂做為職業，對於義大利

歌劇以及器樂音樂在歐洲土地上的傳播貢獻巨大 3）Castrati

a）main role in opera b）Farinali

4）Opera a）leading composer：A. Scarlatti b）comic opera c）serious opera d）recitative & da capo aria

B、 Rome p.419

1）Opera is not the only music type 2）Patrons 3）Attractions for musicians

C、 Venice 威尼斯 p. 420 1）An attractive city 2）multi-type of music a）船伕 b）amateur

c）musical splendor d）church music e）more than 6 opera companies

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第三節 Antonio Vivaldi 安東尼歐‧韋瓦第

I、Bio A、Most famous musician in early 18th century Italy 1）Venice 2）Violin 3）Opera, cantata, sacred music 4）the Four Seasons 5）“The Red Priest” B、The Pietá II、Vivaldi’s concerti p. 421

A、Instrumentation 管弦配器 p. 422 1）orchestra：

a) 20-25 strings in 4 parts: violin I & II, viola, cello, bass vio b) the continuo c) wind instruments d) pizzicato, muted string

2）soloist： a) 500↑concerti: 350 for solo, 2/3 of 350 for violin

b) other solo instruments c) concerto grosso d) orchestral concerto

B、Three-movement structure p. 423

1）I : 2）II : 3）III :

4）3-movement became standard C、Ritornello form

1）tutti vs. solo 2）1st ritornello 3）later ritornellos 4）tonality 5）solo sections 6）modulation in solo sections 7）soloist 8）NAWM 93

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D、Slow movement p. 425 1）as important as fast movements 2）long-breathed, expressive, cantabile melody

3）through-composed or binary form E、Variety of style p. 426 F、Publications, titles, and programs

1）Concertos for Pietà 2）Fanciful titles：

Op. 3, Harmonic Inspiration Op. 4, Extravagance Op. 8, The Test of Harmony and Invention Op. 9, The Kithara 3）Op. 8

The Four Seasons The sonnets III、Vivaldi’s position and influence p. 427

A、Range of styles Reflects the stylistic change of the 1st half of 18th ecntury

1）conservative, old：trio sonata, solo sonata 2）progressive, new：final movement, orchestral concerto, sinfonia

B、Influence 1）ritornello form 2）concise themes, clarity of form, rhythmic drive, logical musical ideas J. S. Bach took him as model 3）dramatic conception

第四節 Music in France A、Paris： 1、Concert Spirituel

2、Louis XV 持音樂，但不同於其曾祖父路易十四世一般地如此以音樂為主

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B、Reconciling French and Italian Style 法國與義大利風格的調和 p. 428 1、In Paris 2、Blend

a. Louis Nicolas Clérambault’s cantata 中，交替出現法國與義大利式的 recitative b. Jean-Marie Leclair’s violin sonata

C、François Couperin（1668～1733） 1、Career： 2、Ordre/Suite

a、Harpsichord ordre ( NAWM 94 ) a）published between 1713-1730 b）features : ～The Dreamer：～The Mysterious One：～The Victorious Muse：

～The Roving Shadow： b、The Art of Playing the Harpsichord 3、Chamber music p. 429 a、perfect music: a union of the 2 national styles（source reading, p. 429） b、admire Lully and Corelli:

The Apotheosis of Corelli and The Apotheosis of Lully c、trio sonata d、Les Nations

第五節 Jean- Philippe Rameau 拉摩（1683-1764） p. 430

A、Biography 1. Organist 2. Year of 40s: 3. Year of 50s: 4. Radical at that time: B、Theory of Harmony 1. Traité de l’harmonie: 2. Acoustics: 聲響學

