Discuss Purcell’s treatment of baroque compositional techniques in Dido and Aeneas. Heidi Kobor and Marie Ladwig

Overview of Baroque Harmony Melody Texture Dynamics Form Opera

Harmony Quick harmonic pace Regular pulse, continuous energetic harmonic motion (basso continuo) Rich harmonies Bold chromatic harmony Rich dissonances Great use of the minor keys

Melody Continuous melodic line Obvious cadences Building on motivic and sequential repetition Compact pattern repeated in a self- perpetuating manner No regular periodic structures Melodic extensions Irregular or dovetailed cadence points

Texture Complex and subtle Counterpoint Homophonic Harpsichord Strings Woodwind

Dynamics Limited use of dynamic contrast Sudden contrast from f to p Terraced dynamics Excessive Ornamentation No tempo changes

Form - Opera Recitative – Recitativo secco and accompagnato Aria – Solo vocal operatic fom – Accompanied by continuo and instruments – Clear form (da capo) – Reflective moment Only proper and substantial opera from the Baroque era is Dido and Aeneas, 1689 Lully – No flexibility in tempo and rhythm – High level detail – Overture

Form - Dance Dances flourish Allemande, Courante, Sarabande, Gigue (English), Minuet, Gavotte, Bourree, Polonaise Own tempo, meter and rhythmic characteristics

DIDO AND AENEAS

Harmony Regular pulse, continuous energetic harmonic motion (basso continuo) – ground bass (see below) Rich harmonies: e.g. page 179, rehearsal mark 39 Chromaticism: see below Dissonance: see page 177, bar 7 Minor keys: C-minor, D minor, E minor, F minor, G minor vs. 3 major keys Based on Dominant, Tonic, Subdominant: Page , bar 7-10

Melody Continuous melodic line: “When I am laid…” Obvious cadences: page 177, bar 11 Building on motivic and sequential repetition: – “Remember me” – Page 156 No regular periodic structures: Dido’s lament Irregular or dovetailed cadence points – Page 176, bar 6 – Page 177, bar 17

Texture Complex and subtle: Ah Belinda Ritornello: Act II, Scene II page 138 Counterpoint: Page 102 Homophonic: Page 97 Polyphonic: Page 102 Instruments: – Harpsichord – Strings – Voices

Dynamics Limited use of dynamic contrast: Overture Sudden contrast from f to p: Pag 91, bar 40 Terraced dynamics: Page 84, bar Excessive Ornamentation, Page 96, bar 17 No tempo changes

Form: Opera Recitative – Recitativo secco – Page – Recitativo accompagnato – Page 176 Aria – Dido’s lament – Ah Belinda! – Accompanied by continuo and strings – Clear form, yet not always da capo Da capo: “Fear no danger to ensue” Not da capo, but AB: “Ah Belinda”; “Dido’s lament” – Reflective – Expressive Overture No flexibility in tempo and rhythm