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Venetian orpanage and school for girls
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Vivaldi worked here as conductor, composer, teacher, and superintendant of musical instruments
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Antonio Vivaldi’s life;[5] |
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(1678 – 1741)
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Born in Venice, he spent most of his life in that city.
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He was a virtuoso violinist and a master teacher.
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He composed operas, cantatas, and sacred music.
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He is remembered primarily for his violin concertos.
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Vivaldi served as a teacher, composer, conductor, and superintendent of musical instruments at the Ospedale della Piet;.
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Antonio Vivaldi’s concerto [3]
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Vivaldi composed about five hundred concertos.
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The orchestra
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Vivaldi probably had twenty to twenty-five strings.
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Usually divided into four parts: violins I, violins II, violas, and cellos/string basses
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The continuo was either harpsichord or organ.
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Vivaldi sometimes used flutes, oboes, bassoons, and horns.
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He used color effects such as pizzicato and muted strings.
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The soloists
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About 350 of Vivaldi’s concertos are for one solo instrument, usually violin.
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He also wrote solo concertos for bassoon, cello, oboe, flute, viola d’amore, recorder, and mandolin.
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The concertos with several soloists are in the style of a solo concerto.
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Antonio Vivaldi’s concerto form [3] |
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The first movement was in a fast tempo.
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The middle movement was slow and in the same or a closely related key.
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The final movement, also fast and in the original key, was often shorter and livelier than the first movement.
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Antonio Vivaldi’s ritornello form [5] |
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Ritornellos, played by the orchestra, alternate with episodes by the soloist.
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Ritornello theme
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Ritornello keys
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The first and last ritornellos are in the tonic.
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The second ritornello is usually in the dominant.
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Other ritornellos are in closely related keys.
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Solo sections
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The soloist may interrupt or play part of the closing ritornello.
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Antonio Vivaldi’s slow movements
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Vivaldi is the first to treat slow movements as equal to fast movements.
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The melodies tend to be long, cantabile, and expressive, like an opera aria.
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Common forms
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The slow movement of Concerto for ;Violin in A Minor, Op. 3 No. 6; is unusual: the accompaniment is limited to upper strings.
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standard form for fast 18th Century concertos featuring a ritornello with full orchestra that alternates with episodes of solo material
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Vivaldi frequently used this form of concerto
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(1668 – 1733)
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1.) Oraganist to the King of France and at the Church of Saint Gervais in Paris, taught harpsichord to members of the aristocracy.
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2.) Famous for successfully combining French and Italian styles.
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(1683 – 1764)
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Rameau began his musical career as an organist in the provinces of France.
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By age forty, he was recognized as a theorist.
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He achieved fame as a composer in his fifties.
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His music was initially criticized for being radical, but later it was thought to be reactionary.
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1.) Arnstadt (1703)- worked as a church organist
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2.) M;hlhausen (1707)- worked as a church organist, tutored private students
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3.) Weimar (1708)- hired by the Duke of Weimar first as organist, later as concertmaster
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4.) C;then (1717)- hired by Prince Leopold of Anhalt in C;then to be Kapellmeister (music director) in his musical court
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5.) Leipzig (1723)- hired to be cantor of the Saint Thomas School and civic music director
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an association of amateurs who gathered to sing and play together for their own pleasure
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Bach led a collegium musicum in Leipzig in the early 1730s, which is where he wrote many of his concertos
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style of recitative scored for voice and basso continuo, used for setting dialogue or monologue in as speechlike a fashion as possible, without dramatization
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Handle used this in his recitatives
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recitative that uses orchestral accompaniment to dramatize the text
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Handle used this in his recitatives
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a soprano singing the leading role in an opera
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divas often were paid more than the composer or conductor, and were hired to bring in a crowd
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1.) orchestra
2.) chorus
3.) soloist
4.) based on chorales
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18th Century musical style that featured songlike melodies, short phrases, frequent cadences, and light accompaniment |
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Italian vs. French music in Paris |
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The latest Italian music was performed in Paris.
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Some French composers sought to blend Italian and French styles.
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The orders, or suites, were published between 1713 and 1730.
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Each ordre contains a number of miniature works, generally based on dance rhythms and set in a binary form.
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Most of the pieces have evocative titles.
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Vingt-cinquieme ordre [5] |
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Composed by François Couperin
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La visionaire (The Dreamer) is a whimsical French overture.
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La misterieuse (The Mysterious One) is an allemande.
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La Montflambert is a tender gigue, probably named after the wife of the king’s wine merchant.
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La muse victorieuse (The Victorious Muse) is a fast dance in triple meter.
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L’art de toucher le clavecin [3] |
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The Art of Playing the Harpsichord, 1716
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Couperin’s treatise on playing harpsichord
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One of the most important sources on French Baroque performance practice
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Fran;ois Couperin’s chamber music [6] |
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Synthesized French and Italian styles.
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He believed that the best music would be a union of the two national styles.
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He dedicated suites to both Corelli and Lully.
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Couperin was the first and foremost French composer of trio sonatas.
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Les nations (The Nations, 1726) and other works contain characteristics of both French and Italian music.
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He composed twelve suites, called concerts, for harpsichord and various combinations of instruments.
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Jean-Philippe Rameau’s operas [4] |
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Because of a monopoly by the Acad;mie Royale de Musique, operas could be produced only in Paris.
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For an extended period, Rameau served the wealthy patron Jean-Joseph de la Pouplini;re, whose gatherings attracted many significant figures.
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Pouplini;re funded Rameau’s first opera, Hippolyte et Aricie (1733).
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A number of outstanding works followed.
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Les Indes galantes (The Gallant Indies, 1735), an opera-ballet
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Castor et Pollux (1737), his masterpiece
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Zoroastre (1749), a late tragic opera
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Lullistes vs. Ramistes [4] |
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Two camps developed, one favoring Rameau and the other attacking him for subverting the traditions of Lully.
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During the French and Italian opera controversy of the 1750s, Lully supporters hailed Rameau as the champion of the French style.
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Similarities with Lully
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Recitatives have realistic declamation with precise rhythmic notation.
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Recitatives mix with tuneful airs, choruses, and instrumental works.
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The differences between recitative and air are minimized, after moving smoothly between them.
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Rameau made a number of significant changes.
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The melodies are derived from the harmony.
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Rameau uses a richer harmonic palette, including more chromaticism.
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Rameau’s orchestral writing is exceptional, as seen in his overtures, dances, and descriptive orchestral passages.
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He explored the joint use of solo of chorus.
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