Monteverdi, though, was careful to avoid long stretches of uninterrupted recitative.
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With a return to recitative, Phèdre almost inadvertently calls Aricie her rival.
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His timbre has deepened—on the recitative "Dutchman," he's a relaxed near-bass.
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It is a recitative structured around two high C's, one soft and one loud.
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Its 58 numbers run some two hours, an almost constant alternation between recitative and aria.
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In "Pelléas," you get this huge recitative, but Debussy being Debussy, it's much less vertical.
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Hersey's writing voice is calmly recitative, bordering on affectless—"deliberately quiet," as he later put it.
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All the vocal lines skirt rhythmically square recitative and tender arioso, sung over a subdued disco track.
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The genre placed primacy on the dramatic setting of words to music in various styles of recitative.
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The dialogue scenes advance the action through a fluent mix of recitative and (usually short) airs or duets.
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During a recitative passage, Mr. Jordan sang the singers' parts in Italian, calling out instructions between the lines.
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But Monteverdi shows uncanny skill at writing extended vocal passages that shift seamlessly between recitative, arioso and aria.
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True, the recitative was accompanied by full orchestra, sometimes ingeniously but more often in short-breathed bursts of punctuation.
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Some operas are faulted for scores that lack melodic richness, relying too much on long stretches of dramatic recitative.
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She made her mark in that repertoire with a 1951 recording of Arnold Schoenberg's Variations on a Recitative (Op. 40).
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And since opera is more than mere "la-la-la," you have to learn recitative style, halfway between song and speech.
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This comedy about concealed identities, madness and mismatched couples contains some lovely arias and ensembles, but also reams of workmanlike recitative.
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He believed that there had been too much reliance on long stretches of austere recitative, which could get a little dreary.
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It's theater music in which almost everything is sung and even the spoken parts come with music, like recitative in opera.
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His soliloquy consists of a grim prelude, a spacious recitative and a grand aria in the standard two-part (slow-fast) form.
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With "Ulisse," the composer might seem to have gone against his initial instincts about the risk of relying too much on recitative.
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With a shift back to recitative, Phèdre realizes her situation is hopeless and urges Hippolyte to kill her, before seizing his sword herself.
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Crucial scenes for Jupiter and his aggrieved wife, June (sung by Ms. DeShong with ferocity and a comedic streak), unfold in dramatic recitative.
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Bach's music for this recitative is queasily unstable, with dominant-seventh and diminished-seventh chords preventing the music from settling in one key area.
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Here she is in a sublime recitative and aria from the director Peter Sellars's landmark staging of Handel's dramatic oratorio "Theodora" for the 83 Glyndebourne Festival.
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On the surface the narrator's confessional, acutely detailed monologue hovers between long stretches of intense recitative and passages of lyrically enhanced arioso, sometimes poignant, sometimes chillingly detached.
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Long stretches of recitative, especially agitated dramatic passages accompanied by the full orchestra, slip subtly into more lyrical arioso, then segue almost unnoticed into an impassioned aria.
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But not during "Poppea," a work that has long stretches of recitative and arioso accompanied only by a continuo group, over which the singers could easily project.
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DuBose Heyward wrote all lines for recitative setting (which Gershwin does skillfully) and many song lyrics (including "Summertime"), while Ira Gershwin wrote lyrics for the songs in a Broadway vein, like the wonderful "It Ain't Necessarily So." Some people find it awkward today to hear recitative and ensembles with lines like "Roll dem bones/Oh, my brudder," which the men sing as they play a game of craps.
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In halting recitative phrases, Orlando expresses his confusion, then breaks into an aria asserting that earlier war heroes managed to have both love and glory: Why can't he?
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Britten was just 25 when he composed it, in 1938, though seven years later he revised it (replacing the third movement, a Recitative and Aria, with an Impromptu).
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Bellini sets her monologue to a fragmented recitative that resolves into the elegiac melody "Teneri figli," as if she is mourning her children in advance of their death.
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Solo singing — aria and recitative — is the name of the game here, which makes a short duet, aching close harmony from Emoke Barath and Ana Quintans, stand out.
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The piece begins with a long recitative and aria in which Ms. Southwell's Sarah admits to murdering her husband and two children but tries to explain her motives.
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During recitative passages, the sounds of period instruments in the ensemble are enhanced, distorted and layered over with electronic sounds, the work of the sound designer Mark Grey.
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Heggie assimilates the mass of verbiage thrown his way, though often he seems to be scurrying to keep up: too much of the opera consists of breathless recitative.
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A recitative in his "Christmas Oratorio" proclaims that a believer's heart should safeguard the biblical account of the miracle of Christ's birth "as a sure demonstration ['Beweis']" of salvation.
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But when Hippolyte reaffirms his love for Aricie, Rameau shifts from recitative to a frenzied duet in which Phèdre lashes out against Aricie and a puzzled Hippolyte springs to her defense.
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In a fitful burst of dramatic recitative, Idomeneo, washed up on shore, describes the pledge he made to Neptune: If the god saves him, Idomeneo will sacrifice the first man he encounters.
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By then she had established herself as a performer of persuasive and vivid readings of new music, thanks in part to her 21950 recording of Arnold Schoenberg's Variations on a Recitative (Op. 40).
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Norma counsels peace, at least for now, in a charged stretch of recitative that leads to the great aria "Casta Diva," as she prays to the moon goddess to bestow solace and patience.
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"I was finally called, and I began with the recitative and then launched into the aria proper, with one part of my mind waiting apprehensively for the voice of doom upstairs," Anderson later wrote.
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Even Liszt's "Tre Sonetti del Petrarca" — to the texts of three sonnets by Petrarch — seemed essentially Italian in this company, less like songs than like dramatic scenes, with urgent recitative and aria-like episodes.
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The art form emerged around 1600 in Florence, Italy, where a group of composers, poets and intellectuals embraced a sophisticated style of recitative in an attempt to reinvent lyric Greek drama for contemporary audiences.
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But staying true to the original setting allows the piece to emerge as Gershwin conceived it: a full-fledged opera with long stretches of recitative and arioso, soaring arias and duets and complex choral ensembles.
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Still, there are echoes of them, such as in the vocal technique for Makwa, one of the Hosts; there are parodic evocations of Western opera, as in an Arrival's recitative, delivered in countertenor voice with Baroque accompaniment.
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Rolling Blackouts C.F.: Talk Tight (Sub Pop) Released mid-2017 U.S. but early-2016 Australia, this sounds more New Zealand—Chills-Clean-Bats, bright young white guys whose trebly guitars purl and mesh, although Go-Betweens recitative enters as well.
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Beginning in 19773, he delivered a kind of recitative, telling listeners what would happen as a given opera unfolded, and even what was happening before that, from the moment the lights went down to the moment the Met's great gold curtain went up.
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Though much of the text setting was almost recitative-like in nature and easily understood when solo singing was involved, some of the words were lost in long, flowing lines, like those by the fine lyric soprano Marisa Karchin in the final scene.
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Mr. Crawford's 90-minute condensation offered seven arias of middling to fine quality, weighed down by stretches of recitative that at times seemed as arid as the setting suggested by the props: a few palm trees rooted in sand and a couple of big rocks.
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Robt Sarazin Blake: Recitative (SameRoom) In a vibrato-shaded baritone that recalls a French chansonnier more than an Americana guitar guy, the first singer-songwriter in history to linger on the word "gerrymander" enlists a limber band colored decisively by horn man Thomas Deakin to array sixteen talky songs lasting a mere hour and a half over two CDs.
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That is significant because as Donald TrumpDonald John TrumpPossible GOP challenger says Trump doesn't doesn't deserve reelection, but would vote for him over Democrat O'Rourke: Trump driving global, U.S. economy into recession Manchin: Trump has 'golden opportunity' on gun reforms MORE, his recitative in full throttle, wraps up the delegates needed for the Republican nomination, the stop-Trump forces are running out of options.
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The cantata in seven movements is scored for soprano, alto, tenor and bass soloists, a four-part choir singing the chorale exclusively, and a Baroque instrumental ensemble of two oboes d'amore, two violins, viola, and basso continuo. # Chorale and recitative (alto): # Recitative (bass): # Chorale and recitative (soprano, alto): # Recitative (tenor): # Aria (bass): # Recitative (alto): # Chorale: Note: the numbering of the movements follows Alfred Dürr. Other authorities do not consider the bass recitative as a separate movement.
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The cantata in ten movements is probably scored as the surviving , for soprano, flauto traverso, oboe d'amore, two violins, viola, and basso continuo with violone and harpsichord. # Recitative: # Aria: # Recitative: # Aria: # Recitative: # Aria: # Recitative: # Aria: # Recitative: # Aria: Richard D. P. Jones notes in his book The Creative Development of Johann Sebastian Bach that the text deals with the power of music, inspiring Bach to music of "quite exceptional quality".
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The work has eleven movements: # Chorus: # Recitative (Providentia): # Aria (Providentia): # Recitative (Fama): # Aria (Fama, Providentia): # Recitative (Providentia, Fama, Salus): # Aria (Salus): # Recitative (Pietas): # Aria (Pietas): # Recitative (Pietas): # Aria (Pietas, chorus): There has been speculation that the fifth movement, a duet (not found in Cantata BWV 193) between Providentia and Fama, may have influenced the duet "Domine Deus", the central movement of the Gloria in Bach's Mass in B Minor.
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Recitative (Abner, Saul, David) "Behold, O King" :9. Air (David) "O King, your favours with delight" :10. Recitative (Jonathan) "Oh,early piety!" :11.
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Recitative (Abner) "Racked with infernal pains" :32. Air (David) "O Lord, whose mercies numberless" :33. Symphony :34. Recitative (Jonathan) "'Tis all in vain" :35.
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Recitative & Chorus — Sie aber stürmten auf ihn ein; Steiniget ihn! (Then they ran upon him; Stone him!) :9. Recitative & Chorale — Und sie steinigten ihn; Dir, Herr, dir (And they stoned him; To thee, O Lord) :10. Recitative — Und die Zeugen legten ab ihre Kleider (And the witnesses) :11.
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Air (Jonathan) "But sooner Jordan's stream, I swear" :45. Recitative (David,Jonathan) "Oh, strange vicissitude" :46. Air (David) "Such haughty beauties" :47. Recitative (Jonathan) "My father comes" :48.
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Bach marks the first recitative of bible narration "Recit. nach dem ersten Chor" (Recitative after the first chorus). It is sung by the (Evangelist), which Bach assigns to the tenor singing secco recitative. The action begins, "" (The Lord Jesus lifted up His hands), with Jesus blessing the disciples and leaving them.
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A dialogue recitative for bass and soprano leads to a duet aria with oboes and continuo. After a declamatory bass recitative, the work ends with another four-part chorale setting.
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Recitative (Valens) "'Tis Dioclesian's natal day" :3. Air (Valens) "Go,my faithful servant,go" :4. Chorus of Heathens "And draw a blessing down" :5. Recitative (Didymus, Valens) "Vouchsafe, dread sir" :6.
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Recitative (SB) — Paulus sandte hin (And Paul sent and called the elders) :42. Chorus & Recitative (SATB) — Schone doch deiner selbst (Far be it from thy path) :43. Chorus — Sehet, welch eine Liebe (See what love) SCENE SIX — MARTYRDOM OF PAUL :44. Recitative (S) — Und wenn er gleich geopfert wird (And though he be offered) :45.
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A reflecting recitative for alto, "" (Ah yes! Then come back soon;), requests the return of Jesus. Parallel to the bass recitative in Part I, it is also accompanied by the flutes and continuo.
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All three acts consist of alternating recitative and melodic singing.
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Recitative (Didymus, Theodora) "'Tis kind, my friends" :66. Chorus of Heathens "How strange their ends" :67. Recitative (Didymus,Theodora, Valens) "On me your frowns" :68. Air (Valens) "Ye ministers of justice" :Scene 6 :69.
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The bass recitative, "" (If God chooses the holy dwellings that He inhabits with salvation), is quite similar in character to the tenor recitative. The last two measures form an introduction to the closing movement.
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Another reflecting recitative of the bass, again interrupting the Biblical account, calls the shepherds to go and marvel: "" ("Then go forth, you shepherds, go"),. It is accompanied by the oboes as the first bass recitative.
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Recitative for bass, tenor, alto and soprano, with Chorus II singing .
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Air (Septimius) "Though the honours" :42. Recitative (Didymus, Septimius) "Oh, save her then" :43. Air (Didymus) "Deeds of kindness to display" :Scene 4 Irene, with the Christians :44. Recitative (Irene) "The clouds begin to veil" :45.
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Recitative (Didymus,Theodora, Septimius) "And must such beauty suffer?" :70. Air and Duet (Didymus, Theodora) "Streams of pleasure ever flowing" :Scene 7 Irene, with the Christians :71. Recitative (Irene) "Ere this, their doom is past" :72.
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Recitative (Theodora) "But why art thou disquieted, my soul?" :39. Air (Theodora) "Oh, that I on wings could rise" :Scene 3 Didymus and Septimius :40. Recitative (Didymus,Septimius) "Long have I known thy friendly social soul" :41.
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The tenor recitative, "" (Then stand with Christ's bloodstained flag) is secco; like the earlier bass recitative, it concludes with an arioso. The movement includes "occasional furious melismas" used to underscore the sense of joy conveyed by the words.
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The bass sings a recitative and an aria, accompanied by solo oboe and strings. The soprano sings a modulating recitative and an aria in the style of a gavotte. A four-part harmonization of the chorale ends the first part. Part II begins with the tenor singing a recitative and a da capo aria in a minor mode, characterized by its extensive use of dotted rhythms.
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Apel, Gregorian Chant p. 203 The simplest kind of melody is the liturgical recitative. Recitative melodies are dominated by a single pitch, called the reciting tone. Other pitches appear in melodic formulae for incipits, partial cadences, and full cadences.
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Mt 27:51–59, with Turba on (Chorus I & II) ::::::64–65. Recitative ' and Aria ' (bass) ::66. Mt 27:59–66, with Pilate (bass), and Turba on (Chorus I & II) ::::::67. Recitative ' – (bass, tenor, alto, soprano – Chorus II) 68\.
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The bass recitative, "" (Thus throughout the whole round earth), is accompanied by woodwinds.
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A short secco recitative for bass, "" (So it must be! ), summarizes the ideas.
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Recitative (Saul) "Hast thou obey'd my orders" :49. Air (Jonathan) "Sin not, O King" :50. Air (Saul) "As great Jehovah lives, I swear" :51. Air (Jonathan) "From cities stormed, and battles won" :52. Recitative (Jonathan, Saul) "Appear, my friend" :53.
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There is a long recitative section at the beginning of this movement's recapitulation (foreshadowing the oboe recitative in the first movement of Symphony No. 5), again ending with fast and suspenseful passages that resolve to the home key of D minor.
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The tenor recitative is scored for strings and continuo. It recalls some of the motivic material from the first movement. The fourth movement combines elements of aria, recitative, and arioso. It opens with a ritornello of violin, flute and continuo.
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The recitative for tenor, "" (The Saviour has come), begins but continues as an , with tenor and continuo imitating one another. This more lyrical style of recitative derives from early Italian operas and cantatas, where it was known as ' – half aria.
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The dialogue preceding the Act II finale, starting with "Here, take her sir, and mind you treat her kindly", was originally recitative. The music for this passage was printed in the first edition of the vocal score as No. 20a. Shortly after opening night, the recitative was dropped, and the lines thereafter were performed as spoken dialogue. In modern productions, the recitative is occasionally restored in place of the dialogue.
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The alto recitative, "" (Our Queen of the land!), is accompanied by strings playing chords.
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A short alto recitative, "" (I don't fear thousand enemies), was described as "tonally unstable".
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A secco recitative for bass demands: "" (Nevertheless, terrified heart, live and do not despair!).
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Recitative and Aria (bass) Lute instead of Viola da gamba in 1727/1729 version.
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Recitative (Michal) "A father's will has authorized my love" :56. Duet (Michal and David) "O fairest of ten thousand fair" :57. Chorus "Is there a man, who all his ways" :58. Symphony :59. Recitative (David) "Thy father is as cruel" :60. Duet (David and Michal) "At persecution I can laugh" :61. Recitative (Michal,Doeg) "Whom dost thou seek" :62. Air (Michal) "No, no, let the guilty tremble" :63. Recitative (Merab) "Mean as he was, he is my brother now" :64. Air (Merab) "Author of peace" :65. Symphony :66. Accompagnato (Saul) "The time at length is come" :67.
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Recitative (Theodora) "O thou bright sun!" :36. Air (Theodora) "With darkness deep" :37. Symphony :38.
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A final recitative "" (Therefore, consider your soul) invites to turn body and soul to God.
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6 – Vivace :No. 7 – Molto mosso :No. 8 – Finale ;Act 3 :No. 1 – Recitative :No.
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The tenor sings in accompanied recitative with the strings "" (What? have You therefore, my God,).
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The tenor expresses in secco recitative the belief "" (You, very son of God and Mary).
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A tenor recitative, "" (My body and spirit might despair), expresses trust in Jesus to overcome despair.
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The following recitative, "" ("But God must be gracious to me"), ends in a statement of repentance.
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A recitative of the soprano, "" (What then can frighten you in your journey) expresses the comsequence.
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Air (David) "Your words, O King" :54. Recitative (Saul) "Yes, he shall wed my daughter!" :55.
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Vivaldi's introduzioni are written for a solo singer, either alto or soprano, accompanied by instruments. The musical structure seems to derive from the text: four of the eight (RV 635, 636, 637, and 642) consist of two arias in da capo form surrounding a central recitative. One (RV 638) has a central aria flanked by two recitatives; another (RV 640) has just two movements – recitative then aria – and a third (RV 641) has four movements (two recitatives, aria, recitative). The remaining one (RV 639) has the structure 'aria-recitative-aria' but Vivaldi interwove the second aria into the first movement of the liturgical work which followed it - the Gloria (RV 588).
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No. 60, and beginning of the recitative No. 61a (Bible words written in red) in Bach's autograph score: the recitative contains Christ's last words, and the only words by Christ sung without the characteristic string section accompaniment ("Eli, Eli lama asabthani?") The narration of the Gospel texts is sung by the tenor Evangelist in secco recitative accompanied only by continuo. Soloists sing the words of various characters, also in recitative; in addition to Jesus, there are named parts for Judas, Peter, two high priests (Pontifex I & II), Pontius Pilate, Pilate's wife (Uxor Pilati), two witnesses (Testis I & II) and two ancillae (maids). These are not always sung by all different soloists.
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In a combination of recitative and chorale, the bass recitative, "" (Who can rightly exalt this love), is balanced with line-by-line commentary by the chorus. The commentary is the first stanza from Rist's hymn "" (Jesus, o my dearest life). The voices are supported by strings.
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Instead, it gives prominence to melody and voice. All arias are da capo arias with stylistic borrowings from opera arias. Grauner's recitative settings are highly expressive, culminating in the moving simplicity of the bass's recitative no. 23 on the death of Jesus, "" (He is no more!).
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Recitative ' and Aria ' (soprano) ::50. Mt 27:23b–26, with Pilate (bass), and Turba on (Chorus I & II), and on (Chorus I & II) ::::::51–52. Recitative ' and Aria ' (alto) ::53. Mt 27:27–30, with Turba on (Chorus I & II) ::::54. "" by Paul Gerhardt, stanza 1 and 2: ::55. Mt 27:31–32 ::::::56–57. Recitative ' and Aria ' (bass) ::58. Mt 27:33–44, with Turba on (Chorus I & II), and on (Chorus I & II) ::::::59–60.
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A secco recitative, "" (The heavens themselves are not pure), tends to an arioso in the last measures.
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A very short alto recitative, "'" (Finally! Since You have established us as Your people), is harmonically "adventurous".
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In opera, the librettist is responsible for all text, whether spoken or sung in recitative or aria.
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The second recitative is short and secco, contrasting sharply with the final "ebulliently major" da capo aria.
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It is divided into seven sections with two slow movements which are recitative-like, inviting improvised embellishments.
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The recitative for tenor, "" (Yet consider, o Jesus), begins as a secco recitative, but the idea "" (Yet consider, o Jesus, that you are still called a Prince of Peace!), close to the theme of the cantata, is accompanied by a quote of the chorale tune in the continuo.
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Stylistically, Agrippina follows the standard pattern of the era by alternating recitative and da capo arias. In accordance with 18th-century opera convention the plot is mainly carried forward in the recitatives, while the musical interest and exploration of character takes place in the arias—although on occasion Handel breaks this mould by using arias to advance the action. With one exception the recitative sections are secco ("dry"), where a simple vocal line is accompanied by continuo only."Recitative", Encyclopædia Britannica, Vol.
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The recitative for tenor, "" (What God, in times past, to our forefathers), referring to God's promise, begins secco.
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"" (He comes), is a recitative for tenor as a narrator who calls the "Töchter Zions" (daughters of Zion).
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The tenor recitative, "" (I thank You), ends with an ascending phrase meant to represent an appeal to heaven.
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The central recitative, "" (Yes, if God had only allowed it), is sung by the tenor as a secco recitative accompanied only by the continuo. The dangers of flooding waters are illustrated in fast passages of the continuo on words such us "" ("fury"), "" ("flood") and "" ("inundate"), making the movement almost an arioso.
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The recitative "" ("My Jesus, draw me, then I will run") is not a simple secco recitative, but is accompanied by the strings and leans towards an arioso, especially near the end. It is the first movement in a major mode, and illustrates in rapid runs the motion and the running mentioned.
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This brief (2-minute) march in A major leads directly into the rondo-finale through a recitative-like passage.
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A secco recitative introduces the topic, "'" (Blessed land, fortunate city): a town is blessed if God reigns in it.
