Aria da Capo Anna Willis

A new musical form combining music, theater, and poetry developed in the late 16 th century without a name; it was given the Italian name for “work” – opera.

Important Opera Developments The first opera house opened in 1637 in Venice, Italy. Northern Italy was the hot spot for vocal music and performance through the rest of the 17 th century. Other important opera cities were Naples, Florence, and Rome.

The development of Arias In very early opera, the distinction between aria and recitative was not very clear. However, as opera progressed, the aria and recitative took on distinctive traits, and the aria took on specific forms. Arias increased to about 60 per opera (!) in the mid- Baroque and served to showcase talented singers. In about 1680, the aria da capo, or da capo aria, was born!

Aria da Capo Merriam-Webster: – an aria in 3-part musical form comprising a theme, a secondary contrasting part, and a repetition of the first part – “air from the beginning” The aria opens in tonic, and the second section is in a related key (usually the Dominant or parallel Major or minor) The da capo aria frequently employs ritornello, an interlude that usually falls at the return of the A section.

Purpose of Aria da Capo In the Baroque period, singers ornamented heavily; they were not necessarily expected to perform what was written. The Aria da capo gave performers the chance to present material, and later repeat it with elaborate ornamentation. The da capo aria was basically just a way for baroque singers to show off.

Changes in the da Capo Aria These arias were usually accompanied by continuo until about The middle section became shorter and more contrasting. The original ‘da capo’ was replaced with a ‘da segno’, which directed the performer to return, not to the beginning, but a point within the “A” section

“Sento nel core”- A. Scarlatti Most likely from a cantata (Scarlatti composed over 600 cantatas, but not all are complete). Zg Zg Text: – “I feel in my heart a pain which disturbs my peace.” (A section) – “A torch flames within my soul. If it is not love, it will be.” (B section) – See how the texts contrast?

“The Trumpet Shall Sound”- Handel 4Bs 4Bs From The Messiah, an oratorio. Text: – “The trumpet shall sound and the dead shall be raised incorruptible, and we shall be changed.” – “For this corruptible must put on incorruption, and this mortal must put on immortality.” 3:50, B section 5:25, return of A

“Bel Piacere”- Handel From Aggripina, an opera. Text: – “It is much pleasure to enjoy a faithful love. It brings contentment to the heart.” – “Beauty is not measured by splendor if it does not come from a faithful heart.”

“Dalla sua pace”- Mozart 0:50 begins, 1:50, B; 3:00, return of A From Don Giovanni, an opera Very late example, ending greatly varies from the A section, but it is close enough. Text: – “On her peace of mind depends mine too, what pleases her gives life to me, what grieves her wounds me to the heart.” – “If she sighs, I sigh with her; her anger and her sorrow are mine, and joy I cannot know unless she share it.”

Sources webster.com/dictionary/aria%20da%20capo 1/early.aspx 1/early.aspx sHistRev/MusicalForms/Aria.html sHistRev/MusicalForms/Aria.html ndard.html ndard.html webster.com/dictionary/ritornello webster.com/dictionary/ritornello