AnnouncementAnnouncement• Activity 2 due March 20Activity 2 due March 20

Review from last classReview from last class• What are some musical innovations What are some musical innovations

Beethoven made?Beethoven made?• What is the Heiligenstadt Testament?What is the Heiligenstadt Testament?• How is Beethoven’s Fifth unified?How is Beethoven’s Fifth unified?

Classical sacred musicClassical sacred music• Not the most important type of music Not the most important type of music

in this period, but some good in this period, but some good examples of…examples of…

• MassMass• OratorioOratorio

Haydn’s CreationHaydn’s Creation

• Listening guide 34Listening guide 34• Haydn was a fan of Handel’s Haydn was a fan of Handel’s

oratorios..oratorios..• Heard them in LondonHeard them in London• Modeled on Handel, but in a more Modeled on Handel, but in a more

modern, 18th-c. stylemodern, 18th-c. style

Haydn’s CreationHaydn’s Creation• In EnglishIn English• Characters who sing:Characters who sing:• the archangels (Raphael, Gabriel, the archangels (Raphael, Gabriel,

Uriel)Uriel)• Adam and EveAdam and Eve

Haydn’s CreationHaydn’s Creation• Opens with recitative (narration)Opens with recitative (narration)• Opening depicts the earth being made Opening depicts the earth being made

out of chaosout of chaos• How could creation be depicted in How could creation be depicted in

music?music?• a long CRESCENDO in the orchestraa long CRESCENDO in the orchestra• In text recitative ext painting in next In text recitative ext painting in next

recitative?recitative?

Haydn’s CreationHaydn’s Creation• Chorus “The heavens are telling”Chorus “The heavens are telling”• ABA formABA form• Alternation of textures...Alternation of textures...• First homophonic chorusFirst homophonic chorus• Trio of archangelsTrio of archangels• Repeat of chorus, more polyphonicRepeat of chorus, more polyphonic

Classical OperaClassical Opera• Two typesTwo types• 1. Opera seria (serious opera)1. Opera seria (serious opera)• 2. Comic opera2. Comic opera• These have very distinct styles These have very distinct styles

of musicof music

Opera seria Opera seria • serious subjects- legends, serious subjects- legends,

heros, ancient history and heros, ancient history and mythologymythology

• Very formulaic series of eventsVery formulaic series of events

Comic operaComic opera• down to earth subjectsdown to earth subjects• acting is more fluid and realisticacting is more fluid and realistic• Often deals with lower class Often deals with lower class

characterscharacters• national types …national types …• ballad opera- English textballad opera- English text• Singspiel- German textsSingspiel- German texts• opera buffa- Italian textsopera buffa- Italian texts

Mozart’s operasMozart’s operas• Include all types Include all types • Most are in Italian (a few in Most are in Italian (a few in

German)German)• all with unsurpassed all with unsurpassed

characterization in musiccharacterization in music• Different styles of music for Different styles of music for

different characters and eventsdifferent characters and events

Mozart’s Marriage of FigaroMozart’s Marriage of Figaro

• Italian comic opera (called opera Italian comic opera (called opera buffa)buffa)

• Play by BeaumarchaisPlay by Beaumarchais• banned in France by Louis XVI and in banned in France by Louis XVI and in

Vienna, because of its …Vienna, because of its …• satire of the aristocracy -- servants satire of the aristocracy -- servants

outwit their mastersoutwit their masters• Allowed in Vienna when the Emperor Allowed in Vienna when the Emperor

saw Mozart’s versionsaw Mozart’s version

Mozart’s Marriage of FigaroMozart’s Marriage of Figaro

• libretto (text) by Da Ponte (original libretto (text) by Da Ponte (original play had to be shortened and play had to be shortened and translated into Italian)translated into Italian)

• Fusion of comic and serious Fusion of comic and serious elements (countess is treated like a elements (countess is treated like a “seria” character-from the upper “seria” character-from the upper classes)classes)