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The recitative for soprano, "" (Ah, lead me, o God, to the right path), is a prayer for God's guidance.
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The recitative finishes with passages that are chromatically sinking diminished seventh chords over above the pedal point on D.
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A short secco recitative expresses "" (Thus Your Spirit will guide me, so that I walk on the right path).
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The speech of Jesus sings in accompagnato recitative, except at the beginning of No. 61a where Jesus utters his last words "Eli, Eli, lama, lama asabthani" in recitative secco (see facsimile image on the right). The speech of other persons, called soliloquents, is also set as secco recitative. Soliloquents are Judas (B), Peter (B), two witnesses (A T), two high priests (B), two maids (S), Pilate (B), and his wife (S). The speech of groups such as the disciples and the crowd, are expressed in turba choruses.
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Calliroe is an opera by Antonio Sacchini, set to a libretto by Mattia Verazi. It was first performed in Ludwigsburg on 11 February 1770 and the ballets were set by French choreographer Louis Dauvigny. The opera follows the usual pattern of opera seria of the time: secco recitative interlaced with da capo arias. Within this format Sacchini introduced strong dramatic music to suit the libretto: stromentato recitative is also used for extra dramatic effect, and the arias are sometimes interrupted by bursts of recitative.
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The opening recitative is harmonically active but melodically fragmented because of the unusual choice to set balanced couplets in recitative. The first aria is characterized by a "restless feeling of effort" beginning immediately after the short instrumental ritornello, and is the only one in da capo form. The second recitative is the only one to be accompagnato, with the strings supporting a harmony that "begins to slide around like quicksand". The second aria has a flowing ritornello theme provided by continuo and obbligato violin.
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The opening chorus draws on imagery of eternal fire, represented in the strings. This is followed by a short secco bass recitative ending on an imperfect B minor cadence. The third movement exists only in reconstructed forms; it likely opened with strings and continuo. Its structure oddly alternates between aria and recitative episodes.
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Chorus — Siehe! wir preisen selig (Happy and blest are they) SCENE TWO — CONVERSION AND BAPTISM OF SAUL (PAUL) :12. Recitative (T) & Aria (B) — Saulus aber zerstörte die Gemeinde (And Saul made havock of the Church) :13. Recitative & Arioso (S) — Und zog mit einer Schar (But the Lord is mindful of his own) :14.
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Chorus — Die Götter sind den Menschen gleich geworden (The gods themselves) :34. Recitative (A) — Und nannten Barnabas Jupiter (And they called Barnabas Jupiter) :35. Chorus — Seid uns gnädig (O be gracious, ye immortals) :36. Recitative (TB), Aria (B) & Chorus — Da das die Apostel hörten (Now when the Apostles; For know ye not?) :37.
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Arioso is similar to recitative due to its unrestrained structure and inflexions, close to those of speech. It differs, however, in its rhythm. Arioso is similar to aria in its melodic form, both being closer to singing than recitative; however, they differ in form, arioso generally not resorting to the process of repetition.
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The announcement of the angel is interrupted after telling of the birth of the Saviour, by a recitative and following aria. The bass sings the recitative, accompanied by the oboes representing the shepherds: "" ("What God promised to Abraham"). It connects the message to the shepherds to Abraham, who also was a shepherd.
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Finally, there are three laments in the opera. Isifile also has two laments: "Lassa, che far degg'io?" (aria/recitative, I.13) and “Infelice ch’ascolto” (recitative, III.21).Rosand, pp. 374-375. Isifile’s lament (act 3-21) is of the type based on the Monteverdi’s Arianna (1608) model,Walker and Alm, p. 307.
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The soprano recitative, "" (My clashing metal), represents the "clashing of arms" and the battlefield, related to the goddess of war.
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Symphony :21. Recitative (Michal) "Already see the daughters of the land" :22. Chorus of Israelites "Welcome, welcome, mighty king!" :23.
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The bass summarizes in a short recitative, accompanied by the strings: "" (The grave is broken and with it our suffering).
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The album includes the Act 4 arias for Marcellina and Basilio which some other recordings omit. In Act 3 of the opera, the Sextet has traditionally been performed after the Count's recitative and aria "Hai già vinta la causa!... Vedrò mentr'io sospiro" snd before the Countess's recitative and aria "E Susanna non vien!... Dove sono".
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Traverso by Boaz Berney, after an original by Thomas Lot, Paris ca. 1740 A reflecting recitative for bass, "" (Ah, Jesus, is Your departure), shows the situation of the disciples afraid that Jesus will leave them soon. Marked "Rec: col accomp." (Recitative: with accomp[animent]), it is accompanied by the flutes and continuo as a .
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Mt 26:33–35, with Vox Christi and Peter (bass) ::::17. "" by Paul Gerhardt, stanza 6: [1727/1729 version without music and text ""] ::18. Mt 26:36–38, with Vox Christi ::::::19–20. Recitative ' – "" by Johann Heermann, stanza 3: and Aria ' – (tenor – Chorus II) ::21. Mt 26:39 ::::::22–23. Recitative ' and Aria ' (bass) ::24.
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In Er rufet seinen Schafen mit Namen, BWV 175 (22 May 1725, Pentecost Tuesday), the tenor sings the opening recitative, "Er rufet seinen Schafen mit Namen und führet sie hinaus", . In Siehe, ich will viel Fischer aussenden, BWV 88 (21 July 1726, 5th Sunday after Trinity), the tenor begins part 2 with a recitative on , "Jesus sprach zu Simon" (Jesus said to Simon). In Wer Dank opfert, der preiset mich, BWV 17 (22 September 1726, 14th Sunday after Trinity), the tenor begins part 2 with a recitative on .
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"Recitative" is a dramatic, slow piece that consists of three different elements: a tremolo, a bolero rhythm, and an irregular pulse.
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The soprano recitative, "" (If the world cannot cease), begins by recounting persecution, but quickly becomes an arioso with a walking continuo.
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The work is scored for solo soprano and keyboard (with scattered figured bass markings). The cantata contains two recitative-aria pairings.
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The work shifts back to G minor with a recitative, once again in the operatic style. This is taken very freely with the clarinet and orchestra taking turns in playing. After the recitative, the original melody is repeated and followed by a rather short cadenza before the work finishes with a very long concert G from the clarinet.
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It begins with Aricie's aria "Temple sacré, séjour tranquille", with its solemn and "religious cast".Girdlestone, p. 134 There follows an extensive dialogue in recitative between Aricie and Hippolyte. Rameau's recitative is like Lully's in that it respects the prosody of the words but is more cantabile (song-like) and has more ornamentation, with wider intervals to increase expressivity.
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Structurally, the movement completes most of a da capo aria before a recitative episode interrupts the reprise of the A section. The music moves between aria and recitative twice more before a final aria section ends the movement. The cantata ends with a four-part setting of the chorale with a conjunct melody and active continuo line.
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The third recitative is secco with "two bursts of operatic virtuosity". The third aria is in ternary form and minor mode. The fourth recitative includes an arioso passage ending on an "exceedingly odd" cadence. The final movement is the only one to include all instrumental parts, with a dance-like opening theme and an ABAB structure.
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The bass recitative is secco and concludes with a pastoral arioso. The alto aria is "dark and dramatic", in E minor with cello and organ obbligato. The organ line is complex, contributing to a movement that is "a complex and ever-changing kaleidoscope of richly entwined rhythms and melodies". The soprano recitative is short and accompanied by chordal strings.
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Recitative (S) — Da ward das Volk erreget (Then the multitude) :38. Chorus — Hier ist des Herren Tempel (This is the Lord's temple) :39. Recitative (S) — Und sie alle verfolgten Paulus (And they all persecuted Paul) :40. Cavatina (T) — Sei getreu bis in den Tod (Be though faithful unto death) SCENE FIVE — FAREWELL OF PAUL FROM EPHESUS :41.
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Irene is the first to address the dedicatee. The tenor recitative, "" (This is the day, when everyone can be happy), conveys imagery.
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Recitative (Irene, Theodora discovering herself)"But see, the good, the virtuous Didymus!" :56. Air (Theodora) "When sunk in anguish and despair" :57.
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The expressive declamation of the alto recitative, "" (I would freely confess to You, my God), is highlighted by chords in the strings.
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La Donna Del Lago: Act I Scene 7: Recitative and Cavatina: Oh Quante Lacrime Finor Versai (Malcolm). N.d. YouTube. Web. 21 Feb. 2017.
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The following recitative is given to the tenor as an : "" (This God has clearly provided with words), narrating the biblical command to baptise.
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The bass sings a third recitative, this time secco: "" ("Quite right, you angels, rejoice and sing"), calling to joyfully join the angels' song.
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A tenor recitative, "" (Thus Your word and truth will be revealed), changes the topic and leads to peace, implored in the final movement.
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The chorus and the bass aria are taken without significant alteration from the earlier model. The second movement is a secco soprano recitative which opens much like in the original version before modulating to G major. The other aria is transposed from the tenor original for the alto voice, and is accompanied by violin and oboe instead of flute and oboe da caccia. The following tenor recitative with string accompaniment is "an example of Bach's highly emotional recitative melodic line at its most mature and expressive", but midway through, it moves into a dissonant and chromatic passage.
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The bulk of the versification was still recitative, however at moments of great dramatic tension there were often arioso passages known as arie cavate. Under Monteverdi's followers, the distinction between the recitative and the aria became more marked and conventionalised. This is evident in the style of the two most successful composers of the next generation: Francesco Cavalli and Antonio Cesti.
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The cantata in five movements is scored for bass, oboe, two violins, viola, and basso continuo. # Aria: # Recitative: # Aria: # Recitative: # Aria: Another version exists for soprano (as BWV 82a), transposed from C minor to E minor with the oboe part replaced by flute and slightly altered. In the 1740s version for bass, an oboe da caccia is the obbligato instrument.
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The quotation from Isaiah, "" (Just as the rain and snow fall from heaven and do not return again to it), is sung by the bass, the ' (voice of Christ), in a secco recitative. This is Bach's first adaptation of recitative in a church cantata, not following operatic patterns, but "a lucid presentation of the text in a dignified, highly personal style".
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The second movement is a secco bass recitative, "" (You are, my God, the Giver of all gifts). It has been described as "operatic in its intensity and subtle adjustments of character". The recitative is remarkable for its "aggressive, even belligerent" conclusion. The following bass aria, "" (Let my heart be the coin), has an unusual and unique accompaniment of two obbligato cellos with continuo.
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Musicologist and Bach scholar Christoph Wolff wrote that Bach achieves "a finely shaded series of timbres" in . Each of the four solo movements are scored differently. All the instruments accompany the opening aria; only the continuo is scored for the secco recitative, an obbligato oboe for the central aria, and strings for the accompagnato recitative. All instruments return for the closing chorale.
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The recitative, "" (It is only an alien good) is the first movement with the full orchestra. The oboes first play long chords, but finally illustrate the text figuratively, speaking of toppling mountains and "the flash of His countenance". The musicologist Julian Mincham notes that Bach's recitative is "both melodic and dramatic throughout", showing his familiarity with "the best contemporary operatic styles".
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The next two movements, recitative and aria, reflect the sinful condition of man, another set of recitative and aria deals with God's mercy. The closing chorale is stanza 7 of "" by Johann Heermann (1630), which Bach would treat completely one year later in his chorale cantata Wo soll ich fliehen hin, BWV 5. Bach first performed the cantata on 24 October 1723.
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Air (Didymus approaching her) "Sweet rose and lily" :48. Recitative (Theodora starting, Didymus) "Oh, save me, Heav'n!" :49. Air (Theodora) "The pilgrim's home" :50.
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A recitative for bass, "'" (Praise God! It is well for us!) mentions that God "holds his hand protectively and in blessing above the city".
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The piece is structured in four movements, and lasts approximately six minutes. The second and fourth movements are entitled Recitative I and II respectively.
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The first recitative, "" (O sinner, bear with patience), begins secco, but expresses the contrasting words "" (exalt) and "" (humbled) from the Gospel as an arioso.
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The motet consists of three parts (Aria; Recitative; Aria), followed by a concluding Alleluia. A full performance of the piece takes approximately 13 minutes.
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The recitative for alto, "" (Ah, then through the harsh rod), is a prayer for lasting peace, accompanied by the strings and ending as an arioso.
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Air (Saul) "A serpent, in my bosom warm'd" :36. Recitative (Saul) "Has he escap'd my rage?" :37. Air (Merab) "Capricious man, in humour lost" :38.
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Like the fantasia, the alto recitative "" (In Jesus' grace alone), is stylistically archaic. The Bach scholar Alfred Dürr describes the secco recitative as "plain but forcefully declaimed". Mincham notes that its "semi-chaotic" form may reflect the tumult of evil and sin: the movement maintains a "archaic modal feel" but with a continuo line that "seems to lack the coherence one normally expects from a Bach bass".
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The ritornelli in each aria are much briefer, and exit arias are often absent. The recitative is mostly orchestrated throughout rather than "secco", and many ensembles are through-composed, combining aria, recitative and chorus in an integrated whole. The vocal lines were generally written to be delivered in a smooth cantabile style, while the orchestral parts supporting them called for a more detached execution.
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The oratorio is described below, for each part by both a table of the movements and description of individual movements. As in other oratorios, the larger musical numbers (arias and choruses) are often prefaced with a brief recitative; here, the recitative gives the actual words of Genesis, while the following number elaborates the bare Biblical narrative in verse. Choral movements are highlighted in a different background colour.
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A violoncello piccolo complements the soprano in a recitative, which begins as a secco recitative, "" (How dear are the gifts of the holy meal), and leads to the fourth stanza of the chorale, "" (Ah, how my spirit hungers), sung in a moderately adorned version of the tune. Bach uses recitative to introduce the chorale by evoking the "gift of communion", while the chorale stanza expresses the longing for this gift, mentioning thirst and hunger. The melody sounds sometimes like a new melody, expressing that a personal longing. The violoncello piccolo in continuous motion "envelops the soprano's voice in a quasi womb-like blanketing of divine reassurance",as Mincham phrases it.
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John Eliot Gardiner notes the "gentle, almost naïve tone of voice to reflect the submissive character of the text". A short secco recitative leads to a tenor aria, which is accompanied by the oboe, while the strings play "a persistent four-note drumming" to express "" (fear and terror). Alfred Dürr compares these repetitions to similar figures in the alto recitative "", movement 49 of Bach's Christmas Oratorio, Part V. In another secco recitative the term "" (after my completed course) is pictured by a scale spanning an octave. A duet of soprano and alto, only accompanied by the continuo, moves like a dance in simple periods of four measures.
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60, p.64 Que l'amour est charmant, for three voices, Quand le feu fait sentir, for one singer with a recitative for bass “air à boire”.
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Recitative (Saul, Jonathan) "Where is the son of Jesse?" :68. Chorus "Oh, fatal consequence of rage" ;Act Three :69. Accompagnato (Saul) "Wretch that I am" :70.
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Accompagnato (Saul) "'Tis said, here lives a woman" :71. Recitative (The witch of Endor, Saul) "With me what would'st thou?" :72. Air (Witch) "Infernal spirits" :73.
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4 — Tale (Levko) :No.5 — Recitative and Song (Levko, Hanna, Chorus) :No.6 — Hopak (Kalenik, Maidens) :No.7 — Trio and Chorus (Mayor, Levko, Hanna, Lads) :No.
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Chorus of Israelites "How excellent Thy name, O Lord" :End of the Epinicion :6. Recitative (Michal) "He comes, he comes!" :7. Air (Michal)"O godlike youth" :8.
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Accompagnato (The Ghost of Samuel,Saul) "Why hast thou forc'd me from the realms of peace" :74. Symphony :75. Recitative (David, an Amalekite) "Whence comest thou?" :76.
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"Babbitt, Milton (Byron)." Grove Music Online. 2007. 12 February 2008. The composition is "a re-interpretation of a scena drammatica with its distinct recitative–arioso–aria layout".
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The Evangelist narrates the story in the Gospel's exact words in recitative secco. In the St John Passion the words of Jesus are set as recitatives secco leaning toward arioso. In the St Matthew Passion they are in accompanied recitative, that is they are additionally highlighted by an accompaniment of strings and basso continuo. The Vox Christi also appears in Bach's Christmas Oratorio, and in his Ascension Oratorio.
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The recitative, "" (How difficult it is for flesh and blood), combines the hymn tune sung by the four-part choir, with interpolated text sung by the soloists in turn. The lines of the hymn are separated by a joyful ostinato motif derived from the chorale tune. The musicologist Julian Mincham writes that the "hybrid recitative provides an excellent example of Bach's experiments of investing long texts with sustained musical interest".
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9, p. 978: "Accompaniment [to secco recitative], usually by continuo (cello and harpsichord), is simple and chordal." The anomaly is Otho's "Otton, qual portentoso fulmine", where he finds himself robbed of the throne and deserted by his beloved Poppaea; here the recitative is accompanied by the orchestra, as a means of highlighting the drama. Dean and Knapp describe this, and Otho's aria which follows, as "the peak of the opera".
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Commentators (including and ) have seen the initial recitative and arioso as "operatic". The recitative, whose tempo changes frequently, leads to an extended arioso dolente, a lament whose initial melodic contour is similar to the opening of the scherzo (although dismisses this as insignificant). The lament is supported by repeated left hand chords. The arioso leads into a three-voice fugue, whose subject is constructed from three parallel rising fourths.
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The fugue is one of few instrumental fugues in Bach's cantatas. The first aria is given to the bass, who invites the Soul (and the listener) to "step upon the path of faith". It is accompanied by an obbligato oboe and seems to illustrate the path () in scales. The recitative is divided in two sections, following the contrast of "" (evil world) and "" (blessed Christian) in recitative and arioso.
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Bach could not use the work in Leipzig, because no cantata music was performed there during Lent. He expanded on it in about 1730, resulting in his chorale cantata Ein feste Burg ist unser Gott, BWV 80, for Reformation Day. The first two movements, aria and recitative, were transformed to movements 2 and 3 of the later cantata, movements 4 and 5, recitative and aria, to movements 6 and 7.
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The fourth movement is a bass recitative with chordal strings. The section closes with a four-part setting of the chorale tune with varied phrase lengths. The second section opens with a bass aria that "has a lavishness of sound which is almost unparalleled". A two-part secco soprano recitative leads to an aria that was for bass in BWV 197.1 but in BWV 197.2 is scored for soprano.
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A short secco recitative, "" ("Upon this painful repentance"), introduces the following hymn stanza. It begins with "a musical echo of the torments of the heart swimming in blood".
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The last recitative, "" ("I lay myself on these wounds"), introduces a different mood; the final measures are a "soaring melisma", a "joyously uplifting prelude" to the last movement.
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"She delivers absolutely everything (including some clunky sung recitative) with commanding sincerity and polish."New York Times. " Lively Women, but Very Tired" by Ben Brantley. April 28, 1997.
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Air (Irene) "Defend her, Heav'n!" :Scene 5Theodora's Place of Confinement. :Didymus at a distance, the vizor of his helmet clos'd :46. Recitative (Didymus) "Or lull'd with grief" :47.
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A bass recitative, "" (There is no one like You, Lord), is accompanied by the strings, which accompany the expressive line of the bass voice by "upward-pointing gestures".
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The only recitative is for bass, "" (The darkness has taken over in many places). Its "threatening chromatic bass line" reminds the listeners of "the gravity of the situation".
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The fifth movement, "" (Then come in to me), is a recitative for bass, accompanied by the strings. It pictures the unity of the bridegroom and the "chosen bride".
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Hyperion Records. 28 May 2007 . The form is again two arias surrounding a central recitative. The first aria speaks of mythical creatures in conflict with a man of faith.
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Only the soprano part and a separate printed textbook of the earliest version survived into the twentieth century. The soprano part was lost in World War II. Bach used the five arias, the first recitative and the beginning of the last recitative later in his wedding cantata , therefore the music can be reconstructed. Alexander Ferdinand Grychtolik edited a reconstruction, published by Edition Güntersberg. He chose the third text version as the most general one.
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Bach used material from a "Huldigungskantate" (homage cantata), O angenehme Melodei, BWV 210.1, for all the arias, the first recitative and part of the last recitative. Alexander Ferdinand Grychtolik edited a reconstruction of the lost homage cantata based on the wedding cantata, published by Edition Güntersberg.O angenehme Melodei Johann Sebastian Bach, edited by Alexander Ferdinand Grychtolik. Edition Güntersberg, January 2008, Retrieved January 18, 2011 Bach's music is demanding especially for the soprano and the flutist.
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Part I is closed by the final verse of "" in a four-part setting. The recitative in movement 9 opens with a Furioso depicting the "" (the unheard-of last stroke), while the trumpet quotes the hymn "" (Indeed, the time is here). This chorale had been used as kind of a Dies irae during the Thirty Years' War. The recitative ends on a long melisma on the words "" (Therefore, I will end my course with joy).
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The first aria is sung by the soprano, accompanied by three oboes in pastoral time. A short secco recitative leads to a tenor aria, which is dominated by an obbligato violoncello piccolo in expansive movement. The last recitative for bass contains one line from Martin Luther's (German litany), which Bach set for four-part choir, marked allegro, as if the congregation joined the prayer of the individual. The closing chorale corresponds to the first movement.
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Vocal duets, trios and other ensembles often occur, and choruses are used to comment on the action. In some forms of opera, such as singspiel, opéra comique, operetta, and semi- opera, the recitative is mostly replaced by spoken dialogue. Melodic or semi- melodic passages occurring in the midst of, or instead of, recitative, are also referred to as arioso. The terminology of the various kinds of operatic voices is described in detail below.
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The recitative "" (The goodness and love of the Highest) ends on an arioso. Spitta compares the end of this movement with the end of the 7th movement of Bach's Latin Magnificat: textually both movements treat the same part of the Magnificat (the end of Luke 1:51), and, although the other movement is set for five-part chorus and tutti orchestra, he considers the closure of this recitative of the German Magnificat cantata "equally picturesque".
