Tues 1/13 Monteverdi in Venice: late madrigals and public operas
W & T 49, “Venice, 1637: Opera Opens for Business”
MWC 84 Monteverdi, Hor che ‘l ciel e la terra
MWC 82 Monteverdi, L’incoronazione di Poppea, “Pur ti miro”
STUDY QUESTION: How does “Hor che ‘l ciel” demonstrate Monteverdi’s ideas about using music to express “soft,” “moderate,” and “agitated” emotions?
How does “Pur ti miro” resemble other pieces we’ve studied (consider texture, ostinato structure)? Do you think “Pur ti miro” fulfills the “second practice” ideal that music should be “the servant of the words”? why or why not?
Thurs 1/15 French opera and theater music
W & T 54, “Music under the Sun King”
W & T 55, “Rationalistic Distaste for Opera”
MWC 101 a-b: Lully, Armide, Overture and “Enfin il est en ma puissance”
David Charlton, “Genre and Form in French Opera,” in Cambridge Companion to Eighteenth-Century Opera, pgs 155-158; 161-165 (recitative); 173-174 (air); 181-183
Rebecca Harris-Warrick, “Ballet,” in Cambridge Companion to Eighteenth-Century Opera, pgs 99-104 (France)
Fri 1/17 Music in the churches of Rome
MWC Schütz, “Saul, Saul, was verfolgst du mich?”
MWC Frescobaldi, 3 keyboard pieces from Fiori Musicali
MWC Carissimi, “Plorate, colles,” Lament and chorus from Jephte
MWC Jacquet de la Guerre, excerpts from Jephthe
W & T “Music in the churches of Rome, 1639”
STUDY QUESTIONS: what materials/techniques did the oratorio borrow from the new opera and monody? (How is the “daughter of Jeptha” like an opera character?) How would you use the pieces by Schütz and Jacquet de la Guerre to demonstrate the diffusion of Italian musical style from Venice and Rome to other European cities?