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Music History Week 8

by: Leah Ralston

Music History Week 8

Marketplace > University of Hawaii at Manoa > Music > > Music History Week 8
Leah Ralston
University of Hawaii at Manoa

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About this Document

Opera in the age of Rossini, Bellini, Donizetti, and Weber.
Music History
Valeria Wenderoth
Class Notes
Music, history, opera
25 ?




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This 2 page Class Notes was uploaded by Leah Ralston on Tuesday October 11, 2016. The Class Notes belongs to at University of Hawaii at Manoa taught by Valeria Wenderoth in Fall 2016. Since its upload, it has received 3 views. For similar materials see Music History in Music at University of Hawaii at Manoa.


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Date Created: 10/11/16
Music History week 8 10/11/2016 ▯ Gioachino Rossini (1792-1868)  Had many really popular/famous operas  His music was compared to bubbling champagne  Wrote his first opera at the age of 14. He sang as a young boy in operas starting at age 13.  1810 – contract with the Teatro San Moise in Venice (he was 18 years old) and he composed over 3 dozen operas in the next 18 years.  Impresario: Italian for “entrepreneur”; a person who organizes and often finances concerts, plays, or operas; this individual used contacts and influence to hire composers and singers at the behest of theatrical organizations.  Rossini had won the ability to help choose librettists and the casting of roles even though he always had to answer to the impresario.  Very respectful of genres. He composed his works basically with interchangeable parts.  The “Rossini crescendo” – a series of ostinatos over a regular tonic- dominant seesaw in the harmony, sustaining a gradual, inexorable, magnificently orchestrated crescendo to a blazing fanfare for full orchestra in which the bass instrument carry the melody.  Imbroglio: in comic opera, the moment of greatest plot confusion, prior to its inevitable disentanglement and resolution.  Opera buffa reached it climax with Rossini.  Scena ad aria - The scene and aria popularized by Rossini. o Cantabile section of aria – lyric effusion o Cabaletta section of aria – brilliant conclusion o Both sections had contrasting tempos.  Tempo di mezzo: middle tempo, to motivate a change of mood  Scena: dramatic scene with a self-contained dramatic trajectory.  Cavatina: the hero’s entrance aria. ▯ Beethoven:  He loved to push the boundaries and transgress the generic forms and styles of the day.  He combined elements of symphonic and chamber styles (sonata and fugue) ▯ Vincenzo Bellini (1801-35)  Bel canto: Italian for “fine singing”; a term to descrie the Italian operatic style of the Romantic era, featuring virtuosic coloratura vocal parts that emphasized the upper registers and paralleled increasingly emotional scenarios and louder, more dramatic orchestral accompaniments.  Parlante: type of speech-singing ▯ Gaetano Donizetti  66 operas  Excelled in both tragic and comic operas.  Don Pasquale and Lucia di Lammermoor o Lucia… provided the prototype for what would become a distinct subgenre of operatic tragedy: The “mad scene” ▯ Carl Maria von Weber (1786-1826)  He wrote Der Freischütz. o This was an opera drawn from the people. o Volkstümlichkeit – folklikeness o Weber assembled whole casts from the peasant class – not just sidekicks.  Melodrama: accompanied speech, actual speaking (rather than singing) over an orchestral background. ▯ ▯


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