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Movement 3 presents two text elements interwoven, the recitative "" (The wish and will of mankind are of little use), and the interspersed four lines of the hymn's third stanza, "" (God, Holy Spirit, worthy Comforter). The recitative lines are sung by alternating voices alto and tenor, while the interspersed chorale lines are rendered by both voices in duet. In this duet, the voice that enters sings the embellished hymn tune, while the other accompanies.
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The first recitative is accompanied by the strings, the others are secco. The bass aria is highlighted by an obbligato trumpet part, but it is so difficult that Bach gave it to a violin in a later performance. The words "" (full of sorrow, torment and pain) are illustrated by a slower tempo and harmonic tension. The following recitative refers in the end to the view towards heaven, expressed by an upward motion.
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The second recitative for tenor, "" (Give me as well, my God! a Samaritan heart), is a prayer to grant a heart like the Samaritan's. It is intensified by the strings.
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The tenor sings in a secco recitative the verse from the Biblical Christmas story, "" (And when eight days had passed, when the child would be circumcised), after Luke 2:21.
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Recitative & Chorus — Und sie sahen auf ihn (And all that sat in the council) :7. Aria (S) — Jerusalem! Die du tötest die Propheten (Jerusalem! thou that killed the Prophets) :8.
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Recitative ' and Aria ' – (alto – Chorus II) ::61. Mt 27:45–50, with Vox Christi, and Turba on (Chorus I), and on (Chorus II) ::::62. "" by Paul Gerhardt, stanza 9: ::63.
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Nettl describes Inuit music as recitative-like singing, complex rhythmic organization, relatively small melodic range averaging about a sixth, prominence of major thirds and minor seconds melodically, with undulating melodic movement.
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The Chicago Tribune described the score as blending "melodic arioso, accompanied recitative, Broadway-style ballads, stirring ensembles, and Tin Pan Alley and ragtime elements." This piece calls for a small orchestra.
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The first recitative for tenor introduces the situation: "" (Blessed mouth! Mary makes the inmost part of her soul known through thanks and praise). It is accompanied by chords of the strings.
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The bass answers in a short recitative, "" (How is it, that you sought Me?), a paraphrase of Jesus saying in the gospel that he has to be in his Father's place.
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In the recitative "" (If I can only hold onto Him with childlike trust), the last words of the soprano are enriched by the strings, like the in Bach's St Matthew Passion.
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The work is scored for solo soprano and keyboard (with scattered figured bass markings). The cantata contains three recitative-aria pairings. A typical performance of the work takes almost eleven minutes.
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Mt 26:23–29, with Vox Christi and Judas (bass) ::::::12–13. Recitative ' and Aria ' (soprano) ::14. Mt 26:30–32, with Vox Christi ::::15. "" by Paul Gerhardt, stanza 5: ::16.
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The aria is in three thematic sections: "enjoining", "melodramatically rhetoric", and "imprecatory". The fourth movement is a soprano and alto duet recitative, "" (I would gladly, o God, give you my heart) It is rhythmically metrical and presents five sections based on mood and text. The recitative is "high and light but very complicated in its myriad of detail". The duet aria, "" (Take me from myself and give me to You!), again for soprano and alto, is in triple time.
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A secco recitative prepares the aria with an accompaniment of the two oboe da caccia and violin I in syncopation, which even the tenor voice picks up in the first part. It is not a da capo aria, as only the ritornello repeats the beginning. The final words of the second recitative end like an arioso to stress "" (so that you can find mercy and aid). The soprano aria expresses like a prayer "" (Beloved God, have mercy).
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Recitative and bass aria. The King enters. He muses to himself (The King: C'est en vain que j'ai cru me soustraire aux remords. - "In vain have I thought to escape my remorse.").
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The second recitative is for bass, a secco accompanied only by the continuo. "" (Astonishment might dazzle the mighty, until the arm of the Highest throws them), relates to the gospel verse 52.
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Air (Valens) "Racks, gibbets, sword and fire" :7. Chorus of Heathens "For ever thus stands fix'd the doom" :Scene 2 :8. Recitative (Didymus) "Most cruel edict" :9. Air (Didymus) "The raptur'd soul" :10.
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The next recitative for both voices, "So bald, als dir die Sternen hold, o höchstgepriesnes Fürstentum" (As soon as the stars were favorable to you, o highly praised princedom), addresses Leopold, the ruler.
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An alto recitative, "" (O You sweet name of Jesus), is secco. The musicologist Julian Mincham notes the development from the initial F-sharp minor, illustrating "introverted contemplation", to "confident assertion" in D major.
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A tripartite bass recitative, "" (And as You, Lord, have said), begins as an arioso, only accompanied by the continuo, leading to prayers, accompanied by two oboes, concluding in an arioso with the oboes.
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The aria is in the style of a siciliano. The penultimate movement is a bass recitative with chordal oboes and interjecting strings. The final chorale setting is relatively simple and in minor mode.
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In another secco recitative, the bass contrasts earthly light ("" (An earthly flash, a corporeal light does not stir my soul)) with heavenly light, illustrated by a melisma on both "" (joyful radiance) and "" (refreshment).
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It is followed by a recitative for bass and an aria for alto, with obbligato violin and oboe. The second part begins with the central movement based on the New Testament text, a solo for bass, as vox Christi, accompanied by an obbligato violoncello. It is followed by an aria for soprano with obbligato recorders in unison. The second recitative for alto and strings leads into the concluding four-part chorale in which the choir doubled by the full orchestra.
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The tenor recitative, "" (World, your pleasure is a burden), begins as a secco recitative, but ends in an arioso as the words paraphrase a biblical verse from , "" to "Ich habe Lust, bei Christo bald zu weiden. Ich habe Lust, von dieser Welt zu scheiden" (I desire to pasture soon with Christ. I desire to depart from this world). Dürr notes that the development from secco to arioso is frequent in Bach's early cantatas, and is here especially motivated to highlight the biblical paraphrase.
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The central chorale adopts the least optimistic text from the original hymn, contrasting with the mostly upbeat other movements. Unusually for a Bach cantata, it is a simple setting of the chorale melody placed in the middle of the cantata rather than at the end. The primary melody is based on a repeated note and modal motive. The alto recitative is quite similar to the bass recitative of the second movement, varying only in the fullness of the opening accompaniment.
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The opening movement presents a choir of deities giving homage to the young Hercules, with "lullaby-like" chordal instrumental accompaniment. In the first recitative, Hercules establishes the "crossroads" at which he finds himself: a choice between the right path and following his desires. Lust responds with a lullaby-like aria to lure Hercules. The duet recitative "encapsulates the age- old good angel/bad angel, good cop/bad cop dichotomy", leading into an aria in which Hercules is "vacillating between them".
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The aria adopts the "echo" form prominent in early Italian opera: another alto voice engages in imitative exchanges with Hercules and with the instrumental lines. Virtue proceeds with a secco recitative and "ebullient" aria entreating Hercules to follow the right path that he might "soar on his wings like an eagle to the stars". Virtue concludes with another secco recitative warning Hercules not to succumb to Lust's temptations. Hercules sings a da capo aria expressing his conviction to follow Virtue's advice.
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Though originally a vocal form, the term arioso was extended to instrumental compositions of the same melodic character, the same way the terms aria and recitative were used in the case of the instrumental aria and instrumental recitative. One of the most famous instrumental ariosos was composed by Johann Sebastian Bach, and serves as the sinfonia of his cantata, Ich steh mit einem Fuß im Grabe, BWV 156, as well as the middle movement of the Harpsichord Concerto, BWV 1056.
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An unknown librettist retained four of these seven combined stanzas, using the first and the two last unchanged as customary, and expanding the third by adding text for a recitative. He paraphrased the other stanzas for two arias and another recitative. Bach structured the cantata in six movements and scored it for three vocal soloists, a four-part choir and a Baroque instrumental ensemble of trumpet, oboe, strings and continuo. The first movement is a chorale fantasia dominated by the trumpet.
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It follows the story of the Ascension as told in Luke, Mark and the Acts of the Apostles. The bible narration is compiled from multiple sources: the first recitative of the Evangelist (movement 2) is from , the second (5) from and , the third (7) from , the last (9) from , and . The biblical words are narrated by the tenor as the Evangelist. In his third recitative two men are quoted, for this quotation tenor and bass both sing in an Arioso.
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In movement 2, the recitative is contrasted with chorale phrases, which are accompanied by a repetition of the first line of the chorale in double tempo. The tenor aria is accompanied by three oboes, whereas the strings illuminate the following recitative. The last aria is a duet, contrasting "" (poverty) and "" (abundance), "" (human being), rendered in chromatic upward lines, and "" (angelic splendours), shown in coloraturas and triadic melodies. At times the horns have independent parts in the closing chorale and embellish especially the final .
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A recitative, "Drum sucht auch Amor sein Vergnügen" (Therefore Love himself seeks his pleasure), leads to the third aria, "Wenn die Frühlingslüfte streichen" (When the springtime breezes caress), with a solo violin, in elegiac mood. The recitative "Und dieses ist das Glücke" (And this is good fortune) prepares the aria "Sich üben im Lieben, in Scherzen sich herzen" (To cultivate love, to cuddle in playful tenderness) with an obbligato oboe. The melody of the dance- like music in a triple metre alludes to folk music. A recitative, "So sei das Band der keuschen Liebe" (So may the bond of chaste love) leads to the final aria, marked as a Gavotte, again with all instruments, "Sehet in Zufriedenheit tausend helle Wohlfahrtstage" (May you see in contentment a thousand bright happy days).
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Recitative (Saul,Merab) "Thou, Merab, first in birth" :17. Air (Merab) "My soul rejects the thought with scorn" :18. Air (Michal "See, with what a scornful air" :19. Air ( Michal) "Ah, lovely youth" :20.
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Air (High Priest) "O Lord, whose providence" :41. Chorus "Preserve him for the glory of Thy name" ;Act Two :42. Chorus "Envy, eldest born of hell" :43. Recitative (Jonathan,David) "Ah, dearest friend" :44.
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Euryanthe has also been staged more frequently in recent years. Grove notes Weber's use of chromaticism to depict the evil characters, the fine orchestration, and the careful blend of recitative, arioso and set piece.
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The third movement is a secco tenor recitative: "" (So rejoice, you chosen souls!). It also closes as an arioso, ending the movement in D major rather than the C major in which it began.
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The tenor soloist as the Evangelist begins the narration in secco recitative after Luke: ("And there were shepherds in the same region"), describing the shepherds in the fields, frightened by the apparition of angels.
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Air (Valens) "Wide spread his name" :32. Recitative (Valens) "Return, Septimius, to the stubborn maid" :33. Chorus of Heathens "Venus laughing from the skies" :Scene 2 Theodora, in her Place of Confinement :34. Symphony :35.
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Instead of a parent missing a son, as in the gospel, an allegorical Soul (soprano) misses Jesus (bass). The motifs of the story, the loss and anxious search, are placed in a more general situation in which the listener can identify with the Soul. As Lehms did not provide a closing chorale, Bach chose the twelfth and final stanza of Paul Gerhardt's hymn "". Bach structured the cantata in six movements, first alternating arias and recitative, then uniting the voices in recitative and aria, finally a chorale.
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The following recitative first states in great contrast that "God's goodness is renewed every day", but then reflects "despair at human failings". The second aria, "" (Extinguish with haste will the judge in his vengeance) is sung by the bass, with "added emphasis by the presence of the trumpet." The instrument is meant to be the one calling for the Last Judgement, as mentioned in the epistle reading. The last recitative finally turns to the thought that "God's eye looks upon us as the chosen ones".
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Recitative to an Absent Sky (1999) for solo cello, dur. 6 min. Premiered February 4, 2000 in Kilbourn Hall, Eastman School of Music: Florent Renard-Payen, cello. A Spell of Myriad Dances (1999) for orchestra, dur.
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In the first recitative, "" (What creatures are contained by the great sphere of the world!), the librettist paraphases ideas from verses 17 to 25 of the same psalm, which praises God as the Creator of the universe.
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The work is scored for violin and keyboard (with occasional figured bass markings in the second movement). The cantata contains three recitative-aria pairings. A typical performance of the work takes about fifteen and a half minutes.
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That there was a considerable amount of recitative leading up to the Quintet text, following the Cavatina Lisetta (No. 4), and before the Aria Doralice (No. 5), was a result of the absence of the Quintet. In any event, Rossini did not prepare any recitative in the entire opera, assigning that task, instead, to two associates, but no setting whatsoever had been found for the scenes present in the original printed libretto, leading up to the Quintet (Scenes vi, vii, and viii of the opera, the latter actually continuing with the text of the Quintet).
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His text is the first in a group of ten cantatas following the same structure of biblical text – recitative – aria – recitative – aria – chorale. The ten cantatas were dedicated to the 8th to 14th and 21st to 22nd Sunday after Trinity and the second Sunday after Easter. The opening chorus is based on , focused on the examination of the believer's heart by God. The closing chorale is the ninth stanza of Johann Heermann's hymn "" (1630) on the melody of "", which Bach used again in 1724 as the base for his chorale cantata .
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A cantata consisted first of a declamatory narrative or scene in recitative, held together by a primitive aria repeated at intervals. Fine examples may be found in the church music of Giacomo Carissimi; and the English vocal solos of Henry Purcell (such as Mad Tom and Mad Bess) show the utmost that can be made of this archaic form. With the rise of the da capo aria, the cantata became a group of two or three arias joined by recitative. George Frideric Handel's numerous Italian duets and trios are examples on a rather large scale.
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The following short secco recitative ends as an arioso on the words "" (plead in vain). In the chorale, the woodwinds play the cantus firmus in unison with the alto voice, while the strings play independent figuration in F major, illustrating hope, although the text says that hope is not yet in sight. John Eliot Gardiner terms it "confident diatonic harmonies" as an "optimistic, wordless answer" to the voice's "prayer for comfort". A second expressive recitative leads to a second aria, which is accompanied by violin I and the recorders, playing in unison an octave higher.
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It was possibly composed for performance on 24 February 1715, but more likely for a year or even two earlier. Sexagesima always falls within January or February, so the title's reference to snowfall would have been relevant to the weather at the time. Bach structured the work in five movements, a sinfonia, a recitative, a recitative with chorale, an aria and a closing chorale. He scored it for three vocal soloists, a four-part choir only in the chorale, and a Baroque instrumental ensemble which is unusual in having violas but no violins.
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Bach structured the cantata in five movements, an instrumental sinfonia, a recitative, a recitative with chorale, an aria and a closing chorale. He scored the work, like other cantatas written in Weimar, for a small ensemble of three vocal soloists (soprano (S), tenor (T), bass (B)), a four-part choir only in the chorales, and a Baroque instrumental ensemble of four violas (Va), cello (Vc), bassoon (Fg) and basso continuo. The setting for four violas is unusual. In a similar orchestration, the Brandenburg Concerto No. 6 also omits violins.
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The recitative was typically secco: that is, accompanied only by continuo (usually harpsichord, theorbo, and cello, sometimes supported by further bass and chordal instruments). At moments of especially violent passion secco was replaced by stromentato (or accompagnato) recitative, where the singer was accompanied by the entire body of strings. After an aria was sung, accompanied by strings and oboe (and sometimes with horns or flutes), the character usually exited the stage, encouraging the audience to applaud. This continued for three acts before concluding with an upbeat chorus, to celebrate the jubilant climax.
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Beginning with Orfeo ed Euridice, Gluck drastically cut back on the possibilities for vocal virtuosity afforded to singers, abolished secco recitative (thereby heavily reducing the delineation between aria and recitative), and took great care to unify drama, dance, music, and theatrical practice in the synthesis of Italian and French traditions. He continued his reform with Alceste and Paride ed Elena. Gluck paid great attention to orchestration and considerably increased the role of the chorus: he also cut back heavily on exit arias. The labyrinthine subplots that had riddled earlier baroque opera were eliminated.
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Bach structured the cantata in five movements, with two choral movements framing a sequence of recitative–aria–recitative. Bach scored the work for three vocal soloists (alto, tenor, bass), a four-part choir and a Baroque instrumental ensemble of three trumpets (Tr), timpani (Ti), two flauti traversi (Ft), two oboes (Ob), two violins (Vl), viola (Va) and basso continuo. The Bach scholar Christoph Wolff describes the "large- scale instrumental scoring" as "suited to the festive occasion". In the following table of the movements, the scoring follows the Neue Bach-Ausgabe.
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Sprechgesang is more closely aligned with the long-used musical techniques of recitative or parlando than is Sprechstimme. Where the term is employed in this way, it is usually in the context of the late Romantic German operas or "music dramas" that were composed by Richard Wagner and others in the 19th century. Thus, Sprechgesang is often merely a German alternative to recitative.Wood, 1946: "'Sprechgesang' means a 'parlando' manner of singing, and indeed is translated in standard dictionaries as 'recitative,' whereas 'sprechstimme' in itself simply means 'speaking voice'".
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After a vivace introduction, interrupted by a mysterious andante, the first waltz mimes musically an ardent, unbuttoned love. The second waltz 'espress. Ed appassionato' starts after a short recitative like passage ; the first waltz returns with new harmonies.
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The opening chorus is a "jolly" gavotte form, highlighting the oboe d'amore (which is also important in introducing the third movement). The recitatives are all secco and fairly short, with the tenor recitative being only six measures long.
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La catena d'Adone was an important step in the development of Roman opera. The demarcation between recitative and aria grew more distinct in this work as Mazzocchi tried to escape what he called the "monotony" of Florentine opera.
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A soprano recitative, "'" (Now! we acknowledge it and bring to You), expresses thanks for God's gift and acknowledgement of the burden on the people serving as town council, those who did it the last year and those who succeed.
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Gardiner tried both, but then chose a viola d'amore instead. Neither movement has a da capo. The strings intensify the prayer of the last recitative. The choir of trumpets marks the ending of every line in the closing chorale.
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Recitative and prologue. Hamlet asks Ophélie if he may sit at her feet (Hamlet: Belle, permettez-nous - "Lady, permit me"). She responds that his expression frightens and chills her. Hamlet sits, his eyes fixed on the King and Queen.
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The last recitative is again for both voices, "Hilf, Höchster, hilf, daß mich die Menschen preisen" (Help, o Highest, help, so that all people praise me), and calls for divine help to praise God and pray for further protection.
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A recitative for bass, the (voice of Christ), "" (As Jesus there, after His passion), speaks of Jesus after his passion and resurrection. It is accompanied by the strings, similar to the words of Jesus in Bach's St Matthew Passion.
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The only recitative, "" (We pray at your temple), is first accompanied by the strings, a second part is secco but arioso. The second part develops the idea of "von seinen Wundern lallen" (chatter about His wonders) in coloraturas of rhythmical complexity.
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Chorus of Christians "Come, mighty Father" Scene 4 Enter Messenger :17. Recitative (Messenger,Irene) "Fly, fly, my brethren" :18. Air (Irene) "As with rosy steps the morn" :19. Chorus of Christians "All pow'r in Heav'n above" Scene 5 Enter Septimius :20.
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The chorale is connected in general to the prescribed readings. Specific reference to the Gospel appears in the recitative addition of movement 5. The words of the chorale remain unchanged in movements 1, 4 and 7 in a symmetric arrangement.
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In symmetry to the third movement, another bass recitative, "" (Well then, Your name alone shall be in my heart!), is commented on by another stanza, "" (Jesus, my joy and delight) from the same hymn. The voices are again supported by strings.
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The cantata begins with a recitative for both solo voices, "Die Zeit, die Tag und Jahre macht" (Time, which day and year doth make). It reflects that Anhalt, the prince's domain, was given many hours of blessing in the past.
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The structure of the six movements – a gospel quotation in the beginning, chorales as movements 3 and 6, the sequence of recitative and arias – is similar to , first performed one week earlier. Bach first performed the cantata on 14 May 1724.
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A tenor recitative, "" (Lord, our hearts keep Your word of truth fast), adopts an authoritative tone, is in minor mode, and begins with a bass pedal. It expands the concept of God abiding with his people, as outlined in the gospel.
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Soprano and bass enter a dialogue in accompanied recitative with the strings. The Soul asks: "" (Ah, Jesus, my peace, my light, where are You?). Dialogue was common in Protestant church music from the 17th century but is especially dramatic here.
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Bach structured the cantata in five movements, beginning with what John Eliot Gardiner describes as a "curtain raiser",Gardiner, John Eliot (2013). Bach: Music in the Castle of Heaven. Allen Lane. a line from the gospel set as a recitative.
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In the first recitative the strings accompany the voice, most keenly in motifs in the arioso middle section, in Gardiner's words "to evoke the spirit of God moving upon the face of the waters". Trumpet and bass voice are used to convey the call "to banish the tribe of idolaters", while the strings possibly illustrate "the hordes of infidels". The last recitative leads in an arioso to the chorale. In the chorale, Bach has the violin play an obbligato part to the four-part setting of the voices and separates the lines by interludes, with the trumpet anticipating the line to follow.
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The hymn suites the Gospel, stressing the Passion as well as the request of the blind man in the final line of the first stanza: "" (Be merciful to me, a sinner). The song further sees Jesus' path to Jerusalem as a model for the believer's path to his end in salvation. An unknown librettist kept the first and the last stanza and paraphrased the inner stanzas in a sequence of recitatives and arias. Stanzas 2 and 3 were transformed to a recitative, stanza 4 to an aria, stanza 5 to a recitative, stanzas 6 and 7 to another aria.