3. Chords: 4. Root: 5. Fundamental bass:

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6. Dissonance and consonance: 7. Tonic, dominant, and subdominant chords: 8. Dominant→tonic progression: 9. Modulation: 10. Rameua’s impact: p. 432 C、Rameau’s Operas p.433 1. Works: 2. Monopoly of the Académie Royale de Musique: 3. Hippolyte et Aricie: 4. A string of successes: a. Les Indes galantes b. Castor et Pollux c. Zoroastre 5. Controversies: a. two camps: b. became the most eminent composer: 6. Comparison with Lully ( in theater works ): a. rhythmic notation: b. recitative: c. divertissement: 嬉遊曲 d. recitative and air: 7. Distinctive characteristics of Rameau: a. melody is rooted in harmony b. chromaticism: c. instrumental music: p. 434 8. Airs and choruses: D、Hippolyte et Aricie, end of act IV（NAWM 95）: 1. Begin: a divertissement of hunters 2. Sudden storm and monster: by orchestra 3. Hippolyte and Aricie’s recitative: 4. Hippolyte is gone: 5. Chorus’ lament: 6. Phedre: a. récitatif simple: b. récitatif mesuré: c. récitatif simple: 7. Final section:

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Chapter 19 German Composers of the Late Baroque p. 438 * Leading composers in 18th century: * Synthesizing: * German composers: * Italian and French composers： * England: I. Contexts for Music p. 439 A. German Patrons:

B. Aristocratic musicians: C. English patrons: D. Concerts and publishing: E. Mixed taste: F. George Philipp Telemann（1681-1767）: II. Johann Sebastian Bach（1685-1750） p.441 Biography（p. 442） positions: a. 1703-14: church organist/organ works 1. Arnstadt（1703-7）, church organist 2. Mühlhausen（1707-8）, church organist 3. Weimar（1709-14）, court organist b. 1714-17：concertmaster/cantatas c. 1717-23: court music director/ ensemble and pedagogical works

d. 1723-50: churches at Leipzig(The Leipzig Years)/sacred music, concerto, chamber music, pedagogical works p. 444

Bach’s compositional process p. 445 a. copy and arrange

b. compose away from the keyboard Organ Music p. 445

A. General: 1. Wrote a wide variety of genre 2. Good improviser 3. Influences p. 446

a. wide range of organ: b. Buxtehude: c. Vivaldi:

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B. Prelude and fugue 1. Buxtehude: 2. Bach’s Toccata in D minor, BWV 565: 3. Prelude and Fugue in A minor, BWV 543（NAWM96） a. Weimar period： b. Typical Bach: c. Virtuosic: d. Pedal point: e. Vivaldi’s influence: (19.1a)

f. Ritornello structure: g. Fugue subject: (19.1b)

C. Chorale settings 1. Chorale prelude:

2. Over 200: 3. Orgelbüchlein ( Little Organ Book ) a. Weimar:

b. Pedagogical aim: 4. Chorale tune:

a. Canon: b. Ornaments: c. Accompaniments:

5. Durch Adams Fall ( Through Adam’s Fall ), BWV 637 ( NAWM 97b & 19.2 ) p. 447 a. soprano: b. bass (leaps): c. alto (chromatic): d. tenor (downward-sliding ):

6. Later organ chorales: Harpsichord Music p.447-8 A. Suites:

1. Three sets: English Suites, French Suites, Partitas 2. French and Italian qualities with a standard German 4-dance movement form 3. English Suites with prelude opening:

B. Well-Tempered Clavier ( 1722-44 ): 1. Two books: 2. Key arrangement: 3. Pedagogical function: 4. Preludes: 5. Fugues:

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C. Goldberg Variations ( 1741 ) : 1. Sarabande rhythm: 2. 30 variations: 3. Canon: 3rd – unison; 6th – second; 9th – third; last - nineth 4. Quodlibet - the last variation: 5. Noncanonic variations:

D. A Musical Offering (1747 ): 1. ricercare and canons:

2. trio sonata for flute, violin and continuo:

E. Art of Fugue (1741 ): 1. All types of fugal writing: 2. 18 canons and fugues on the same subject: 3. Increasing complexity: 4. The last fugue:「Bb-A-C-B」=「B-A-C-H」 Chamber Music p. 449 A. 15 sonatas for solo instruments + harpsichord:

6 violin sonatas, 6 flute sonatas, 3 viola da gamba sonatas:

B. unaccompanied solo works: 6 sonata for solo violin, 6 partitas for violin, 6 suites for cello, 1 partita for flute:

Orchestral Music A. 6 Brandenburg Concertos: 1. Margrave of Brandenburg: 2. 3 movements: 3. no soloist in 3rd and 6th concertos: 4. ritornello: 5. Cadenza for harpsichord:

