New Genres and Styles in the Age of Rationalism

Three styles of vocal music Marco Scacchi (ca. 1600 to ca. 1685) — writer on music, classified types of vocal music in letter of 1648: stylus ecclesiasticus — church music stylus cubicularis — chamber music stylus theatralis — opera

The creation of opera Predecessors Greek drama Liturgical drama Madrigal dialogue and madrigal comedy Pastoral — poetic play with music, popular in sixteenth century Intermedio between acts of dramas — included songs, pantomime, dances theatrical context allowed for very elaborate stagings poets also important madrigal poets Torquato Tasso (1544–1595) — Aminta (1573) G.B. Guarini (1538–1612) — Il pastor fido (1590)

Studies of Greek drama Camerata in Florence under leadership of Count Bardi Girolamo Mei in Rome concluded Greeks sang throughout dramas Style was understood to be monophonic and speechlike Plots taken from Greek mythology

Early operatic experiments Jacopo Peri (1561–1633) — first completely composed drama — Dafne (1594, perf. 1598) pastoral by Ottavio Rinuccini (1562–1621) only fragments extant — two by Jacopo Corsi (1561–1602), Peri’s patron, and four by Peri Emilio de’ Cavalieri (ca. 1550–1602) — first extant, completely composed play — Rappresentativo di anima e di corpo (Rome, 1600) sacred allegory, idealized drama, first score printed with figured bass

Euridice, 1600 First intact, genuine opera Original production for wedding in Florence of Henry IV of France and Maria de’ Medici (commemorated in paintings by Rubens) Pastoral text by Rinuccini Music by Peri, who probably sang Orfeo’s role Produced by Corsi Staged by Cavalieri Some music inserted by Caccini

The music of Euridice Structure — five acts, modeled on Greek drama Vocal style — stile rappresentativo, recitative free rhythm, like speech, to suit affect and meaning pitch controlled by affect more than by meaning — rhetoric rather than word painting monodic texture — basso continuo accompaniment, scoring not specified harmony — dynamic created stress by chord changes

Claudio Monteverdi, Orfeo (1607) Libretto by Alessandro Striggio (1573?–1630) Five acts 1 — rejoicing over wedding 2 — news of Euridice’s death 3 — Orfeo goes to Hades 4 — release and second loss of Euridice 5 —Apollo takes him to Olympus (in early version Orfeo chased away by Bacchantes) Instrumental pieces early and unusual example of specific orchestration function for articulation of drama, unifying ritornelli Choral madrigals, dance pieces Solo singing stile rappresentativo for dramatic passages separate songs for expressive monologue

Vocal chamber music Madrigals vocal and unaccompanied, as in sixteenth-century style Monodies and ensemble vocal pieces with basso continuo trend to chamber duet title might be madrigal, but more precise for soloistic pieces would be aria or cantata Works with additional concertato instrumental parts accompanying introductory sinfonias or recurring ritornellos quasi-dramatic depictions

The importance of stylus cubicularis Development of musical forms — problem of writing extended vocal works without dramatic plot to give coherence Aria changed from strophic or strophic-bass form to closed-form piece in which music dominated text Cantata began to mean a piece that employed a variety of styles and eventually a work planned as a series of movements

Styles of sacred music in the early seventeenth century Stylus gravis, or stile antico — older Zarlino/Palestrina style Polychoral vocal scoring multiple choral forces — may also include organ prima pratica harmony Concerted style choirs, organ, instruments Motets and concertos in seconda pratica — for solo portions of liturgy solo voices and b.c. motet — without obbligato instruments (cf. monodic madrigal, duet) concerto — with obbligato instruments

Oratorio Derived from narrative texts treated as motets or sacred concertos Name taken from oratorio or prayer hall, space separate from sanctuary, where such works were performed Intended for devotional observances of Christian confraternities, but not liturgical Features narrator, called testo or historicus (in Passion oratorios “evangelist”)

Dramatic and musical gestures of oratorio Concert work (not worship music) for chorus, solo singers, and orchestra Not staged or costumed Based on biblical story Uses musical techniques of opera — recitative, affective/rhetorical solos, chorus, instrumental accompaniment Likely to feature chorus no logistical problem in costuming, staging musical word painting replaces visual scenery

in the early seventeenth century Instrumental genres in the early seventeenth century

Building on Renaissance genres Increased importance in musical life Doctrine of affects provided justification for expression — musical style as rhetorical even without text Structural advances — concertato scoring, tonality, form Conception based on instruments farther from vocal models idiomatic writing Dynamics — terraced

Improvisatory types Toccata, prelude Often paired or interwoven with section or passages in fuga

Imitative types Ricercar, fantasia Featured polyphonic imitation, concentrating on one subject — unity of affect Free form, tendency to continuity rather than frequent sectional divisions

Sonata Successor of canzona by separation of sections into movements Key unity maintains central affect, but sections contrast in material, tempo Almost always with basso continuo — trio texture (two parts and b.c.) becomes most important

Variation types Partita (series of partes) Cantus firmus variation — especially of chorale Ornamentation of melody line Variations over repeating bass similar to vocal strophic variations standard types — chaconne, passacaglia, ruggiero, romanesca, etc.

Dance types Stylized dance types for independent pieces Binary form Suite relation to variation set — partita key unity stabilizes affect while dance rhythms give affective variety standard order — allemande, courante, sarabande, gigue

Questions for discussion What historical factors let to the distinction between church, chamber, and theatrical styles in seventeenth-century music? How have more recent periods maintained or forsaken the separation of styles by social function? In what sense is early opera dramatic? In what senses is it not dramatic? How did the appearance and development of the oratorio resemble or differ from that of the liturgical drama? What factors contributed to the increasing important and sophistication of instrumental music in the seventeenth century?