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The poetry is attributed to Salomon Franck, although the verses are not included in his printed editions. Several of Bach's early stylistic mannerisms appear here, such as a biblical quotation in a recitative second movement rather than in a first choral movement, arias following each other without a recitative in between, and dialogue in a duet. Franck's text shows elements of early Pietism: the expression of extreme feelings, for example "O seligste Zeiten!" (O most blessed times) in the opening chorus, and a "mystical demeanour", for example in the duet of the Soul and the Spirit united.
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A typical Bach cantata of his first year in Leipzig follows the scheme: # Opening chorus # Recitative # Aria # Recitative (or Arioso) # Aria # Chorale The opening chorus () is usually a polyphonic setting, with the orchestra presenting the themes or contrasting material first. Most arias follow the form of a da capo aria, repeating the first part after a middle section. The final chorale is typically a homophonic setting of a traditional melody. Bach used an expanded structure to take up his position in Leipzig with the cantatas , and , both in two parts, to be performed before and after the sermon () and during communion ().
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A performance of Lully's opera Armide at the Palais-Royal in 1761 French opera was now established as a distinct genre. Though influenced by Italian models, tragédie en musique increasingly diverged from the form then dominating Italy, opera seria. French audiences disliked the castrato singers who were extremely popular in the rest of Europe, preferring their male heroes to be sung by the haute-contre, a particularly high tenor voice. Dramatic recitative was at the heart of Lullian opera, whereas in Italy recitative had dwindled to a perfunctory form known as secco, where the voice was accompanied only by the continuo.
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The work is scored for two recorders (flauto), oboes (hautbois), two violins, viola da gamba, a "Violone Grosso" (as specified in Handel's autograph) and, as customary practice in the 18th century, a harpsichord. The work is notable for having a virtuoso part for the viola da gamba. The cantata begins with an aria followed by two recitative-aria pairings, after which a final recitative is performed before an instruction to repeat ("Da Capo") the cantata's opening aria (an unusual feature in Handel cantatas). A typical performance of the work takes about seventeen and a half minutes.
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General information in this section comes from the relevant articles in The Oxford Companion to Music, by P. Scholes (10th ed., 1968). During both the Baroque and Classical periods, recitative could appear in two basic forms, each of which was accompanied by a different instrumental ensemble: secco (dry) recitative, sung with a free rhythm dictated by the accent of the words, accompanied only by basso continuo, which was usually a harpsichord and a cello; or accompagnato (also known as strumentato) in which the orchestra provided accompaniment. Over the 18th century, arias were increasingly accompanied by the orchestra.
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Iris reports that Jove has installed Semele as his mistress in a palace atop a mountain (Aria: There, from mortal cares retiring). The outraged Juno swears to have revenge (Accompanied recitative: Awake, Saturnia, from thy lethargy!). Iris warns her it will not be an easy task – the palace is guarded by dragons that never sleep (Accompanied recitative: With adamant the gates are barr'd). Juno decides that she and Iris will pay a visit to the god of sleep in his cave, in order to get magical assistance to put the dragons to sleep (Aria:Hence, Iris, hence away).
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The theme of the chorale is the Lutheran creed of salvation from sin by God's grace alone (justification by faith), summarized in the first stanza: "Deeds can never help, ... faith beholds Jesus Christ, ... He has become the Intercessor". The prescribed readings for the Sunday are from the Epistle to the Romans, "By Christ's death we are dead for sin" (), and from the Gospel of Matthew a passage from the Sermon on the Mount about better justice than the justice of merely observing laws and rules (). The hymn in 14 stanzas matches the topic of the gospel. An unknown poet transformed the first 12 stanzas of the chorale to seven cantata movements. Dropping the last two stanzas, the librettist retains the first stanza as the first movement, and the 12th as the last movement. He rephrased stanzas 2–4 to a recitative (2), stanzas 5–7 to a recitative (4), stanzas 9–11 to a third recitative (6).
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A secco recitative, "" (Alas, that the curse, which strikes the earth there), renders a contrasting change of mood. Bach interprets the curse of sin, and the hopeless situation of the humans and the threat of the Last Judgment in music full of dissonances.
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Characteristics of Inuit music include: recitative-like singing, complex rhythmic organization, relatively small melodic range averaging about a sixth, prominence of major thirds and minor seconds melodically, with undulating melodic movement.Nettl, Bruno (1956). Music in Primitive Culture, p.107. Harvard University Press. .
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The bass recitative, "'" (So gloriously you stand, dear city!), is introduced and concluded with a fanfare-like trumpet and timpani line, further wind instruments, recorders and oboes da caccia add colour to the middle section, in an unusual movement for the Leipzig congregation.
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The work is scored for solo soprano and keyboard (with figured bass markings). The cantata contains two recitative-aria pairings. The use of silence (with musical rests) is notable in the work. A typical performance of the work takes about eight minutes.
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The moderato first movement in sonata form, marked con amabilità, is followed by a fast scherzo. The finale comprises a slow recitative and arioso dolente, a fugue, a return of the arioso lament, and a second fugue that builds to an affirmative conclusion.
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The penultimate movement is a brief secco soprano recitative that returns to the major mode to prepare the closing chorale. The chorale has the feel of a minuet, although there is some tension because of the changing phrase lengths employed by the melody.
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The movement is in D minor and time. The bass recitative begins in major before modulating to the G minor of the final movement. It is accompanied by high chordal strings and a continuo line. The closing chorale is fast and short.
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In Judaism, musical nusach refers the musical style or tradition of a community, particularly the chant used for recitative prayers such as the Amidah. This is distinct from textual nusach, the exact text of the prayer service, which varies somewhat between Jewish communities.
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He finally settled on Rouben Mamoulian, who had directed the original Broadway productions of both the play Porgy and its operatic adaptation.Hirsch, p. 286Berg, pp. 478–479 Nash's screenplay changed virtually all of the sung recitative to spoken dialogue, as in the 1942 stage revival.
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The only recitative, sung by the bass, "" (Praise God, we know the right way to blessedness), mentions the reason for thanks on this occasion. The phrase "" (You have instructed us through Your word) addresses "the basic issues of the Reformation", as Rilling points out.
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The actors also performed their songs in recitative style, which Hooper likened to being immersed in a 3D film. Les Miserables was released in North America on 25 December 2012, and received eight Academy Award nominations including Best Picture."Les Misérables (2012)". Box Office Mojo.
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Within the movement is a full three-voice fugue that culminates in a recitative-like solo cadenza for violin. This solo evokes a gypsy quality through its rhythmic, harmonic and stylistic inflections. The piece closes with a fast section reminiscent of Bartók's later string quartets.
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The next recitative, again for both voices, "Bedenke nur, beglücktes Land, wieviel ich dir in dieser Zeit gegeben" (Yet consider, fortunate land, how much I have given you at this time), gives some details about Leopold's qualities and calls to pray for further happiness.
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The tenor recitative, "" (Do not scorn, o You the light of my soul, my heart), begins with a plea, expressed in a line descending through a ninth. It ends on the notion "" (the abundance of the greatest wealth must some day be mine in Heaven).
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The aria suggests the "aggression of war". The bass aria is a "rage aria" like in an opera seria. A soprano aria, accompanied by two flutes, appeals to the "king's grace, mercy and love for his subjects". All three soloists participate in a final recitative.
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1\. ' – (Chorus I & II – Cantus firmus by ripieno soprano choir) ::2. Mt 26:1–2, with Vox Christi ::::3. ::4. Mt 26:3–13, with Vox Christi, and Turba on (Chorus I & II) and on (Chorus I) ::::::5–6. Recitative ' and Aria ' (alto) ::7.
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Verschiedene Buß-Gedancken Einer Reumüthigen Seele, Uber Die Sterblichkeit deß Menschens (1720), "Ein anders"; Verschiedene Buß-Gedancken Einer Reumüthigen Seele, Uber Die Sterblichkeit deß Menschens (1721), "Ein anders". The text of the four middle movements of BWV 8 is an expanded paraphrase of stanzas two to four of Neumann's hymn. The second and third stanza of the hymn form the basis of the second and third movement of the cantata, which are an aria followed by a recitative. The text of the next two movements of the cantata, again an aria followed by a recitative, draws from, and expands upon, the hymn's fourth stanza.
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Beginning of a recitative (St Matthew Passion, No. 61), the Bible words written in red The Evangelist in the music of Johann Sebastian Bach is the tenor part in his oratorios and Passions who narrates the exact words of the Bible, translated by Martin Luther, in recitative secco. The part appears in the works St John Passion, St Matthew Passion, and the Christmas Oratorio, as well as the St Mark Passion and the Ascension Oratorio Lobet Gott in seinen Reichen, BWV 11. Some cantatas also contain recitatives of Bible quotations, assigned to the tenor voice. Bach followed a tradition using the tenor for the narrator of a gospel.
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The second recitative, "" (I have indeed, o bridegroom of my soul), is accompanied by the strings (accompagnato), marked by Bach "Rec: con Stroment" (Recitative: with instruments). The German musicologist Klaus Hofmann notes that the text turns to mysticism, reflecting the Bridegroom, Lamb of God and the serpent in its double meaning. The text is intensified by several melismas, a marking "adagio" on the words "" (most holy Lamb of God), and by melodic parts for the instruments. Gardiner notes that Bach has images for the serpent displayed in the desert by Moses, and has the accompaniment fade away on the last line "" (when all my strength has faded).
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256 His portrait by Godfrey Kneller some two decades later is more restrained, except for the length of the wig. As an amateur musician, Hughes mixed with composers and took part in the musical politics of the time, championing those who opposed over-dependence on the Italian language for singing. To prove his point he wrote many cantatas taking the form of recitative passages interspersed by sung airs. His first set of six "after the manner of the Italians" was prefaced by a defence of the use of English for such compositions, pleading that comprehension of the words adds to the pleasure, and that recitative provides variety.
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Part 1 of The Siege of Rhodes was first performed in a small private theatre constructed at Davenant's home, Rutland House, in 1656. Special permission had to be obtained from the Puritan government of Oliver Cromwell, as dramatic performances were outlawed and all public theatres closed. Davenant managed to obtain this by calling the production "recitative music", music being still permissible within the law. When published in 1656, it was under the equivocating title The siege of Rhodes made a representation by the art of prospective in scenes, and the story sung in recitative musick, at the back part of Rutland-House in the upper end of Aldersgate-Street, London.
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It is attributed to Loys Bourgeois and is known as the famous tune of the Doxology "Praise God, from whom all blessings flow". The hymn is only distantly related to the readings, concentrating on the thought that the Christians sin and deserve bad treatment, but may be raised to joy in a "" (blessed death). An unknown poet kept the first and the last two stanzas as movements 1, 5 and 6 of the cantata. He derived movement 2, a recitative, from stanzas 2 and 3, movement 3, an aria, from stanzas 4 to 6, movement 4, a recitative, from stanzas 7 to 9, and movement 5, an aria, from stanza 10.
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Bach composed the cantata in his first year as ' in Leipzig for the Tenth Sunday after Trinity, the eleventh cantata of his first cantata cycle. The prescribed readings for the Sunday were from the First Epistle to the Corinthians, different gifts, but one spirit (), and from the gospel of Luke, Jesus announcing the destruction of Jerusalem and cleansing of the Temple (). As with other cantatas Bach composed in his first years in Leipzig, we do not know the identity of the librettist. It is the third in a group of ten cantatas following the same structure of biblical text (in this case from the Old Testament) – recitative – aria – recitative – aria – chorale.
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Parable of the Sower, etching by Jan Luyken The keys in this section refer to the Weimar version, although the recording by Masaaki Suzuki, with commentary by Klaus Hofmann, uses the Leipzig keys. Hofmann notes the work's "Lutheran character", quoting Luther's litany inserted in the third movement, and sees it as a "recitative study", exploring the secco recitative of the Italian opera, introduced by Erdmann Neumeister, and also the accompagnato with rich instrumental accompaniment. Gardiner finds all three cantatas for the occasion, dealing with God's word, "characterised by his vivid pictorial imagination, an arresting sense of drama, and by music of freshness and power that lodges in the memory".
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Bach structured the cantata in seven movements in two parts, the first three movements to be performed before the sermon, the others after the sermon. The first movement is a choral setting of psalm verses, followed by recitative and aria, the fourth movement is a bass solo on a quotation of Jesus, followed by aria and recitative, and closed by a chorale. Bach scored the work for three vocal soloists (soprano (S), alto (A) and bass (B)), a four-part choir, and a Baroque instrumental ensemble: two oboes (Ob), two violins (Vl), viola (Va), and basso continuo (Bc). The duration of the cantata is around 25 minutes.
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The opera was the first by Gluck showing signs of his ambition to reform opera seria. Self-contained arias and choruses make way for shorter pieces strung together to make larger structural units. Da capo arias are notable by their absence; Gluck instead uses strophic form, notably in act one's "Chiamo il mio ben così", where each verse is interposed with dramatic recitative, – that is, stromentato, where the voice is accompanied by part or all of the orchestra – and rondo form, such as in act three's famous "Che farò senza Euridice?". Also absent is traditional secco recitative, where the voice is accompanied only by the basso continuo.
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Semele is very grateful for this advice (Aria: Thus let my thanks be paid). "Ino" leaves and Jupiter enters, eager to enjoy Semele (Aria: Come to my arms, my lovely fair) but she puts him off (Aria: I ever am granting). He swears to give her whatever she desires (Accompanied recitative: By that tremendous flood, I swear) and she makes him promise to appear to her in his godlike form (Accompanied recitative: Then cast off this human shape). He is alarmed and says that would harm her (Aria: Ah, take heed what you press), but she insists he keep his oath (Aria: No, no, I'll take no less) and leaves.
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Bach wrote the cantata in 1724, his second year as Thomaskantor in Leipzig, for the First Sunday of Advent. The prescribed readings for the Sunday were from the Epistle to the Romans, night is advanced, day will come (), and from the Gospel of Matthew, the Entry into Jerusalem (). The cantata is based on Martin Luther's Advent hymn in eight stanzas "", the number one hymn to begin the Liturgical year in all Lutheran hymnals. The unknown poet retained the first and last stanza, paraphrased stanzas 2 and 3 to an aria, stanzas 4 and 5 to a recitative, the remaining stanzas to an aria and a duet recitative.
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By the end of the 19th century the classic form of opera structure, in which arias, duets and other set-piece vocal numbers are interspersed with passages of recitative or dialogue, had been largely abandoned, even in Italy. Operas were "through-composed", with a continuous stream of music which in some cases eliminated all identifiable set-pieces. In what critic Edward Greenfield calls the "Grand Tune" concept, Puccini retains a limited number of set-pieces, distinguished from their musical surroundings by their memorable melodies. Even in the passages linking these "Grand Tunes", Puccini maintains a strong degree of lyricism and only rarely resorts to recitative.
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The orchestral accompaniment for Donna Ribalda's opening aria, "Let's face it--I'm lost", resembles the "Rex tremendae majestatis" from Mozart's Requiem. At one point in the opera, the rival divas Carmen Ghia and Donna Ribalda break character in the middle of a recitative to hold a conversation (still in recitative) about their singing careers. At a subsequent point, they have a contest to see who can hold a note the longest. The final scenes of the opera parody first the stereotype (exemplified by Don Giovanni itself) of classical opera as having a tragic ending and then the stereotype of the Romantic narrative (as reflected in, e.g.
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Aria (Arsenio): "Re di Cocito, grave e severo". Togno, mesmerised, thinks that Vespina, who now arrives, is one of the Furies. Aria and recitative (Togno and Vespina): "Và sprofonda nell'inferno". He asks her to help him to escape from the circle, but she makes fun of him.
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Sadie, pp. 510–11 In the Figaro production, Mahler offended some purists by adding and composing a short recitative scene to Act III.Mitchell, Vol. II pp. 419–22 Plaque on Mahler's Vienna apartment, 2 Auenbruggerstrasse: "Gustav Mahler lived and composed in this house from 1898 to 1909".
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Like the third movement, the sixth recalls an operatic recitative. Here Nicolas admonishes mankind for accepting its wilderness, calling them to turn to God. While the strings and piano accompaniment are generally centred on a D minor chord, the vocal melody is highly chromatic and dissonant.
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The fourth movement is a brief largo, like an accompanied recitative, which leads into the final allegro fugue. Its gigue-like theme is derived from a fugue of Friedrich Wilhelm Zachow, Handel's boyhood teacher in Halle, to whom the movement is perhaps some form of homage.
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Ziegler's text in its printed version of 1728 and the cantata text differ, possibly changed by Bach himself. For example, an aria and recitative are combined to one movement by inserting "" (where my redeemer lives) as a connection. Bach first performed the cantata on 10 May 1725.
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SCENE THREE — MISSION OF PAUL AND BARNABAS :23. Chorus — Der Erdkreis ist nun des Herrn (The nations are now the Lord's) :24. Recitative (S) — Und Paulus kam (And Paul came to the congregation) :25. Duettino (TB) — So sind wir nun Botschafter (Now we are ambassadors) :26.
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The narration continues, first sung by the Evangelist, "" ("And the angel said to them"), then continued by the angel's message, given to the soprano soloist, who appears here for the first time in the oratorio: "" ("Do not be afraid"). The angel's recitative is accompanied by strings.
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I can at least admit to myself! Melcthal, it's you I love; Without you I would have lost the day; And my gratitude excuses my love. Italian [Recitative] S'allontanano alfine! Io sperai rivederlo, E il cor non m'ha ingannata, Ei mi seguìa... lontano esser non puote... Io tremo... ohimè!..
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A recitative for alto is a prayer for future protection, "'" (Do not forget later, with Your hand), concluded by a choral Amen in unison. The surprise is an interpretation of a line quoted from , "und alles Volk soll sagen: Amen!" (And all the people shall answer and say, Amen.).
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The piece is made up primarily of three types of movements: choruses, recitatives, and arias. The choruses are generally sung by a large ensemble of the Israelites. They are primarily homophonic, with vocal melodies that mostly follow the orchestral arrangement. Bach's recitatives are mostly recitativo secco, or plain recitative.
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It employs an unusual accompaniment of three oboes. The recitative modulates from E minor to C major. The seventh movement, an alto aria, has unusually dense texture and rich scoring. It opens with a fanfare-like ritornello followed by long melismatic passages with repeated notes in the instrumental parts.
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Bach may have derived the opening sinfonia in B minor from a previous concerto. It includes a prominent "baroque 'weeping' figure". The first recitative uses tonality to underline the meaning of the "quasi-philosophical" text. The following da capo aria is in E minor and features a flute obbligato.
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He believed at the time that melodrama was the way to solve the problems of operatic recitative. However, Mozart never got around to creating a duodrama. He did create a miniature melodrama within his unfinished operetta, Zaide, written in 1780.Jahn, Otto, Life of Mozart, Novello, 1982, pp.
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Monterverdi's recitative style was influenced by Peri's, in Euridice, although in L'Orfeo recitative is less preponderant than was usual in dramatic music at this time. It accounts for less than a quarter of the first act's music, around a third of the second and third acts, and a little under half in the final two acts. The importance of L'Orfeo is not that it was the first work of its kind, but that it was the first attempt to apply the full resources of the art of music, as then evolved, to the nascent genre of opera. In particular, Monteverdi made daring innovations in the use of polyphony, of which Palestrina had been the principal exponent.
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The instrumentation reflects the festive occasion for which it was written: four soloists, soprano, alto, tenor and basso, a four-part choir, three trumpets, timpani, two oboes d'amore, two violins, viola, and basso continuo. The cantata is in six movements: # Alto solo: # Chorus: # Recitative (bass): # Aria (soprano): # Recitative (tenor): # Chorale: The first movement is based on Psalm 65:2. It is unusual for Bach to open a festive cantata with a solo voice, but the words "" (out of silence) may have prompted him to write it for alto and two oboe d'amore. The first part of the jubilant second movement, a chorus dominated by the full orchestra, was adapted for the Mass in B minor.
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The text of the cantata is taken from a 1704 collection of librettos from Meiningen, many of which had been set to music in the cantatas of Bach's distant cousin Johann Ludwig Bach, Kapellmeister at Meiningen. The librettos have been attributed to his employer Duke Ernst Ludwig von Sachsen-Meiningen. The symmetrical structure of seven movements is typical for this collection: the opening quotation from the Old Testament, followed by a recitative and an aria; then the central quotation from the New Testament, followed by an aria and a recitative, leading into the final chorale. The theme of BWV 39 is an invocation to be grateful for God's gifts and to share them with the needy.
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The whole musical style or tradition of a community is sometimes referred to as its nusach, but this term is most often used in connection with the chants used for recitative passages, in particular the Amidah. Many of the passages in the prayer book, such as the Amidah and the Psalms, are chanted in a recitative rather than either read in normal speech or sung to a rhythmical tune. The recitatives follow a system of musical modes, somewhat like the maqamat of Arabic music. For example, Ashkenazi cantorial practice distinguishes a number of steiger (scales) named after the prayers in which they are most frequently used, such as the Adonoi moloch steiger and the Ahavoh rabboh steiger.
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The conductor was Eduard Nápravník; the Prince was sung by Fyodor Petrovich Komissarzhevsky, the Princess by Darya Leonova, Miller by Osip Petrov, and Natasha by Yulya Platonova. Although much of Dargomyzhsky's Rusalka is fairly conventional in musical form and style, its singular innovation for the history of Russian music in particular is the application of "melodic recitative" at certain points in the drama. This type of recitative consists of lyrical utterances which change continuously according to the dramatic situation, with likewise varied accompaniment in the orchestra. Dargomyzhsky was to apply this technique of vocal composition on a small scale in his songs and on a large scale in his final opera, The Stone Guest.
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The second part of the text, "" (sing praises to God, sing praises unto our King) is first sung in homophony, but then presented in a third fugue on the theme of the first, followed by a homophonic coda. A secco recitative leads to the first aria, accompanied by the violins in unison. The complete text is sung three times in different sections. The New Testament quotation is sung not by the bass as the but, likely because Jesus is not speaking himself, instead the soprano narrates "So then after the Lord had spoken unto them, he was received up into heaven, and sat on the right hand of God" as a secco recitative.