• Ensembles -- advance drama (not Ensembles -- advance drama (not just recitative)just recitative)

Mozart’s Marriage of FigaroMozart’s Marriage of Figaro

• Count and Countess-- rulers of Count and Countess-- rulers of the housethe house

• Figaro and Susanna - servants Figaro and Susanna - servants about to get married; the smarter about to get married; the smarter characters in the operacharacters in the opera

• Cherubino- a teenager who flirts Cherubino- a teenager who flirts with everybodywith everybody

• Basilio- a gossip who likes to Basilio- a gossip who likes to cause troublecause trouble

Mozart’s Marriage of FigaroMozart’s Marriage of Figaro

• Count has a crush on Susanna …Count has a crush on Susanna …• Even though she is Figaro’s fiance, the Even though she is Figaro’s fiance, the

Count has the right to spent the night with Count has the right to spent the night with her (because F. is his servant).her (because F. is his servant).

• Cherubino has a crush on Susanna, AND Cherubino has a crush on Susanna, AND on the Countess… WHY? …on the Countess… WHY? …

• because they are womenbecause they are women• Earlier, the Count caught Cherubino Earlier, the Count caught Cherubino

hiding behind a chair: Cherubino had been hiding behind a chair: Cherubino had been flirting with another servantflirting with another servant

Opera vocabulary reviewOpera vocabulary review• Recitative…Recitative…• A speechlike styleA speechlike style• No regular rhythmNo regular rhythm• Moves action along Moves action along • Aria…Aria…• More lyricalMore lyrical• Regular rhythmRegular rhythm

Figaro: Scene 6-7, Figaro: Scene 6-7, Act 1Act 1

• Aria: by Cherubino- sings/flirts Aria: by Cherubino- sings/flirts with Susannawith Susanna

• expresses his irrepressible love expresses his irrepressible love for all womenfor all women

• Music is rhythmically urgent, Music is rhythmically urgent, capturing the spirit of his capturing the spirit of his youthfulness.youthfulness.

Recitative: Action I Recitative: Action I • Enter Count-- to seduce SusannaEnter Count-- to seduce Susanna• Cherubino hides under a chairCherubino hides under a chair• Enter Basilio -- to work for the Enter Basilio -- to work for the

Count to get Susanna to like himCount to get Susanna to like him• Count hides under the chair- ANDCount hides under the chair- AND• Cherubino slides to the frontCherubino slides to the front

Recitative: Action IIRecitative: Action II• Basilio - mentions that maybe Basilio - mentions that maybe

Cherubino was Susana’s lover, Cherubino was Susana’s lover, not the Countnot the Count

• Count gets MAD and comes out Count gets MAD and comes out of hidingof hiding

• Susanna pretends to faintSusanna pretends to faint

Ensemble (trio)Ensemble (trio)• Characters react differently to Characters react differently to

situation and…situation and…• They sing differently, but They sing differently, but

somehow harmoniouslysomehow harmoniously• Count is brought to level of Count is brought to level of

servants because has to play servants because has to play their gametheir game

Ensemble (trio)Ensemble (trio)• Count, Sussana, Basilio sing Count, Sussana, Basilio sing

togethertogether• Count describes how he caught Count describes how he caught

Cherubino flirting with another Cherubino flirting with another servant by lifting up a cover servant by lifting up a cover behind a chairbehind a chair

• He demonstrates this-- and finds He demonstrates this-- and finds Cherubino Cherubino AGAINAGAIN

Ensemble (trio)Ensemble (trio)• Mozart added ACTION to the Mozart added ACTION to the

ensembleensemble• The ensemble is in Sonata-allegro The ensemble is in Sonata-allegro

formform• Exposition with two themes Exposition with two themes • Development (Cheubino gets caught)Development (Cheubino gets caught)• Recapituation with the two themes in Recapituation with the two themes in

the tonicthe tonic

Sacred music in Class. Sacred music in Class. periodperiod

• Not the most important genre…Not the most important genre…• But a number of But a number of