B. Concertos: 1. 2 violin concertos 2. Concerto in D minor for 2 violins: 3. Concertos for 2-4 harpsichords:

C. Orchestral suites:

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Cantatas A. New type: B. Role in church services: P. 451

1. Principal Sunday service: 2. Bach’s set: a. 3 groups with 12: polyphonic singing b. 1 group with 8: monophonic singing 3. Cantatas: a. singer/vocal: solo + 2 or 3 ripienists( tutti ): b. orchestra: strings + continuo + winds ( oboe, bassoon, flute, trumpet )(+timpani )

4. Cantata cycles: P. 452 a. 4 cycles in 1723-29: b. 200 preserved: c. secular cantatas:

C. Chorale cantatas, Nun komm, der Heiden Heiland, BWV 62 ( NAWM 98 ): p. 452-3

1. Typical 2nd cycle: with chorale: 2. NAWM 44b, a chorale tune from Luther’s Advent chorale: 3.Operatic style for soloists:

4. Mixture of genres: a. Vivaldi-like ritornello at the beginning（19.5）: b. 3 times of ritornello:

c. chorale as cantus-firmus（19.5b）: d. Points of imitation（19.5a）: p. 454 e. Characteristic of Bach: secular + sacred, old style counterpoint and cantus firmus

+ modern Italian style: Other Church ( Sacred ) Music p. 454

A. Passions 1. Two Passions survive - St. John Passion and St. Matthew Passion（1724, 1727）

2. Operatic elements: 3. Tenor: in both, tenor narrates the biblical story in recitative. 4. Soloists: sing the role of Jesus and other figures: 5. Chorus: 6. Small group of singers:

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B. Mass in B Minor（1747-49）: p. 454-6 1. Only Mass: 2. Adaption from earlier works: 3. Juxtaposed contrasting styles 4. Too long:

Bach’s Synthesis: p. 456-7

1. All genres: 2. Conflicts: 3. Qualities:

a. Concentrated and distinctive themes: b. Copious musical invention: c. Balance between harmony and counterpoint: d. Strong rhythmic drive: e. Clarity of form: f. Grand proportions: g. Imaginative use of pictorial and symbolic figures:

h. Intensity of expression always controlled by a ruling architectural idea: i. Careful attention to every detail:

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III. George Frideric Handel（1685-1759） p. 457

A. Bio：a travel composer 1. Born in Halle, Germany 2. Trip in Italy (1706-10) 3. Mature years in England (1712-59) a. England’s choral tradition b. Extremely popular 4. Eclectic style: B. Patrons p. 458 1. In Italy: Marquis Francesco Ruspoli p. 459 a. Work as a keyboard player and composer: b. Latin motets and chamber cantatas:

2. In Hanover, Germany, 1710: 3. London trip:

a. Elector of Hanover b. First trip 1710-11: c. Second trip 1712: d. 1717-19, James Brydges, earl of Chanavon: 4. Handel’s most important patron: p. 460 a. 200₤: b. 400₤: c. 600₤: 5. Public performance: * Operas

A. Handel's first opera, Almira (1705), international influences: 1. French: overture and dance music 2. Italian: aria as the language 3. German: recitatives, counterpoint and orchestration

B. Italian style to adopt 1. Operas and Cantatas of Scarlatti 2. Agrippina (Venice, 1709)

C. Early years in London 1. Rinaldo (1711) 2. In the 1710s.

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D. The Royal Academy of Music, 1718-19. 1. Handel as the music director p. 461 2. Performances at the King's Theatre in the Haymarket 3. Handel gathered outstanding musicians 4. Composed fine operas for this company:

a. Radamisto (1720) b. Ottone (1723) c. Giulio Cesare (Julius Caesar, 1724) d. Rodelinda (1725) e. Admeto (1727)

E. Characteristics of Handel's operas: 1. Plots: 2. Recitatives:

a. Simple recitative, recitativo secco (dry recitative)(NAWM100b). b. Recitative obbligato, accompanied recitative(NAWM100a).