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Thomas Strutz wrote a passion (1664) with arias for Jesus himself, pointing to the standard oratorio tradition of Schütz and Carissimi. The practice of using recitative for the Evangelist (rather than plainsong) was a development of court composers in northern Germany, such as Johann Meder and Schütz, and only crept into church compositions at the end of the 17th century. The recitative was used for dramatic expression. In the 17th century came the development of “oratorio” passions which led to J.S. Bach’s passions, accompanied by instruments, with interpolated instrumental interludes (often called "sinfonias" or "sonatas") or with interpolated texts (then called “madrigal” movements) such as other Scripture passages, Latin motets, chorale arias, and more.
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In the following chorale and recitative, Bach distinguishes the chorale lines from the secco recitative by a continuo line on a repeated motif that is derived from the beginning of the respective melody line, termed "in rhythmically compressed form ... four times as fast". The first aria shows the image of "wild sea surf" in undulating movements in the voice, in the obbligato part of the violins in unison, and in the continuo. The bass voice has to sing challenging coloraturas on the words "" and especially "" (be wrecked). The center of the cantata is an unchanged stanza of the chorale, the alto's unadorned melody accompanied by the oboes d'amore and the continuo as equal partners.
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The second movement is a secco recitative, "" (They teach vain, false deceit, which is opposed to God and His truth), which changes to arioso for two lines that resemble the words of the chorale. These lines are marked adagio, and in them the continuo plays in canon with the voice.
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Although limited to one soprano voice, Bach achieves a variety of musical expression in the eight movements. All but one recitative are accompanied by the strings (accompagnato), and only movement 5 is secco, accompanied by the continuo only. The solo voice is treated to dramatic declamation, close to contemporary opera.
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The penultimate movement is a soprano recitative, short and arioso-like. It is remarkable for its extended range. The closing chorale movement presents the doxology in a four-part setting, illuminating the early-church melody in a modern major-minor tonality. Unusually, the piece ends on a B minor imperfect cadence.
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The secco bass recitative, "" (Though the angry world might persecute you), is chromatic and in two sections: the first describes a history of persecution related to the Flight into Egypt with "striding angular phrases", while the second section emphasizes the presence of God using a gentler and smoother melodic line.
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This work gives the top notes of the piano arpeggios a chorale melody while the cello plays an extended recitative resembling that of the Chromatic Fantasia and quotes its final passage.Wolfgang Dinglinger: "Die Arpeggien sind ja eben der Haupteffect." Anmerkungen zum Adagio der zweiten Cellosonate op. 58 von Felix Mendelssohn Bartholdy.
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The chorus appeals for peace.Julian Mincham The second part opens with an alto aria that also appears in BWV 34.1. It includes an accompaniment of flute and muted violin in octaves. A brief secco soprano recitative leads into the closing chorus for which only soprano and bass parts are extant.
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The tenor recitative reverses the motion of the bass, modulating from minor to major and changing the emphasis of the text from humility to celebration. It is secco, short, and simple in its melody. The final movement is a four-part setting of the eighth and final stanza of Herman's chorale.
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The movement concludes with a short coda. The soprano recitative "is a musical portrayal of the central part of the marriage ceremony" – the blessing of the union. It is accompanied by chordal oboes and scalar flutes. The penultimate movement is a chorus, similar to that with which the cantata opened.
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Chorale — Allein Gott in der Höh' sei Ehr' (To God on high be thanks and praise) SCENE ONE — STONING OF STEPHEN :4. Recitative & Duet — Die Menge der Gläubigen (And the many that believed were of one heart) :5. Chorus — Dieser Mensch hört nicht auf (Now this man ceaseth not) :6.
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The second part begins in a different mood, through the trust of sinners in the grace of God. In a recitative and an aria, the Soul (soprano) and Jesus (bass as the voice of Christ) enter a dialogue, leading to a final choral movement as a strong hymn of praise.
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Touché I was Gutke's debut recording. The album was originally released by BMG / RCA Victor in 1997. Touché II consists of guitar music by French and Spanish composers, including Eduardo Sainz de la Maza, Antonio José, Maurice Ohana, and Henri Sauguet. Silver och jag consists of recitative interspersed with classical guitar.
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Recitative ' and Aria ' (tenor) ::36. Mt 26:63b–68, with Vox Christi, High Priest (bass), and Turba on (Chorus I & II), and on (Chorus I & II) ::::37. "" by Paul Gerhardt, stanza 3: ::38. Mt 26:69–75, with Maid I and II (sopranos), Peter (bass) and Turba on (Chorus II) ::::::39.
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Isifile sings the aria "Speranze fuggite" interspersed with recitative considering her situation. At the keep of the fortress with the golden fleece, Medea, Jason and Delfa arrive. Trumpet music and stile concitato gestures suggest the martial atmosphere. The combat between Giasone and the monster ("a proud horned beast") takes place.
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Lyrics in parentheses are sung by the chorus. [recitative] Quand je vous aimerai ? Ma foi, je ne sais pas, Peut-être jamais, peut-être demain... Mais pas aujourd'hui, c'est certain ! [sung] L'amour est un oiseau rebelle Que nul ne peut apprivoiser, Et c'est bien en vain qu'on l'appelle, S'il lui convient de refuser.
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Ah! que je puisse au moins l'avouer moi-même! Melcthal, c'est toi que j'aime; Sans toi j'aurais perdu le jour; Et ma reconnaissance excuse mon amour. English [Recitative] They go at last, I thought I saw him: My heart has not deceived my eyes; He followed my steps, he is near this place.
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" The duet between Didon and Énée [no. 44] was cut because, as Berlioz himself realized, "Madame Charton's voice was unequal to the vehemence of this scene, which took so much out of her that she would not have had the strength left to deliver the tremendous recitative ' _Dieux immortels! il part!_ ' [no.
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The term of sorcova comes from the Bulgarian word surov (tender green), allusion to the budded twig, broken from a tree, especially a fir tree. Some etymologists consider that sorcova derives from the Slavic word sorokŭ (forty): the recitative of sorcova consists of 40 syllabic groups corresponding to the 40 touches of sorcova.
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The tenor recitative, "" (Ah! do not pass by), is similar to that for bass in Jesus nahm zu sich die Zwölfe: they are both in major mode and accompanied by chordal strings underlying the vocal line. This movement adds an instrumental rendition of the melody of the closing chorale in oboe and violin.
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The third movement is a short alto recitative of only seven measures. It is characterized by the diminished chord which concludes the vocal line before the final cadence. The bass aria uses "sequences of 'treading' quavers in the continuo line" to suggest a stepping motion. The movement concludes with a long vocal melisma.
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Many songs use only a few real words, interspersed among numerous vocables, or non-lexical syllables like ai-ya-yainga. Inuit songs are strophic and mostly use six different pitches; textual and melodic motifs are common. A song's word length and accentuation determines the rhyhm, giving the songs a recitative-like style.
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Dargomyzhky's attempts at realism and faithfulness to the text resulted in what has been referred to as a "studied ugliness" in the music, apparently intended to reflect the actual ugliness in the story. Cui termed the stylistic practice of the work as "melodic recitative" for its balance between the lyric and the naturalistic.
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One recitative is not part of the printed publication. Alfred Dürr assumes that Bach wrote it himself to improve the connection to the following Gospel quotation in movement 5. The poet used as the closing chorale the ninth stanza of Heinrich Müller's hymn "" (1659). Bach first performed the cantata on 6 May 1725.
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An aria in which one of the protagonists expresses their inner feelings is followed by recitative mixed with short arias (petits airs) which move the action forward. Acts end with a divertissement, the most striking feature of French Baroque opera, which allowed the composer to satisfy the public's love of dance, huge choruses and gorgeous visual spectacle. The recitative, too, was adapted and moulded to the unique rhythms of the French language and was often singled out for special praise by critics, a famous example occurring in Act Two of Lully's Armide. The five acts of the main opera were preceded by an allegorical prologue, another feature Lully took from the Italians, which he generally used to sing the praises of Louis XIV.
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Bach wrote the cantata during his fourth year in Leipzig, for the 18th Sunday after Trinity. The prescribed readings for the Sunday were from the First Epistle to the Corinthians, Paul's thanks for grace of God in Ephesus (), and from the Gospel of Matthew, the Great Commandment (). The unknown author of the text concentrated on the love of God in movements 2 to 5 and added one movement about the love of your neighbour in movement 6, continued in the concluding chorale, the third stanza of Martin Luther's "". The poet connected the first recitative to the following aria by starting the two thoughts in the recitative by a related line from the aria as a motto, and ending both with the a recapitulation of the first line.
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The prescribed readings for the feast day are Isaiah's prophecy of the birth of the Messiah () and from the Gospel of Luke, the angel Gabriel announcing the birth of Jesus (). The unknown librettist retained the first and last stanzas of the hymn and paraphrased the other stanzas as recitatives and arias, using the second stanza for the first recitative, the third stanza for the first aria, the fourth stanza and part of the fifth for the second recitative, and the sixth stanza for the second aria. The hymn, expressing the longing for the arrival of the Saviour, can be connected to Jesus' birth being announced to Mary. The theme of arrival was also fitting for Palm Sunday, when the arrival of Jesus in Jerusalem is celebrated.
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Bouissou, pp. 485-486 Act 2 has a magical ceremony including the accompanied recitative Suspends ta brillante carrière, in which Isménor stops the course of the sun, dances for infernal spirits, and a menacing chorus for the magicians, Obéis aux lois d'Enfer, which is almost totally homophonic with one note per syllable.Bouissou, p. 496Girdlestone, pp.
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The bass recitative, "" (The wretched are confused), is accompanied by the strings. It changes to arioso during the middle section, which lets God respond to the pleas of the sinners: "Ich muss ihr Helfer sein" (I must be their helper). Even in the outer sections, the string writing enforces a certain rigidity of the rhythm.
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Bach structured the cantata in six movements. An opening chorus and a closing chorale frame a sequence of alternating recitatives and arias. The first recitative is unusual: the chorus sings one line of the hymn's four lines, continued each time by a soloist in words of the poet. The last aria is a duet.
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The Umbrellas of Cherbourg () is a 1964 musical romantic drama film directed and written by Jacques Demy and starring Catherine Deneuve and Nino Castelnuovo. The music was composed by Michel Legrand. The film dialogue is entirely sung as recitative, including casual conversation, and is sung- through, or through-composed like some operas and stage musicals.
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An organ part for a later performance of movement 5 is extant. John Eliot Gardiner remarked that Bach "particularly valued" this cantata, and that it set "a pattern for his later approaches to the Pentecostal theme". Bach set the Gospel text of the recitative in a choral movement in other cantatas for Pentecost – , and .
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According to Alfred Dürr, both works may include earlier music, perhaps composed in Köthen. One movement of the text of , a recitative, is lost. The first chorus is repeated at the end as is stated at the end of most extant parts ("Chorus ab initio repetatur"). The surviving music was first published in 1894.
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In a short tenor recitative for tenor, "Gott macht es nicht gleichwie die Welt, die viel verspricht und wenig hält" (God does not do as the world does, that promises much and upholds little), the musicologist Julian Mincham notes "a moment of harsh severity in the melody at the mention of the world′s failings".
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Chromaticism contributes to the "fleeting shadows" of the welcoming of death. The accompanying keyboard part has historically been played by either harpsichord or organ. The obbligato oboe conveys a number of different ideas: dancing, sighing, and "quasi-tragic" descent. The soprano recitative uses word painting and sustained chordal harmonies to urge the listener into heaven.
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James Taylor plays guitar on the song. Russ Kunkel provided drums and percussion. According to singer Estrella Berosini, the recitative phrasing Mitchell uses on "California" was influenced by California singer Laura Allan. According to Rolling Stone critic Timothy Crouse, the song "jumps along in quick bursts", but the refrain is "flowing" with tango elements.
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As Susanna leaves, the Count overhears her telling Figaro that he has already won the case. Realizing that he is being tricked (recitative and aria: "Hai già vinta la causa! ... Vedrò, mentr'io sospiro" – "You've already won the case!" ... "Shall I, while sighing, see"), he resolves to punish Figaro by forcing him to marry Marcellina.
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The opening chorus is set in motet style; an archaic-sounding choir of trombones doubles the voices. The alto recitative is accompanied by vigorous scales in the continuo. In the soprano aria, a Gavotte, a virtuoso solo violin possibly represents the "worldly things". The alto aria is accompanied by the oboe d'amore in melodic lyricism.
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In the recitative that follows, Ercole praises Giasone for having lived up to his manly duties while Medea defends his passionate love for her. Orestes arrives and tells Giasone that Isifile is looking for him. Gisaone and Medea agree to meet with her, although Medea admits jealousy. She wants to know who Isifile is.
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Hutchings, Arthur. Purcell. (London: British Broadcasting Corporation, 1982), 54. It is occasionally considered the first genuine English opera, though that title is usually given to Blow's Venus and Adonis: as in Blow's work, the action does not progress in spoken dialogue but in Italian-style recitative. Each work runs to less than one hour.
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The orchestral accompaniment is assigned to a Baroque instrumental ensemble of horn, two oboes d'amore, strings and continuo. The first four movements are duets. The opening movement is a chorale fantasia containing a stanza from Johann Rist's "" and a biblical quotation from the Book of Genesis. The second and third movements are respectively a recitative and an aria.
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The cantata consists of five movements, twice a sequence of an aria and a recitative, concluded by a choral movement. This resembles the typical format for secular cantatas. Likely at least the final movement if not others also are parodies of unknown secular music. The parts for flute and oboe were added for a later performance.
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The piece is a clear model for Henry Purcell's opera Dido and Aeneas, both in structure and the use of the chorus. The piece is remarkable for the period because of its through-composed nature; there are no clear arias or set-pieces, but the music continues throughout the piece, using recitative to further the plot.
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The large-scale form of Hristić's The Dusk is a musical drama with vocal part treated largely as an accompanied recitative. The melodic element is determined by profound psychological interpretation of the text, within its own vocal logic. Orchestral part carries the leit-motivical events, albeit not in a systematic fashion that Hristić would utilize in his ballet.
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Although beginning a new set of text, Benedictus is a continuation of Sanctus. This semi-movement proceeds to use the same structural format laid out in Sanctus. Much of it involves the countertenor soloist performing a chant-like recitative followed by a choral response on the text "osanna in excelsis". The dynamics could be described as explosively contrasting.
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The harmony, meanwhile, is a dominant prolongation in C (minor), and indeed, the orchestra resolves to C (major) in the following measure. Poulenc's vocal writing shows a strong dedication to maintaining the dramatic effect of Cocteau's text. The recitative-like passages clearly deliver the libretto, while the aria-like passages illustrate the soprano's passion and anguish.
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The following pair of recitative and aria deal with thanks for past gifts, while a further pair deal with a prayer for further blessings. The poet did not supply a closing chorale, but Bach chose the final stanza of Paul Eber's "" (Help me to praise God's goodness) (c. 1580). Bach first performed the cantata on 1 January 1726.
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Box drums, which are found elsewhere, are common, as is a tambourine-like hand drum. Nettl describes "Eskimo" music as some of the simplest on the continent, listing characteristics including recitative-like singing, complex rhythmic organization, relatively small melodic range averaging about a sixth, prominence of major thirds and minor seconds melodically, with undulating melodic movement.
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For the music, Handel used the same devices as in his operas and other oratorios: choral and solo singing. The solos are typically a combination of recitative and aria. His orchestra is small: oboes; strings; and basso continuo of harpsichord, violoncello, violone, and bassoon. Two trumpets and timpani highlight selected movements, such as the Hallelujah Chorus.
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Stef (December 12, 1956). Variety Hal Spector quoted the review in the album's 1957 liner notes. Stef, the Variety reviewer, called Angelou's act "sizzling" and a "unique creation in the jazz world when everything progressive is expected to be on the cool side". He called the song "Polymon Bongo" "recitative" and complimented its conversational nature with the drums.
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They carry out their battle in the form of a recitative, each singing of the battle to be fought by huge armies. Bayes says the battle is interrupted by a double eclipse in the form of a dance. Luna is concealed by her veil, like an eclipse, and calls for earth to appear. The sun soon joins them.
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The first recitative, "" (What Isaiah prophesied there has happened in Bethlehem.), applies the situation to the individual Christian, who has nothing to offer as a gift but his heart, explained in an arioso ending. The musicologist Julian Mincham notes unexpected harmonies when the stable of Bethlehem is mentioned, as if to illustrate the "lowliness of that birthplace".
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129 Edward Burlingame Hill found Ravel's vocal writing particularly skilful in the work, "giving the singers something besides recitative without hampering the action", and "commenting orchestrally upon the dramatic situations and the sentiments of the actors without diverting attention from the stage".Hill, p. 144 Some find the characters artificial and the piece lacking in humanity.Nichols, Roger.
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Pope Francis stresses the importance of the female voice in society and church. Mary sings "" (And his mercy), now from the Magnificat, joined by the choir. Scene 4 opens with the schola singing Stabat Mater, facing the Crucifixion. Pope Francis connects in recitative to drama of 2016, such as poverty, wars, and refugees, and forced prostitution.
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In 1962, New Directions published a selection of poems called By the Waters of Manhattan. Three years later, they brought out Testimony: The United States, 1885–1890: Recitative, the first installment of a long work based on court records covering the period 1855 to 1915. The book was a commercial and critical flop, and New Directions dropped him.
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This opens with Orpheus pleading with Venere, Plutone, Prosperina, Caronte, and Radamanto in the underworld for the return of his beloved wife Euridice. Nearly the entire scene is carried in recitative. When the act closes, Orpheus is back with Tirsi and the other shepherds. Scene 4 Venus and Orfeo arrive at the gates of the underworld.
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"'" (Ah! Deceiver), Op. 65, is a concert aria for soprano and orchestra by Ludwig van Beethoven. The dramatic scena begins with a recitative in C major, taken from Pietro Metastasio's Achille in Sciro. The aria "Per pietà, non dirmi addio" (For pity's sake, do not bid me farewell) is set in the key of E-flat major.
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The bass recitative is secco and "severe". It is accompanied by a triplet line that moves in semiquavers to end the movement. The bass aria is in modified ternary form and includes an instrumental ritornello with a characteristic Scotch snap. The middle section moves into a minor key to increase the intimacy of the personal expression.
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Only the last four movements of the piece are extant. The nineteen surviving bars of the fourth movement, an alto aria, demonstrate a rare bassoon obbligati and assume a combined ritornello- ternary form. The fifth movement is a bass recitative with only continuo accompaniment. It is a "harmonically adventurous", "forceful little movement marked by a robust melodic line".
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The first aria includes a flowing bass line and strong ritornello theme. The movement is in da capo form and features long melismas and a very high vocal range. The secco recitative is short but not harmonically cohesive. The final movement is also a da capo aria, with three lines of counterpoint and a complex keyboard part.
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Secondly, dialogue was replaced by recitative. Thirdly, Lothario's Act 1 aria acquired an extra verse. Fourthly, Philine was given an extra aria, inserted after the Act 2 entr'acte. And finally, Frédéric was changed from a buffo tenor into a contralto, and was awarded his Act 2 Gavotte to appease the singer who was to perform the regendered role.
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8 — Recitative and Chorus "Song about the Mayor" (Levko, Lads) Act 2 Scene 1 :No.9 — Trio (Mayor, Sister-in-Law, Distiller) :No.10 — Scene with Kalenik and the Distiller's Tale (Kalenik, Mayor, Sister-in-Law, Distiller) :No.11 — Scene and Trio "Song about the Mayor" (Mayor, Sister-in-Law, Distiller, Levko, Lads, Clerk, Police) Scene 2 :No.
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Hear and obey!) To herself, Semele reflects on her dilemma – she does not wish to marry Prince Athamas as she is in love with Jove himself and calls on him to assist her (Accompanied recitative: Ah me!What refuge now is left me?, arioso: O Jove! In pity teach me which to choose and aria: The morning lark).
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The god Apollo descends on a cloud and announces that the unborn child of Semele and Jupiter will arise from her ashes (Accompanied recitative: Apollo comes, to relieve your care). The child will be Bacchus, god of wine and ecstasy, a god "more mighty than love". All celebrate the fortunate outcome (Chorus: Happy, happy shall we be).
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The first chorus is in da capo form, beginning with a fugue, which leads to a homophonic conclusion. The middle section contains two similar canonic developments. The following biblical quotation is set as the only recitative of the cantata. It is given to the bass as the vox Christi (voice of Christ) and expands to an arioso.
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The shepherds bewail their fate and ask mother Sun to warm them, or the clouds to move on. The raliavimai or warbles are also recitative type melodies, distinguished by the vocable ralio, which is meant to calm the animals. The raliavimai have no set poetic or musical form. They are free recitatives, unified by the refrains.
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Movement 2 is a secco recitative for tenor, concluding in an arioso section with a "deeply moving" melisma on the word "" (sorrows). Movement 3, "" (Besides You is no doctor to be found) is an aria for alto with the obbligato flauto piccolo, which according to Mincham, employs a "figuration ever striving upwards, moderates the underlying sense of potential tragedy". The alto recitative "marks a change of scene", it begins in B minor, like the opening chorus, but modulates to D-major and ends with a wide-ranging coloratura marking the word "" (joy). Movement 5, "" (Recover now, O troubled feelings), picks up the joyful coloraturas, supported by the trumpet and fanfares in triads in the orchestra, Mincham notes that the trumpet "bursts upon us with an energy, acclamation and jubilation unheard, so far, in this work".
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In his arrangement for the Gloria of the Missa, Bach dropped the first ritornello, adapted the words "" to the first section, "" to the middle section, and "" to the last section. The first recitative begins as a secco, but develops to an arioso on the words "" (Lord, as you will), which are repeated nine times with a different continuo line, culminating in "" (I will not die) the following line is again secco. The following aria begins immediately with the voice, to ensure a connection between recitative and aria, then follows an unusual ritornello, a fugue with the two violins and the continuo. In the second aria, more like a song and dance, the instruments play a ritornello and repeat it after a short sung passage: "" (My Jesus will do it, He will sweeten Your cross).
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The festive character of the work is demonstrated by a sonata with a fanfare-like introduction, a concerto of the three groups brass, reeds and strings, all divided in many parts. The first choral movement, sung by a five- part chorus, evokes the "celestial laughter and worldly jubilation" of the text, according to John Eliot Gardiner, who continues: The bass voice announces the resurrection of Jesus in a recitative and continues in an aria, both accompanied only by the continuo. The aria, marked Molto adagio, praises Jesus as "Prince of life" and "strong fighter". The higher tenor voice addresses in a recitative the soul to look to the "new life in spirit", followed by a bright aria, accompanied by the strings, which speaks of "" (the new man), free from sin.
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Bach followed the idea of the unusual text in a complex way in the two movements contrasting the chorale with recitative: in both, in lines 1 to 3 the strings open, the oboes enter, oboe I playing the chorale theme, oboe II adding lamenting motifs, then the tenor enters singing the chorale line as an arioso, finally the choir sings the choral theme in a four-part setting; this is followed by the recitative of the questioning single voice, alto in the first movement, soprano in the later one, both accompanied by the strings. After the three lines and recitatives, lines 4 and 5 are sung by the choir in the first movement. In the later one lines 4 and 5 are first composed as an imitative choral movement on the chorale theme of line 4 in a five-part setting, the fifth part played by violin I. Then a final secco recitative leads to a repeat of lines 4 and 5, this time similar to the first movement. The only aria in dancing time is dominated by figuration of violin I. The third verse of the chorale ends the cantata in a simple choral setting embedded in orchestral music on an independent theme.
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The second duet is a secco recitative. Fear begins "" (O difficult way to the final battle and struggle!), while Hope confirms "" (My Protector is already there). The music is intensified to an arioso twice: Fear sings the word martert (tortures) as a chromatic melisma to short chords in the continuo, and Hope stresses in a long melisma the last word ertragen (borne).
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The work has four movements: Playing time is approximately 35 minutes, one minute shorter than his longest, String Quartet No. 15. The overture that the work begins with is in sonata form, traditional for the first movement of such a work. The music is strong, forceful, and animated. This strong tone is subdued by the lyrical, wandering mood of the recitative.
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The French preferred short arias, accompanied recitative and plenty of dance movements. In spite of these obstacles, Roland was a great success at its premiere. Roland forms part of a late 18th-century vogue for resetting libretti Quinault had written for Lully, the first major French opera composer, almost one hundred years before. Another famous example is Gluck's Armide (1776).
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The tiny song is for one of the characters, Laban, to sing at her spinning-wheel. Elgar accompanies Yeats' prose with delicate and imaginative orchestration: he employs muted strings, a harp, flute, clarinet, bassoon and a pair of horns. The song is unhurried and delicate, in little recitative-like sections. The dynamic indicated is little more than a soft pianissimo.
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The only recitative, "" (We must enter the Kingdom of God through much sorrow), is accompanied by the strings in a . In German, sorrow is mentioned first, then the final Kingdom of God. Bach repeats the beginning text four times, while the singular destination appears only once. The key word "Trübsal" is illustrated each time by a downward line, each time with more intensity.
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The dramatic motive and moving recitative of the solo in the upper voices on the chordal background is characteristic of Scriabin's early creations. Geocities The typical tempo for the piece is around 100-112 bpm. The right hand is always playing octaves except for the piece's ending. Similarly, the left hand is continually jumping around until the final chord is struck.
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The narrative and the dialogue, in which the Seven Words appear, are composed like contemporary operatic recitative in a style that Schütz had learned in Venice. The sinfonia is one of few surviving instrumental works by Schütz. The work is a precursor of his Passions. The treatment of the vox Christi with obbligato instruments was used by Bach in his St Matthew Passion.
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52 The academic and journalist Stephen Walsh calls Pelléas et Mélisande (begun 1893, staged 1902) "a key work for the 20th century".Walsh (1997), p. 97 The composer Olivier Messiaen was fascinated by its "extraordinary harmonic qualities and ... transparent instrumental texture". The opera is composed in what Alan Blyth describes as a sustained and heightened recitative style, with "sensuous, intimate" vocal lines.
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Example 1: Poulenc, La voix humaine (1959), 3 after no. 24 Poulenc's writing for the voice is recitative-like in style, representing the natural inflections of speech and, in the case of this particular drama, imitating a phone conversation through its frequent pauses and silences. Poulenc rejects his previous lyricism, opting for a fragmentary, declamatory approach to the voice.Daniel, p.
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"'" (K. 316/300b) is a recitative and aria for soprano and orchestra that Wolfgang Amadeus Mozart wrote for Aloysia Weber. It is famous for including two occurrences of a G6, i.e. the G above high C, or 1568 Hz by modern concert pitch – according to the Guinness Book of Records, the highest musical note ever scored for the human voice.
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A number opera (; ) is an opera consisting of individual pieces of music ('numbers') which can be easily extracted from the larger work."Number opera" in New Grove. They may be numbered consecutively in the score, and may be interspersed with recitative or spoken dialogue. Opera numbers may be arias, but also ensemble pieces, such as duets, trios, quartets, quintets, sextets or choruses.
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The piece is based on an opera's two main components, the aria and the recitative. For Talking-Melody, Brody recorded singers recalling the moment they discovered that their voices were special. The stories are used to create arias based on the voice-melodies of the singers. For Singing-Story Brody recorded people in three different cities describing what opera is to them.
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This consisted of 'baroque-pop' compositions by Brewis with edited excerpts of Paul Smith's travel writing sung in Recitative. A live performance of the album was staged, with other musicians including a string section, at Gateshead's Sage. In November 2015, Prince posted a link to Field Music's then-newly released single "The Noisy Days Are Over" on his Twitter feed.
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It includes an overture and seven choruses. The choruses are set in the style of Greek chorus, with strophes and antistrophes sung antiphonally by the two choirs, with additional passages of recitative. The first performance took place at the New Palace, Potsdam on 28 October 1841. A public performance followed a week later at the Berlin State Opera on 6 November 1841.
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Handel had previously set this text as recitative, and then as a comparatively gentle minuet in triple time throughout. Both of these were for bass voice: for Guadagni, as well as transposing the first section up an octave, Handel wrote a new, virtuosic setting of the text "For he is like a refiner's fire", especially exploiting the singer's fine low notes.
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134 Elizabeth Bartlet comments that Méhul "did not hesitate to find a musical equivalent for 'fraternité' [i.e. fraternity, one of the chief French Revolutionary virtues]. In Horatius Coclès the little music for soloists, apart from recitative to advance the plot, is for the most part in the form of duos and trios, not solos."Music and the French Revolution p.
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Handel then spent time in Rome, where the performance of opera was forbidden by Papal decree,Dean (1980), p. 86 and in Naples. He applied himself to the composition of cantatas and oratorios; at that time there was little difference (apart from increasing length) between cantata, oratorio and opera, all based on the alternation of secco recitative and aria da capo.Dean (1997), p.
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The third recitative is for alto: ' (The wondrous hand of the exalted Almighty is active in the mysteries of the earth). It is an accompagnato with two oboes da caccia which add a continuous expressive motive, interrupted only when the child's leaping in the womb (in German: ') is mentioned which they illustrate. Gardiner mentions that it forebodes recitatives of the later great Passions.
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"Dubal (2004), p. 464 He also states the coda "completely shocks the listener out of reverie." According to Berkeley, the ending "defies analysis, but compels acceptance." Jim Samson states that "The interruption of the song by this startling passage of instrumental recitative submits to no formal logic, but rather brings directly into the foreground Chopin's desire to make the music 'speak'.
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The alto renders in a secco recitative: "'" (Yet do not imagine, o sinners). Mincham observes that "Bach is using the minimum of resource but even so, he still manages to create the maximum of effect", for example that in the last measures, in contrast to the calm beginning, "the harmony becomes more obscure, the bass less conjunct and the alto line more passionate".
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The topic of the first recitative is "" (Sincerity is one of God's gifts). In opposition, the topic of the second is "" (Hypocrisy is a beast coughed up by Belial). The poetry on "" (The Christians' deeds and behaviour), stressing "" (truth and goodness), has been criticised as "too didactic". Gillies Whittaker described it as "dry, didactic statements and crude denunciations of the failings of mankind".
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The solo violin in the first aria illustrates both the joy in God and the (running) mentioned in the words. The alto recitative is accompanied by the strings. In the following aria the mystical unity of the soul with God is expressed in the unusual scoring for two oboe d'amore and oboe da caccia. The closing chorale is set for four parts.
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New York: St. Vartan Press, 1983. Fortunately, fifty of Berberian's songs were published in 1983 by St. Vartan Press in New York. Most of Schahan Berberian's songs share a mystic lucidity and spaciousness, and a simple melodic line with minimal accompaniment – notes hanging in midair. They are fragile and laconic, the textual content always leading the recitative- like musical line.
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Increasingly, arguments for and against the attribution to Aeschylus have been based on metrical-stylistic grounds: the play's diction, the use of so-called Eigenwoerter, the use of recitative anapests in the meter, etc.See, as examples, Griffith 1977, 157-72; Ireland 1977, 189-210; Hubbard 1991, 439-60. Using such criteria in 1977, Mark Griffith made a case against the attribution.
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He used the lyrics of the hymn unchanged, which reflect the psalm and Jesus as the Good Shepherd. Bach structured the work in five movements. The outer choral movements are a chorale fantasia and a four-part closing chorale, both on the hymn tune. Bach set the inner stanzas as aria – recitative – aria, with music unrelated to the hymn tune.
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The text assembly is similar to Bach's early cantatas. The cantata is in seven movements which combine the three major text sources: psalm, hymn and contemporary poetry. The opening chorus is based on a psalm verse, followed by the first hymn stanza and another psalm verse as a recitative. An aria on poetry is followed by a third psalm verse as an aria.
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Canta in Prato, Ride in Fonte, written for soprano, was intended to precede the Dixit Dominus for double orchestra and double choir (RV 594). It consists of two arias surrounding a central recitative, and has a similar text to an earlier motet, Canta in Prato, Ride in Monte (RV 623). The present work speaks of the nightingale Philomela and her joyous singing.
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Longe Mala is the first of two introduzioni for RV 589, and is related to a motet based on similar text, RV 623, composed several years later in Vivaldi's visit to Rome. Unusually, the form for this motet is Aria-Recitative. The motet speaks of the terrors of the world and asks for the Lord to appear with his glory.
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In addition, impassioned exclamations are set with unprepared dissonances and unexpected movements in the bass. All qualitative judgments aside, even his greater detractors admit that with Euridice Peri managed to establish sound principles for operatic composition.Oldmeadow, p. 121 The work establishes in opera the dual resource of aria and recitative, and it explores the use of solo, ensemble and choral singing.
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This act begins with a striking unison theme in the strings, soon interrupted by strident brass. This theme intensifies throughout the opening movement, recitative. The next movement, adagio, features a sweeter sound in the strings with a solo violin heard floating above the rest of the orchestral texture. The con elegenza that follows is marked by the sweeping sound of violins.
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The opening recitative, "" (Desired light of joy), is accompagnato, sung by the tenor and accompanied by two flutes. It was possibly not changed from the original cantata for New Year's Day. The "desired light" is illustrated by a rising motif in the flutes which is repeated throughout the movement. Dürr interprets the figure as the flames mentioned in the Pentecost narration.
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The Most Happy Fella (1952) is quasi-operatic and has been revived by the New York City Opera. Other rock influenced musicals, such as Tommy (1969) and Jesus Christ Superstar (1971), Les Misérables (1980), Rent (1996), Spring Awakening (2006), and Natasha, Pierre & The Great Comet of 1812 (2012) employ various operatic conventions, such as through composition, recitative instead of dialogue, and leitmotifs.
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In classical music, arioso (also aria parlanteGeorge Grove, A Dictionary of Music and Musicians, "Aria Parlante" ) is a category of solo vocal piece, usually occurring in an opera or oratorio, falling somewhere between recitative and aria in style. Literally, arioso means airy. The term arose in the 16th century along with the aforementioned styles and monody. It is commonly confused with recitativo accompagnato.
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The recitative for bass with strings is reminiscent of the (voice of Christ) in Bach's Passions, marked with unusual precision: vivace, adagio, andante, con ardore. Bach achieves a dramatic impact, intensified by leaps in the vocal line. The last aria is similar to a concerto for oboe and the bass voice. The closing chorale sets the original tune in four parts.
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The overture appears on: Méhul Overtures, Orchestre de Bretagne, conducted by Stefan Sanderling (ASV, 2002) Catalogue number CD DCA 1140. The soprano Véronique Gens sings Ina's Act 2 recitative, melodrama and aria Quelle fureur barbare!...Mais, que dis-je?...Ô des amants le plus fidèle on the album Tragédiennes Volume 3 with Les Talens Lyriques conducted by Christophe Rousset (Virgin Classics, 2011).
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The Cooper has simple lyrical style that is reminiscent of the works of Charles Dibdin. The vocal lines are melodic and easy, refraining from using any complicated coloratura. The music is often cleverly arranged to complement the humour of the text. For example, Fanny’s recitative "He's gone to bed", is accompanied by crotchets marked "Play to the steps of her feet".
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The River of Sangar approves Sangaride's choice in a chorus "Nous approuvons votre choix," followed by "Que l'on chante." A jubilant dance suite and choral numbers conclude the act. Act V The final act takes place in the pleasant gardens. King Celenus finds out that the wedding plans have been cancelled and he confronts Cybèle in a lengthy recitative dialogue in Scene 1.
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On the whole, old Italian operatic conventions are disregarded in favour of giving the action dramatic impetus. The complexity of the storyline is greatly reduced by eliminating subplots. Gluck was influenced by the example of French tragédies en musique, particularly those of Rameau. Like them, the opera contains a large number of expressive dances, extensive use of the chorus and accompanied recitative.
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The gudastviri is used for vocal accompaniment. A majority of recitative songs were performed with its accompaniment, in the region of Racha. The gudastviri player’s repertoire consists of historical, epic, satirical, comic, and lyrical verses, which are performed as one part songs. These songs are recitatives and it is the text, not the melody, that is the most important part of the performance.
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For example, he collaborated with his brother Jean-Louis and Pierre Vignon on Zéphire et Flore (ballet, 1688), and with Marin Marais on Alcide (tragédie lyrique, 1693). The one work he composed on his own, Orphée (tragédie lyrique, 1690), was badly received when it was performed, though historians find it important for the prominence given in it to accompanied recitative .
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Incipit of the similar music in Bach's St Matthew Passion The continuo plays repeated "trembling" notes, a "heartbeat" as Bach would use later in the tenor recitative "" (O pain! Here trembleth the tormented heart).of his St Matthew Passion. Finally the choir enters, one voice after the other building a chord, gently adding words of consolation: "" (the Savior revives his spiritual kingdom).
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Another important Shrove Tuesday ritual was the parade of masqueraders. Special songs, such as beggar songs, accompany the parade. Most Shrovetide songs are recitative-like and their melodies contain the most archaic ritual melodic characteristics. During the Easter celebration and spring in general, the tradition of swinging on swings was quite widespread (in some places during Shrove Tuesday as well).
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Scheitler 2005, pp. 338–345 In 1739 Stölzel became a member of Lorenz Christoph Mizler's . As a member of this Society he composed a cantata and wrote a treatise on the recitative, which was published as Abhandlung vom Recitativ in the 20th century.Steger 1962 The last two years of his life Stölzel suffered from ill health, becoming feeble-minded ("im Haupte schwach").
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Queen had embraced progressive rock as one of their many diverse influences. "Bohemian Rhapsody" parodies many different elements of opera by using bombastic choruses, sarcastic recitative and distorted Italian operatic phraseology. An embryonic version of this style had already been used in Mercury's earlier compositions for the band "My Fairy King" (1973) and "The March of the Black Queen" (1974).
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Barthold Heinrich Brockes was an influential German poet who re-worked the traditional form of a Passion oratorio, adding reflective and descriptive poetry, sometimes of a highly-wrought and emotional kind, into the texture of his Passion. The Brockes Passion was much admired and set to music numerous times in Baroque Germany, although to other ages and in other countries some of Brockes' poetry has seemed in poor taste. In Brockes' version of a passion, a tenor Evangelist narrates, in recitative passages, events from all four Gospels' accounts of Jesus' suffering and death. Persons of the Gospel story (Jesus, Peter, Pilate, etc.) have dialogue passages, also in recitative; a chorus sings passages depicting the declamation of crowds; and poetic texts, sometimes in the form of arias, sometimes that of chorales (hymn-like short choral pieces), reflect on the events.
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As with Orfeo and Poppea, Monteverdi differentiates musically between humans and gods, with the latter singing music which is usually more profusely melodic—although in Il ritorno, most of the human characters have some opportunity for lyrical expression. According to the reviewer Iain Fenlon, "it is Monteverdi's mellifluous and flexible recitative style, capable of easy movement between declamation and arioso, which remains in the memory as the dominant language of the work." Monteverdi's ability to combine fashionable forms such as the chamber duet and ensembles with the older-style recitative from earlier in the century further illustrate the development of the composer's dramatic style. Monteverdi's trademark feature of "stilo concitato" (rapid repetition of notes to suggest dramatic action or excitement) is deployed to good effect in the fight scene between Ulisse and Iro, and in the slaying of the suitors.
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The hymn is only distantly related to the readings, concentrating on the thought that the Christians sin and deserve punishment, but may be raised to joy in a "" (blessed death). An unknown poet kept the first, third and sixth stanza as movements 1, 4 and 7 of the cantata. He derived movements 2 and 3, aria and recitative, from stanza 2, movement 5, another aria, from stanza 4, and the last recitative from stanza 5. In movement 3, he deviated from the song text, expanding in connection to the gospel that sin in general is comparable to the dropsy, "" (this sinful dropsy leads to destruction and will be fatal to you), and alluding to Adam's fall, caused by self-exaltation in the forbidden quest to be like God, "" (Pride first ate the forbidden fruit, to be like God).
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Bach scored the work for two vocal parts (alto and tenor), a four-part choir, and a Baroque chamber ensemble of recorders, strings and continuo. In the alto recitative (movement 4), accompanied by all instruments, Bach creates the images of sleep, of waking up, and of funeral bells, the latter in the recorders and pizzicato of the strings. Bach expanded the final measures of the recitative ("so schlage doch") to a full length aria for tenor (Ach, schlage doch bald, selge Stunde) in the cantata Christus, der ist mein Leben, BWV 95, which he composed in 1723 in Leipzig. While the libretto was published in a collection in 1715, Bach probably did not perform it until 27 September 1716, due to a period of public mourning of six months in the Duchy of Weimar from August 1715.
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The Plaintiff, in "distress", captures the sympathy of the judge and jury. Production with Sydney Granville, 1919 Before the first performance of Trial by Jury, some material was cut, including two songs and a recitative: a song for the foreman of the jury, "Oh, do not blush to shed a tear", which was to be sung just after "Oh, will you swear by yonder skies"; and a recitative for the Judge and song for the Usher, "We do not deal with artificial crime" and "His lordship's always quits", which came just before "A nice dilemma".Bradley, pp. 20, 32 The melody for "His Lordship's always quits" is known, and it was reused in "I loved her fondly" in The Zoo and later modified into the main tune from "A wand'ring minstrel, I" in The Mikado. p.
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The characters have strong emotions, fears and desires which are reflected in their music. Thus Poppea's and Nerone's scenes are generally lyrical, sung mainly in the forms of arioso and aria, while Ottavia sings only in dramatic recitative. Seneca's music is bold and compelling, while Ottone's is hesitant and limited in range, "entirely inappropriate for anyone aspiring to be a man of action" according to Carter.
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Its theme is played by the orchestra and repeated several times while the pianist presents different episodes. The two ideas are cast in a "chain-form" and thus do not begin or end concurrently until near the end of the movement. A shortened version of the theme is played by the orchestra one last time before a brief piano recitative and coda "presto" conclude the piece.
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Throughout the music video some features of Toronto are shown, including the Metro Theatre. According to The Echo Nest, "So Strung Out" is composed in the minor scale, in the key of A♭ and is set in the common time. The extended version of the song has a tempo of 100 beats per minute. That version begins with introductory a cappella recitative about abusive drug experience.
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"City Center's Encores! Presents 'Of Thee I Sing.'" New York Times 13 May 2006 Ira Gershwin explained, "In the show there are no verse-and-chorus songs; there is a sort of recitative running along, and lots of finales and finalettos." Ira Gershwin recalled that the title song, inspired by the final phrase of "My Country, 'Tis of Thee", was somewhat controversial among the production staff.
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Handel's opera Tamerlano. (Note the da capo instruction.) First edition, London, 1719. In music, an aria (; ; plural: arie , or arias in common usage, diminutive form arietta , plural ariette, or in English simply air) is a self-contained piece for one voice, with or without instrumental or orchestral accompaniment, normally part of a larger work. An aria is a formal musical composition unlike its counterpart, the recitative.
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Throughout her career, Callas displayed her vocal versatility in recitals that pitched dramatic soprano arias alongside coloratura pieces, including in a 1952 RAI recital in which she opened with Lady Macbeth's "letter scene", followed by the "Mad Scene" from Lucia di Lammermoor, then Abigaille's treacherous recitative and aria from Nabucco, finishing with the "Bell Song" from Lakmé capped by a ringing high E in alt (E6).