3. Arias p. 462

a. Da capo form. b. Mood or affection c. Singers’ position d. Prima donna

4. Handel’s aria styles:

a. Coloratura b. Expressive songs c. Ranges of arias: d. Pastoral scenes e. Solo instruments

5. Orchestral interludes and ballets 6. Rare larger vocal ensemble

F. Giulio Cesare Act II, scenes 1-2 (NAWM 99) 1. Opening: simple recitative 2. Da capo aria 3. A mixture of national styles in arias (Example 19.6).

a. French: b. Italian: c. German:

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* Oratorios p. 464 A. English oratorio:

1. Sacred subjects 2. Italian tradition 3. Non-Italian sources:

a. French classical drama b. Ancient Greek tragedy c. The German passion d. The English masque and full anthem

B. Use of the chorus. 1. Lutheran choral music and the English choral traditions: 2. Roles of the chorus:

a. Participate in the action b. Narrate the story c. Comment on events, like the chorus in Greek drama

3. Less contrapuntal than Bach 4. Fugal texture and block harmonies

C. Esther (1718) D. Saul, closing scene of Act II (1739) (NAWM 100)

1. Opening: accompanied recitative (NAWM100a, Example 19.7) 2. Simple recitative (NAWM100b) 3. Chorus:

a. Homophonic passage (NAWM100c) b. Falling tritone c. Rapid repeated notes

E. Messiah p. 465

1. The libretto 2. The texts 3. The music reflects a mixture of styles:

a. French overture b. Italian recitatives and da capo arias c. Germanic choral fugues d. English choral anthem style

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F. Performances: 1. In London during Lent: 2. During intermission: 3. about 20 person for both chorus and orchestra (HWM Figure 19.10) 4. Oratorios needed no staging or costumes 5. English singers performed the lead roles 6. Oratorios appealed to the middle-class public

* Instrumental Music: p. 469 A. Published in London by John Walsh B. 2 collections of harpsichord suites, 20 solo sonatas, and many trio sonatas C. 2 suites for orchestra:

1. Water Music (1717) 2. Music for the Royal Fireworks (1749)

D. Concertos with a mixture of traditions: 1. 6 concerto grossi, Op. 3 2. Organ concertos 3. 12 Grand Concertos, Op. 6

* Handel's reputation

A. Handel was regarded in England as a national institution. B. Buried with honors (HWM Figure 19.11). C. The lasting appeal of the oratorios

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Chapter 20 Musical Taste and Style in the Enlightenment p. 468 前言

* Music language in middle 18th：songful, periodic melodies with light accompaniment * First developed in vocal music, especially comic opera：natural, expressive, immediately appealing to listeners I. Europe in the Mid- to Late Eighteenth Century A. Aspects of eighteenth-century life 1. Strong political powers 2. Revolutions 3. Economic change 4. A cosmopolitan society 5. International musical style B. The Enlightenment p. 469 1. An intellectual movement 2. Beliefs of the Enlightenment a. Individual rights b. Naturalness c. Universal education d. Social equality 3. The philosophes 4. Doctrines of the Enlightenment and the founding documents of the United States 5. Humanitarianism 6. Freemasonry 7. Popularization of learning C. Social roles for music p. 471 1. Musicians’ income 2. Musical amateurs 3. Musical journals and histories II. Musical Taste and Style p. 474 A. Musical styles in the mid- and late 18th century 1. Coexisting styles 2. New values for music a. Avoid contrapuntal complexity b. Melodies in short phrases with simple accompaniments c. The language of music should be international

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B. Terms of styles p. 477 1. Galant style a. A term b. Melodies c. Phrases d. Harmony e. Became the foundation f. light accompaniment 2. Empfindsam style (“sentimental style”) a. Origination b. Characteristics 3. Classical music and classical style a. “Classical” music b. The narrowed definition c. Applied to music as an analogy to Greek and Roman art d. The Classical Period ** Qualities of the Classical Style p. 478 A. Melody 1. Unlike Baroque phrasing a. Single melodic-rhythmic subject b. Single affection c. Sequential repetition 2. Periodicity a. Short distinct phrases b. Period c. Cadences d. Rhetoric and grammar B. Harmony p. 479 1. Hierarchy of cadences 2. Harmonic movement 3. Alberti bass p. 480 C. Form D. Texture E. Emotional contrast p. 481 1. Human psychology 2. Human physiology 3. Contrasting moods 4. Form and content

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