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An unknown librettist paraphrased the inner stanzas as recitatives and arias, quoting one stanza of the hymn within a recitative. Bach scored the cantata for four vocal soloists, a four-part choir, and a Baroque instrumental ensemble of different flutes and oboes, strings and continuo. All movements are set in the major mode, in keeping with the festive text, and several movements resemble dances.
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In 1981, Naumenko organized the Zoopark rock band in which he was a lead vocalist and an art director until his death. With his band, he traveled a lot and visited many cities of the USSR. Naumenko's vocal weren't great so he performed his songs in recitative style. He obtained popularity mostly because the lyrics of his songs were full of irony and satire.
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The song begins with a recitative, describing the setting: mountains, a steaming valley, the roaring sea. The wanderer is strolling quietly, unhappily, and asks, sighing, the question: "where?" The next section, consisting of 8 bars of a slow melody sung in pianissimo, describes the feelings of the wanderer: the sun seems cold, the blossom withered, life old. The wanderer expresses the conviction of being a stranger everywhere.
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Woodwinds are recorders, flauto traverso (transverse flute) (Ft), oboe (Ob), oboe d'amore (Oa), and oboe da caccia (Oc). Strings are violin (Vn), solo violin (Vs), viola (Va), lute (Lt), and viola da gamba (Vg). Continuo are violoncello, double bass, bassoon, and organ. The Bible story is told by the Evangelist (Ev) in secco recitative, and by the characters that have direct speech in the narrative.
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The original manuscript with the full score of the duet was recently found at the Bibliothèque nationale de France in Paris. The uncut duet is performed in the video recording with Simon Keenlyside as Hamlet.DVD with Simon Keenlyside as Hamlet, Disc 1, Chapter 13 (1:04:17-1:08:48). It is included as an appendix in the recording with Thomas Hampson as Hamlet (see Recordings). Recitative.
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The recitatives in the first part, including a verse from Psalm 114, describe the phenomena associated with Jesus' resurrection, the arrival of Archangel Michael (both in No. 3), the entrance of the open grave by the women from Jerusalem (No. 6) and Jesus' meeting with Mary Magdalene (No. 8) and the rest of the women (No. 10). In the second part, the first recitative (No.
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The soprano aria with solo violin is probably based on an earlier work from Bach's time in Köthen that served as a model also for a movement of a violin sonata BWV 1019a. The tenor recitative is accompanied by strings to underline its character as a prayer for justice and future blessings. The words for the final chorale are taken from the German , "", by Martin Luther.
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The unknown poet takes the words of the leper "Lord, if thou wilt, thou canst make me clean" as a starting point and recommends his attitude of trust for the situation of facing death. In the first movement he contrasts lines of Kaspar Bienemann's chorale "" with three sections of recitative. Movement 3 paraphrases . The words of movement 4 are the leper's words from the Gospel.
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Illustration from a 1764 edition of the score of Gluck's Orfeo ed Euridice. After peaking during the 1750s, the popularity of the Metastasian model began to wane. New trends, popularized by composers such as Niccolò Jommelli and Tommaso Traetta, began to seep into opera seria. The Italianate pattern of alternating, sharply- contrasted recitative and aria began to give way to ideas from the French operatic tradition.
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He performed the cantata again on the last Sunday before Lent a year later, after he had taken up office. The cantata shows elements which became standards for Bach's Leipzig cantatas and even the Passions, including a "frame of biblical text and chorale around the operatic forms of aria and recitative", "the fugal setting of biblical words" and "the biblical narrative ... as a dramatic ".
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Movement 2 is an aria with a solo violin part missing, as the reported. In movement 3, the chorale appears in the form of a chorale concerto, an Italianate form that Johann Hermann Schein had used a century earlier. The chorale melody is changed according to the meaning of the words, only the continuo accompanies two voices. The following recitative is accompanied by the strings.
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In the following dialogue recitative, "" (Ah! Holy and great God), the soul answers with a paraphrase of the opening line of Psalm 84, "" (How amiable is Thy dwelling), which both Heinrich Schütz and Johannes Brahms set to music, Brahms as the central movement of '. Bach sets the text as an "evocative arioso with a pulsating string accompaniment". The two voices never sing at the same time.
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His major German opera after Der Freischütz, Euryanthe (1823), suffers from a particularly weak text and is rarely staged nowadays. Yet Euryanthe marks another important stage in the development of serious German opera. Weber completely eliminated spoken dialogue, producing a "through-composed" work where the distinction between recitative and aria is becoming blurred. Its lessons would not be lost on future composers, including Richard Wagner.
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The opera has no spoken dialogue and comprises completely sung recitative and arias. Fortunio, clerk to the lawyer Maître André, becomes the decoy for an affair between Jacqueline – the lawyer's wife – and Clavaroche, an army officer, Fortunio falls in love with Jacqueline before discovering what is going on between her and the officer. Eventually she falls for Fortunio's innocent charm and sends Clavaroche away.
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Jubilate is the only introduzione to come before Gloria (RV 588), in the form of Aria-Recitative-Aria. It speaks of choirs joying over the celebration of Christ. The last movement of this motet is interwoven with the first movement of the preceding piece (RV 588). Vivaldi cunningly combines both texts into one, the soloist from the introduzione singing the text from the motet.
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The "Help!" aria begins with a recitative taken from Lennon's two books, In His Own Write and A Spaniard in the Works. After three vocal selections, the album concludes with a sonata for oboe, thoroughbass, and violin. The orchestra on the album is credited as the "Baroque Ensemble of the Merseyside Kammermusickgesellschaft". The players were most likely an ad hoc group of session musicians.
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The premiere was held in Vienna on 15 June 1938, with the Vienna Symphony Orchestra and the Vienna Singverein (Singverein der Gesellschaft der Musikfreunde) under Oswald Kabasta, with Franz Schütz at the organ. sang the Evangelist's recitative role, and the other vocal soloists were Erika Rokyta, Enid Szantho, Anton Dermota and Josef von Manowarda. The UK premiere was given on 24 May 1966, conducted by Bryan Fairfax.
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A tenor soloist narrates the Biblical story in recitative as the Evangelist. The soprano soloist makes a first appearance in the oratorio as the angel, and is followed by the choir representing the angels singing "Glory to God in the Highest". There are three chorales, one by Johann Rist and two by Paul Gerhardt, both using the melody of Luther's "Vom Himmel hoch, da komm ich her".
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In the unusual third movement, Bach has an alto and a tenor voice alternate for the recitative, while they sing the lines from the third hymn stanza in a duet. The fourth movement is a dramatic bass aria, accompanied by a restless continuo. Due to the compiled hymns, the melody of the closing two stanzas is different from the one used in movements 1 and 3.
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The music for the dialogue of Jesus and the Soul is more dramatic than in other church cantatas by Bach. Most of the recitatives are secco, as in the opera of the time, driving the action. John Eliot Gardiner sees Bach here as the "best writer of dramatic declamation (recitative in other words) since Monteverdi". The first aria is dominated by long vocal phrases.
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Bach structured the cantata in six movements, an exuberant choral opening, a set of recitative and aria for bass, another such set for alto and tenor, and a closing chorale taken from the medieval Easter hymn "". A Baroque instrumental ensemble included trumpet, two oboes, bassoon, strings and continuo. The music expresses moods of mourning and fear which should be overcome, but especially exhilarating joy.
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The cantata in six movements is festively scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, and a Baroque instrumental ensemble of three trumpets, timpani, flauto traverso, three oboes, two violins, viola, and basso continuo. # Chorale: # Recitative (alto): # Aria (bass): # Recitative (soprano, tenor): # Aria (tenor): # Chorale: In the opening chorus, Bach illustrates the singing of angels in different choirs by assigning different themes to the strings, the oboes and the trumpets, in a rich scoring typical only for the most festive occasions of the liturgical year such as Christmas. Mincham compares the movement to the 15 opening movements preceding it in the second annual cycle: "it is the most lavishly scored chorus so far and certainly the most extrovertly festive in character". In movement 3, trumpets and timpani accompany the bass voice in a description of the battle against Satan.
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The in total 143-bar long work in C major is scored for choir and soloists, and piano. The cantata is in six parts: # Recitative "Sankt Jodok sproß": bass soloist (bars 1–7) # Aria "In Einsamkeit zurückgezogen": bass soloist (bars 8–23) # Choir "Du bist der Vater": mixed choir (bars 27–79) Ziemlich langsam, gemütlich # Aria "Du pflegst das Herz": soprano soloist (bars 80–102) Langsam, mit Gefühl # Recitative "Nicht minder ziert": tenor soloist (bars 103–109) # Finale "Heil unserm Vater": mixed choir (bars 100–143) Mäßig langsam Despite it contains already own ideas of the composer, the 6-part cantata looks somewhat archaic with its two recitatives, arias and choir parts. The arias look back to baroque examples, in which a basso continuo instrument accompany the solo- singer. The choir parts – a little in the follow of Michael Haydn – refer with imitation phrases to florid counterpoint.
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Engraved portrait of Brockes (1744) by Christian Fritsch (1704–1760) Barthold Heinrich Brockes was an influential German poet who re-worked the traditional form of a Passion oratorio, adding reflective and descriptive poetry, sometimes of a highly-wrought and emotional kind, into the texture of his Passion. The Brockes Passion was much admired and set to music numerous times in Baroque Germany, although to other ages and in other countries some of Brockes' poetry has seemed in poor taste. In Brockes' version of a passion, a tenor Evangelist narrates, in recitative passages, events from all four Gospels' accounts of Jesus' suffering and death. Persons of the Gospel story (Jesus, Peter, Pilate, and so on) have dialogue passages, also in recitative; a chorus sings passages depicting the declamation of crowds; and poetic texts, sometimes in the form of arias, sometimes that of chorales, reflect on the events.
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The melody in the soprano is reinforced by the horn. The line "" (Death is my reward) is slower than the others, in a tradition observed already by Johann Hermann Schein. The recitative alternates between secco and accompagnato, with the same accompanying motifs as in the chorale. The second chorale on Luther's melody is graced by an independent violin part, and every line is preceded by an entry of the horn.
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Of Thee I Sing was the most musically sophisticated of the Gershwin shows up to then, inspired by the works of Gilbert and Sullivan and boasting a varied score including extensive recitative, choral commentary, marches, pastiches, elaborate contrapuntal passages, and ballads. Most songs were lengthy and included a large ensemble. In addition, as an integrated song-and-story production it produced fewer hit songs than many of the Gershwins' musicals.Isherwood, Charles.
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The first aria, a da capo aria, "" (Mute sighs, silent cries), is accompanied by the oboe. The theme of the ritornello is present throughout the movement. The middle section begins with a dissonance to stress the sorrowful image of "" ("And you, moist springs of tears"). It ends with a passage set as a secco recitative, described by Mincham: "Time almost appears to stand still with this final expression of misery".
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Tamerlano was first performed at the King's Theatre, London, on 31 October 1724, around the time of the annual performance of Nicholas Rowe's play of Tamerlane (4–5 November). There were 12 performances and it was repeated on 13 November 1731. The opera then received a production in Hamburg with the recitative in German and the arias in Italian. The first modern production was in Karlsruhe on 7 September 1924.
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The following recitative, a lament on the persecution in the world, is accompanied by long chords of the strings. Movement 5 illustrates in two sections the opposition of sowing with tears and reaping with joy, accompanied by a flute and two oboes d'amore. Movement 7 is probably derived from a secular dance-like movement in da capo form. A ritornello frames the first section, continuo only accompanies the middle section.
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Carter 1994, pp. 33–36. It contained many of the features audience were used to in the ballet de cour: dance, spectacular stage effects and rich costumes. The innovations were the replacement of spoken dialogue by recitative and the use of more complicated vocal ensembles. The pastoral theme of the work was not new, for instance Cambert had already composed music for a stage work called the Pastorale d'Issy in 1659.
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63 Poulenc strays from the recitative in highly dramatic passages, including when Elle sings of her suicide attempt of the previous night.Daniel, p. 308 This section is more lyrical and tonal, as can be seen in Example 2. Here, the vocal line more resembles an aria, especially as it builds toward its high point in the nine-eight measure, and the orchestra accompanies the voice in a waltz.
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The first work now considered as an opera is Jacopo Peri's Dafne of 1597. In the new genre, a complete story was told through characters; as well as choruses and ensembles, the vocal parts included recitative, aria, and arioso. Monteverdi's first opera was L'Orfeo which premiered in 1607. The duke was quick to recognise the potential of this new musical form for bringing prestige to those willing to sponsor it.
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Accompagnato (Didymus,Theodora) "Forbid it, Heav'n!" :51. Duet (Theodora,Didymus) "To thee, thou glorious son of worth" :Scene 6 Irene, with the Christians :52. Recitative (Irene) "Tis night, but night's sweet blessing is denied" :53. Chorus of Christians "He saw the lovely youth" ;Act Three :Scene 1 Irene, with the Christians :54. Air (Irene) "Lord, to Thee each night and day" :Scene 2 Enter Theodora, in the habit of Didymus :55.
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Composed of many stories, these epics are told in a leisurely fashion, so that it takes one night to complete a story. The chanters of the epic have to have a strong memory and a good voice. They are aided by “assistants” who encourage and sustain the bards. They start the bards off by chanting a number of meaningless syllables, giving them the pitch and duration of the recitative.
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The poet compiled for the opening chorus a verse from Psalm 149 (), three verses from Psalm 150 (), and in between the first two lines of Martin Luther's "" (German Te Deum) "" (Lord God, Thee we praise). The words from the "Te Deum" appear again in the second movement, interspersed by recitative. The closing chorale is the second stanza of Johannes Hermann's "" (1591). Bach first performed the cantata on 1 January 1724.
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A recitative of the alto, accompanied by the strings, leads to a chorale, concluding the ideas of the first section in expressive harmonization. A different mood prevails in the following aria, the voice and the oboe being equal partners in the request to spare the soul. In the last aria the tenor is accompanied by the strings with oboe, music dominated by a lilting rhythm changing between time and time.
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After a recitative passage, the music goes somewhere unexpected. The second theme is brought back, this time fortissimo and marked trionfante with chords in both hands. The most technically difficult part of the entire piece consists of multiple pages of chordal jumps and repetition, requiring a large amount of stamina. The music eventually dies down, and after an arpeggiated variation of the first theme, the music dies out.
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The work lasts about half an hour in performance. It is in five sections: #Prologue – words by Auden #Rats Away! – anonymous, updated by Auden #Messalina – anonymous #Hawking for the Partridge (Dance of Death) – words by Thomas Ravenscroft #Epilogue – words by Auden. The Prologue is in a form akin to recitative and introduces the cycle's musical motto, described by Moore as "a descending major triad climbing back to the minor third".
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Composition began in 1846 and continued through Mendelssohn's last year. The completed portions include a tenor recitative relating Christ's birth, two choruses "Wo ist der neugeborne?" ("Where is the newborn?") and "Es wird ein Stern aus Jacob aufgeh'n" ("There Shall a Star from Jacob Come Forth") using Philipp Nicolai's chorale "Wie schön leuchtet der Morgenstern", and a passion section ending with another chorale, Paul Gerhardt's "O Welt, sieh hier dein Leben".
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The movement ends in free sequences. Mincham describes the "ceaseless activity through constant musical movement" of the music, the "fragmented rhythm" of the countersubject and the "breathless urgency" of the coda. The following recitative is similar to the first in structure, but accompanied by the strings adding emphasis, mostly on strong beats. The final arioso, without the strings, stresses the prayer "" (May dear God spare me from it!).
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In addition to the new compositions listed above, special mention must go to the recitatives, which knit together the oratorio into a coherent whole. In particular, Bach made particularly effective use of recitative when combining it with chorales in no. 7 of part I ("Er ist auf Erden kommen arm") and even more ingeniously in the recitatives nos. 38 and 40 which frame the "Echo Aria" ("Flößt, mein Heiland"), no.
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At this time the leading Metastasian composers were Hasse, Antonio Caldara, Vinci, Porpora, and Pergolesi. Vinci's settings of Didone abbandonata and Artaserse were much praised for their stromento recitative, and he played a crucial part in establishing the new style of melody. Hasse, by contrast, indulged in stronger accompaniment and was regarded at the time as the more adventurous of the two. Pergolesi was noted for his lyricism.
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Jommelli's works from 1740 onwards increasingly favored accompanied recitative and greater dynamic contrast, as well as a more prominent role for the orchestra while limiting virtuosic vocal displays. Traetta reintroduced the ballet in his operas and restored the tragic, melodramatic endings of classical dramas. His operas, particularly after 1760, also gave a larger role to the chorus. The culmination of these reforms arrived in the operas of Christoph Willibald Gluck.
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Together with the two works which followed, Tannhäuser and Lohengrin, this has been described as the "zenith of German Romantic opera".Oxford Illustrated p. 220. Yet these were merely a prelude to even more radical developments. In his mature dramas, Tristan und Isolde, Die Meistersinger von Nürnberg, Der Ring des Nibelungen and Parsifal, Wagner abolished the distinction between aria and recitative in favour of a seamless flow of "endless melody".
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''''' (The Goose of Cairo or The Cairo Goose, K. 422) is an incomplete Italian opera buffa in three acts, begun by Wolfgang Amadeus Mozart in July 1783 but abandoned in October. The complete libretto by Giovanni Battista Varesco remains. Mozart composed seven of the ten numbers of the first act, plus some recitative, as well a sketch for a further aria; the extant music amounts to about 45 minutes.
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The opening movement is a chorus in da capo form with a prominent trumpet part and an active violin line. The vocal parts use fugal techniques. The bass recitative is secco and "set to a melody of almost childlike naivety and simplicity". The alto aria's structure combines elements of da capo and ritornello form; the instrumental introduction does not completely recur and the reprise differs significantly from the opening section.
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Bach structured the work in 9 movements, alternating arias with varied texture and recitative. He scored it for a solo soprano voice (S), and a Baroque instrumental ensemble of oboe (Ob), violins (Vl), viola (Va), and basso continuo (Bc). In the following table of the movements, the scoring follows the Neue Bach-Ausgabe. The keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4).
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At the same time, the influence of Richard Wagner was felt as a challenge to the French tradition. Many French critics angrily rejected Wagner's music dramas while many French composers closely imitated them with variable success. Perhaps the most interesting response came from Claude Debussy. As in Wagner's works, the orchestra plays a leading role in Debussy's unique opera Pelléas et Mélisande (1902) and there are no real arias, only recitative.
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The highest voice, the soprano, sings in the first person as the soul in a recitative, convinced of taking part in the resurrection. In the last aria, soprano and solo oboe in echo-effects contrast with low-lying unison strings, which already anticipate the closing chorale's melody. The hymn is a "death-bed chorale", set for a four-part choir, crowned by a descant from the trumpet and first violin.
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Unusually for a chorale cantata of the second cycle, the text is not changed in the middle movements, but kept "" (for all stanzas). The middle movements are, however, composed as a recitative and four arias. The treatment was decidedly old-fashioned in Bach's time. He had used it once much earlier in (1707), and then again later, as in (1726), though it was not repeated during the second cycle.
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Vamp-in-place sometimes makes do as underlay for both singing and spoken dialogue." : "Opera Theatre, which partnered with Jazz Saint Louis on Champion, chose well in tapping Blanchard, whose first operatic score astutely mixes neo-Romanticism with sophisticated jazz elements, such that the latter are at home in the opera house. He skilfully supports recitative-like exchanges with jazzy musical backgrounds but is also capable of creating show-stopping numbers.
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He and Sangaride are left alone in Scene 4 and engaged in a somewhat heated discussion involving rapid alternation between recitative and air styles. Atys assures Sangaride that he loves her and they swear to be faithful to each other. Sangaride's father approaches at the beginning of Scene 5. With his power as the high priest of Cybèle, Atys orders Sangaride's father to cancel the wedding to King Celenus.
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One of the compositions that stands out in Elgenmark's oeuvre is his magnum opus the Christmas Oratorio Ordet vart kött (The Word was made Flesh ) that he wrote between 1974 and 1982. The oratorio is written for choir, solo voices, recitative, congregational (assembly) song and symphony orchestra. The finale is a quadruple fugue. Many triple fugues are known, but it's rare with quadruple fugues in the music literature.
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Semele, granted her wish to see Jupiter in his true godlike form, is consumed by his thunderbolts, and as she dies she regrets her own foolishness and ambition (Accompanied recitative: Ah me! Too late I now repent). Watching this, the priests of Juno express their amazement (Chorus: Oh, terror and astonishment!). Athamas is now glad to accept Ino as his bride (Aria: Despair no more shall wound me).
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There are 12 characters in the drama, four prominent instrumental sinfonias, elaborate choruses, and 26 dances, most of which are organized into suites. The instrumentation is highly creative and often employs solo or independent viola writing. Obbligato recitative is used for moments of extreme drama, and here the orchestral accompaniment is elaborate and complex. Choral movements are large and often involve solo passages for various members of the cast.
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The tenor recitative, "" (If you wish to be called God's child and Christ's brother), contains extended arioso passages, to stress "" (the Christians' crown and glory) and "" (back the heavy stones of sin). The voice and the continuo are at times set in imitation, an image for the ' (following), as they go together to express the unity achieved, on the words "" (so that He may unite Himself to you in faith).
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The most primitive forms of shepherding folklore are hollos and signals, used to call and calm the animals, and for communication between the shepherds. Frequently they consist of onomatopoeia, such as kir-ga-ga, ralio, ėdro ėdro, stingo, uzz birr, etc. Melodically the hollos are very simple, usually consisting of short motifs composed of thirds and fourths. The recitative-like melodies of shepherds' verkavimai are akin to funeral laments.
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Ernst Ludwig I, Duke of Saxe-Meiningen, probably the librettist for BWV 39 The libretto used by Bach for BWV 39 comes the 1704 collection for Meiningen, entitled ; these religious texts have been attributed to Ernst Ludwig I, Duke of Saxe-Meiningen, Johann Ludwig Bach's employer. All the Meiningen cantatas of Johann Ludwig Bach, performed in Leipzig between February and September 1726, had librettos from this collection. They all have a uniform structure in seven verse sections: each cantata starts with a passage from the Old Testament; followed by a recitative on a long verse text; an aria; a central passage from the New Testament; a second aria; a second recitative, often with more than two sentences so that it can end with a chorus; and a final chorale, sometimes with two stanzas. The Old Testament and New Testament passages usually have a common theme, with the former often prefiguring the coming of Christ.
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In 1563 he met Gioseffo Zarlino, the most important music theorist of the sixteenth century, in Venice, and began studying with him. Somewhat later he became interested in the attempts to revive ancient Greek music and drama, by way of his association with the Florentine Camerata, a group of poets, musicians and intellectuals led by Count Giovanni de' Bardi, as well as his contacts with Girolamo Mei,image of letter written by G.Mei Retrieved 2011-12-01 the foremost scholar of the time of ancient Greek music. Galilei composed two books of madrigals, as well as music for lute, and a considerable quantity of music for voice and lute; this latter category is considered to be his most important contribution as it anticipated in many ways the style of the early Baroque. The use of recitative in opera is widely attributed to Galilei, since he was one of the inventors of monody, the musical style closest to recitative.
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The Belknap Press of Harvard University Press Until the mid-19th century most operas were structured as a series of discrete numbers connected by recitative or spoken dialogue. Oratorios followed a similar model. However, as the century progressed, numbers were increasingly unified into larger musical segments with no clear break between them. Early examples of this trend include Carl Maria von Weber's opera Euryanthe and Robert Schumann's secular oratorio Das Paradies und die Peri.
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The work consists of two sections, the recitative, 27 bars in G minor ("") and the aria itself, 219 bars, a rondò in E-flat major (""). A performance takes approximately ten minutes. The piece opens with strings alone, followed by an alternation with the soprano solo. After the opening few phrases the tempo briefly becomes faster and more rigorous, but soon returns to that of the beginning, with the voice now accompanied by the strings.
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The original heroic tenor solo melody of the "Ode to the Yellow River" is sung in praise of the history and presence of the Yellow River, signifying the cultural pride of the Chinese. This broad Chinese recitative is supported by the deep and rich timbre of the cello, and is considered as an example of the nationalistic style. Before the coda, the opening motif from the Chinese National Anthem is included in the trombone part.
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Orfeo (Orpheus) is an opera in three acts by the Italian composer Antonio Sartorio. The libretto, by Aurelio Aureli, is based on the myth of Orpheus and Eurydice. It was first performed at the Teatro San Salvatore, Venice in 1672. With its clear division between arias (of which there are about 50) and recitative, the work marks a transition in style between the Venetian opera of Francesco Cavalli and the new form of opera seria.
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76 The central theme of the collection is loss; the best-known work is the five-voice version of the Lamento d'Arianna, which, says Massimo Ossi, gives "an object lesson in the close relationship between monodic recitative and counterpoint".Ossi (2007), pp. 107–08 The book contains Monteverdi's first settings of verses by Giambattista Marino, and two settings of Petrarch which Ossi considers the most extraordinary pieces in the volume, providing some "stunning musical moments".
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The third movement is an alto recitative. It ends with a "startling enharmonic progression – a symbolic transformation" to C major. The bass aria is almost dance-like, playing with the harmony and portraying jumps, reflecting the movement's text's references to John the Baptist's leaping in his mother's womb during the Visitation of Mary. The binary-form string ritornello repeats four times during the aria, framing three separate vocal sections of the da capo aria.
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The orchestra then concludes the piece with 4 measures. After some recitative, Calloandro leaves the stage and Pistofolo appears. The duet is repeated entirely as before, but this time with Pistofolo (who sings an entirely new set of words) rather than Calloandro. Without ornamentation, the range for each singer covers the interval of a minor seventh (from F#4 to E5 for Rachelina and F#3 to E4 for Calloandro and Pistofolo).
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Sweeping lyrical melodies alternate with lighter syncopated sections after the opening introduction and violin recitative. Nonetheless, Ives continues with his borrowing habits – quoting music that he had originally written for the Yale Glee Club (though it was rejected) in the lyrical violin-cello canon in bars 91–125. The coda quotes Thomas Hastings’ “Rock of Ages” in the cello, ending the movement with Ives’ characteristic rooting in American folk and popular music.
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In its original form, the opera was a Singspiel in two acts. In 1851, Spohr turned the piece into a grand opera in three acts, replacing the spoken dialogue with recitative. This version (in an Italian translation) received its premiere in London at the Royal Italian Opera, Covent Garden, on 15 July 1852.A steel engraving of the duel scene was featured on the cover of the Illustrated London News Supplement, 31 July 1852.
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A substantial proportion of Ravel's output was vocal. His early works in that sphere include cantatas written for his unsuccessful attempts at the Prix de Rome. His other vocal music from that period shows Debussy's influence, in what Kelly describes as "a static, recitative-like vocal style", prominent piano parts and rhythmic flexibility. By 1906 Ravel was taking even further than Debussy the natural, sometimes colloquial, setting of the French language in Histoires naturelles.
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A tenor recitative, "" (Lament then, O destroyed city of God), is accompanied by the recorders and the strings. The recorders play "five-note mourning figures" which may depict the tears of Jesus mourning the fall of Jerusalem. Mincham notes that "Bach′s experiments with instrumentation in a way that lends colour and expressive depth", adding that "it is equally likely that these iridescent twinkles are symbolic; flickering feelings of uncertainty within a demolished world".
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Largely concerned with a revival of the Greek dramatic style, the Camerata's musical experiments led to the development of the stile recitativo. Cavalieri was the first to employ the new recitative style, trying his creative hand at a few pastoral scenes. The style later became primarily linked with the development of opera. The criticism of contemporary music by the Camerata centered on the overuse of polyphony at the expense of the sung text's intelligibility.
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Each of the stanzas consists of nine lines. For the cantata text, an unknown poet kept the words of stanzas 1 and 4 unchanged for movements 1 and 6. He transcribed the ideas of the inner stanzas, each to a sequence of recitative and aria. Due to the splitting of each stanza in two movements, the paraphrasing is a more independent from the original than for the previous cantatas of the cycle, last .
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As with the earlier recitative, it concludes on an arioso repeating the last line of text, again with the "joy" motive in the continuo. The bass aria mirrors the earlier tenor aria in adopting the minor mode. The movement is remarkable for its "reaching" obbligato violin and for the multiple instances of word painting throughout the vocal line. The seventh movement is an alto aria in which the singer assumes a personal view of devotion.
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Although the vocal line is mostly undecorated, it is accompanied by a rhythmically active violin counterpoint following the circle of fifths. The obbligato line reaches a double cadence before the soprano entrance. The tenor recitative on another verse from the psalm, "" (It is fortunate for him, whose help the God of Jacob is), is quite short and is considered unremarkable. The fourth movement is a tenor aria in free verse, "" (Thousand-fold misfortune, terror).
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Ascende Laeta, written for soprano, was intended to precede a setting of the Dixit Dominus in D Major for orchestra and five-part choir (RV 595). It was composed around 1715 and therefore written for the Pio Ospedale della Pietà. It consists of two arias surrounding a central recitative. The text of RV 635 suggests it may have been written for the celebration of the Assumption of the Blessed Virgin Mary (August 15).
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The second recitative is a paraphrase of , Elijah lifted to heaven. The second aria is a paraphrase of , which sets the love of God apart from the love of the world. The only other extant cantata for the Sunday is the chorale cantata , composed in 1724. Like three other cantatas, the early (1714), and the 1726 works , and , Bach wrote for a single alto soloist, but unlike those works a choir sings the chorale.
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After a brief general pause, the whole orchestra resumes, again playing the same theme. Then a cello plays the theme while the piano answers hurriedly with a developmental recitative section. This leads into a passage where solos in the woodwind section play a new theme while the piano plays long trills in the right hand and spread chords in the left. The passage is ended by the piano and clarinet in duet.
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"Celeste Aida" ("Heavenly Aida") is a romanza from the first act of the opera Aida by Giuseppe Verdi. It is preceded by the recitative "Se quel guerrier io fossi!". The aria is sung by Radamès, a young Egyptian warrior who wishes to be chosen as a commander of the Egyptian army. He dreams of gaining victory on the battlefield and also of the Ethiopian slave girl, Aida, with whom he is secretly in love.
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The movement is in E minor. The piece then moves into a technically demanding tenor aria dominated by swirling string lines. The movement is in a combined ternary and ritornello form, adopting a heavy emphasis on the words komm and eilet ("come" and "hasten"), and concludes with a modulation to a minor key and darker harmonies. The bass recitative, like the earlier alto, is rather short and simple in comparison to the arias.
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He possibly kept the wording of the beginning of the opening recitative, continuing to describe Jesus as the shepherd of his "blissful flock". The librettist included as the penultimate movement of the cantata the final (eighth) stanza of the hymn "" by Anarg zu Wildenfels. Bach first performed Erwünschtes Freudenlicht in Leipzig on 30 May 1724, as a rough adaption of BWV 184a. He performed it there again on 3 June 1727 and 15 May 1731.
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By the 19th century, accompagnato had gained the upper hand, the orchestra played a much bigger role, and Wagner revolutionized opera by abolishing almost all distinction between aria and recitative in his quest for what Wagner termed "endless melody". Subsequent composers have tended to follow Wagner's example, though some, such as Stravinsky in his The Rake's Progress have bucked the trend. The changing role of the orchestra in opera is described in more detail below.
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The soprano has the , the other part expresses the meaning of the words in polyphony on a variety of motifs. The duet for soprano and alto speaks of rushing steps, shown predominantly in the figures of the continuo of celli, violone and organ. The recitative begins secco, but ends in an arioso on words of the original chorale. The aria is accompanied by flute motifs to express the relief of the heart.
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Cybèle is not happy about the situation either. Because Atys has deceived the gods, Cybèle resolves to punish both him and Sangaride. As Atys and Sangaride enter in Scene 2, Cybèle and Celanus begin scolding them with a duet: "Venez vous livrer au supplice" that effectively becomes a dialogue in which the two pairs sing in opposition alternating recitative and air delivery styles. For punishment, Cybèle blinds Atys with a magical spell.
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Movement 5 concludes Part I and is based on the first stanza of the poem. The soprano is accompanied by the strings, doubled by the oboes. In the middle section, the words "" (He finishes His course on earth, literally: "He finishes the course of the earth") are expressed by an upward melisma and one downward on the repeat of the words. Part II handles the other five stanzas of the poem, alternating recitative and aria.
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Fragments of the usual chorale theme, "", can be detected occasionally. Terry interprets that the bassoon obbligato was intended to accompany a chorale melody which "never actually sounded", conveying the "hiddenness" of the church in the world. The bass prepares in a recitative, ending as an arioso, the last aria, which is accompanied by the divided violins and the continuo. The theme is again a contrast between the "" (restlessness of "the world") and "" (peace with Jesus).
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The song opens with a "rolling and wishful piano figure", and includes a "warm synth string ensemble", focusing on the alto and tenor sections. The woodwind filigree is courtesy of flautist Jan Kling. The song also has an acoustic guitar starting in the second verse, which blend with Benny's grand piano, which is the "leading voice in the rousing musings of the chosus". The melodic design is quite angular - following the recitative medium.
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The reviewer described her voice then as 'a mezzo-soprano of singular volume, with some excellent contralto notes, which she touches with firmness'. She was probably not yet 23 at this time. Unusually though, he went beyond his own critical autonomy to call, not upon an actual description of the voice, but upon the reaction (authority) of an audience. It was an audience which cried out spontaneously over a few bars of recitative.
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A. Peter Brown, The Symphonic Repertoire (Volume 2). Bloomington and London: Indiana University Press (2002) (), pp. 72–75. The first movement begins with a fanfare style, ten bar passage in C major, followed by the allegro part of the movement in D major. The second andante movement begins with an extended "recitative" in C minor featuring a solo violin, which ends in B minor to give way for the main Adagio section.
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A recitative begins with the Argonaut Ercole (i.e. Hercules), who complains that Giasone has not awoken yet, even though the sun is shining. He is perturbed because Giasone has grown soft as a result of enjoying the pleasures of love with Queen Medea and as a result he has been neglecting his duties. Captain Besso enters and tries to convince Ercole that all men have their vices and so he should not be too concerned.
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The cantata opens and closes with hymn stanzas, beginning with the first stanza of Johann Rist's 1642 hymn "", expressing fear, and ending with the last stanza of Franz Joachim Burmeister's 1662 hymn "". Two biblical quotations are juxtaposed in the first and fourth movements. The first movement, "" (), spoken by Jacob on his deathbed, expresses hope against the fear conveyed in the chorale. In the fourth movement, (Blessed are the dead, ) is the answer to the preceding recitative of Fear.
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In a complete change of mood, Part II begins with a simple four-note phrase for the violas which introduces a gentle, rocking theme for the strings. This section is in triple time, as is much of the second part. The Soul's music expresses wonder at its new surroundings, and when the Angel is heard, he expresses quiet exultation at the climax of his task. They converse in an extended duet, again combining recitative with pure sung sections.
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In a later performance of the cantata, Bach assigned the obbligato part to a violin. The da capo aria depicts humility in the first section, pride in the middle section, in rough rhythm both in the voice as in the obbligato, whereas the continuo plays the theme from the first section to unify the movement. John Eliot Gardiner describes the "harsh, stubborn broken chords" as illustrating arrogance. The only recitative, accompanied by the strings, is the central movement.
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Other important settings of the libretto included those by Johann Adolph Hasse, Luigi Gatti and Giovanni Pacini. Hasse's adaptation was entitled Cleofide to reflect the prominence it gave to the role of the heroine, played by Hasse's wife Faustina Bordoni. Georg Friedrich Händel's 1731 treatment, (Poro), was particularly admired. To suit the tastes of a London audience he cut back the recitative; the first four scenes of Act 2 were also cut to move the action along.
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The main body of a kontakion was chanted from the ambo by a cleric (often a deacon; otherwise a reader) after the reading of the Gospel, while a choir, or even the whole congregation, joined in the refrain. The length of many kontakia — indeed, the epic character of some — suggest that the majority of the text must have been delivered in a kind of recitative, but unfortunately, the original music which accompanied the kontakia has now been lost.
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As principal arranger of incidental music for plays, he served from around 1541 to 1567. While most of the music for these events has been lost, one intriguing fragment remains: a musical invocation by a priest to the god Pan, sung by a solo bass voice, and probably accompanied by chords on an instrument such as the lira da braccio. If so, according to Alfred Einstein, it is the earliest known example of an accompanied recitative in music.Einstein, Vol.
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From the composer it > draws on the graceful French lyricism we know from the tenor solos in > Mignon, adding a more complex responsiveness to the opera-Hamlet's simpler > nature. For the singer, it provides an opportunity to use the refinement of > his art yet rise to phrases, high in the voice, where he can expand the > riches of his tones and the most heartfelt of his feelings.John Steane, > Gramophone, September 2003, p. 20. Scene and recitative.
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The oratorio consists of 22 numbers, which are divided into two parts of roughly equal length. The first part centres on the resurrection of Jesus, the second centres on the ascension. There are no concrete dramatic roles assigned to the singers, and no dramatic action is described. Instead, the arias and choruses portray sensations, thoughts and feelings that reflect their reactions to Jesus' resurrection and ascension; as a rule, these are linked to the previous recitative.
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At Van Swieten's request, he wrote a new recitative. Mozart introduced the clarinet, and he used the wind instruments to establish a mood. In choral movements, he assigned a wind instrument to play colla parte with the soprano, and a choir of three trombones to reinforce alto, tenor, and bass. The trumpet became an instrument among others, and no longer a symbol of secular or divine authority, possibly because the art of playing it had deteriorated.
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The melody came first with a secular text, "Venus du und dein Kind", in 1594. It was used, slightly modified, in 1609 for the hymn "Auf meinen lieben Gott" (Zahn No. 2164). Johann Sebastian composed the chorale cantata Wo soll ich fliehen hin, BWV 5, based on the hymn. He used the tune in a chorale fantasia in the opening movement, as an oboe line in an alto recitative, and in a four- part setting as the closing chorale.
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It was the Recitative and Scherzo Caprice by Kreisler. A tour of the Soviet Union was planned but Newman died of a heart attack in his hotel room in Majorca on 23 November 1966, one year to the day after his beloved friend Queen Elisabeth. He was scheduled to have taken part in a television broadcast that evening to mark the anniversary of her death. He played the 1741 "ex-Vieuxtemps" Guarnerius, now in charge to Anne Akiko Meyers.
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Oxford Illustrated pp. 164–66 Claude Debussy had a much more ambivalent – and ultimately more fruitful- attitude to Wagnerian influence. Initially overwhelmed by his experience of Wagner's operas, especially Parsifal, Debussy later tried to break free of the spell of the "Old Wizard of Bayreuth". Debussy's unique opera Pelléas et Mélisande (1902) shows the influence of the German composer in the central role given to the orchestra and the complete abolition of the traditional difference between aria and recitative.
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It was in Bach's time the "required hymn" for the Sunday. Luther wrote about the psalm that it was coming from a The text of the chorale is unchanged for the first and last movements. An unknown poet paraphrased the other three stanzas of the chorale for movements 2 to 5. In a recitative which Bach set for soprano, the librettist added to Luther's text what Hofmann calls "essentially a free extension of its ideological content".
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Contrastingly, the lack of character development and liveliness, the almost complete lack of attention grabbing motifs, the length, and the premiere performance have all been criticized.McBride (2011), p.39-40. Olin Downes wrote that the opera was mostly, "recitative of little inherent significance." The premiere cast included soprano Brenda Miller Cooper as the central figure Beret, along with Josh Wheeler, Roy Johnson, Vivian Bauer, Sam Bertsche, Helen Dautrich, James Cosenza, Frances Paige, Raymond Sharp, and Edward Black.
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It has four sections: #Exsultate jubilate – Allegro (F major) #Fulget amica dies – Secco Recitative #Tu virginum corona – Andante (A major) #Alleluja – Molto allegro (F major) Although nominally for liturgical use, the motet has many features in common with Mozart's concert arias, such as those drawn from his operas.Corneilson (2006) Paul. "Arias, Concert" Cambridge The Cambridge Mozart Encyclopedia, C. Eisen, Keefe (editors), Simon P., Cambridge University Press, p. 21 Mozart also used elements of concerto form in this motet.
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A "March of the Comedians" was added, to introduce the strolling players in what was now act 3. A short duet for Esmeralda and the Principal Comedian was dropped.This duet is reproduced in In September 1870 The Bartered Bride reached its final form, when all the dialogue was replaced by recitative. Smetana's own opinion of the finished work, given much later, was largely dismissive: he described it as "a toy ... composing it was mere child's play".
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The first of these, Rigoletto, proved the most daring and revolutionary. In it, Verdi blurs the distinction between the aria and recitative as it never before was, leading the opera to be "an unending string of duets". La traviata was also novel. It tells the story of courtesan, and is often cited as one of the first "realistic" operas, because rather than featuring great kings and figures from literature, it focuses on the tragedies of ordinary life and society.
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Neumeister was an influential writer of texts for cantatas. He was a pioneer of the use of a format using recitative and aria, which was new in religious music, but established in secular cantatas and baroque opera. This gave scope to carry over techniques from the world of secular music, and the texts were set by Johann Philipp Krieger, the kapellmeister at Weissenfels, and other composers, notably Bach. Other cantata librettists in this genre included Georg Christian Lehms.
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There is no evidence either way to indicate the authorship of the cantata's text. Along with other early cantatas, Gott ist mein König is of a pre-Neumeister character, not featuring the combination of recitative and arias found in later cantatas. The organ in the Marienkirche, Mühlhausen The service was held on 4 February 1708 in the Marienkirche, the town's largest church. The score indicates that Bach deployed his musicians in different locations in the building.
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The band derivates its name from delicatessen shop and creeps and usually enters the stage with aprons on (much like butchers). Buckethead uses variations of his famous face mask, but mostly wears hats instead of the bucket. Distinctive marks of the formation in particular are Maximum Bob's lyrics of sex and personal life plus his differentiating recitation between melodic singing and psychotic screams. As a further trademark he developed a special form of recitative with onomatopoeic stuttering.
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The adjective or adverb sung-through (also through-sung) describes a musical, musical film, opera, or other work of performance art in which songs entirely or almost entirely stand in place of any spoken dialogue. Conversations, speeches, and musings are communicated musically, for example through a combination of recitative, aria, and arioso. Early versions of this include the Italian genre of opera buffa, a light-hearted form of opera that gained prominence in the 1750s.Richard Taruskin, (2009 ).
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The first quotation is taken from Psalm 47 () and is traditionally understood as a reference to the Ascension. The other quotation in movement 4 is verse 19 from the gospel. An unknown poet paraphrased in recitative and aria an idea from Psalm 68 () as well as its quotation in the Epistle to the Ephesians (), "when he ascended up on high, he led captivity captive". In movement 7 he used the motif of Christ in the winepress.
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Dán Díreach (, Irish for "direct verse") is a style of poetry developed in Ireland from the 12th century until the destruction of Gaelic society in the mid 17th century. It was a complex form of recitative designed to be chanted to the accompaniment of a harp. This poetry was often delivered by a professional reciter called a reacaire (reciter) or marcach duaine (poem rider). It was the specialised production of the professional poets known as Filidh (Seer).
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This is an incomplete version of the second French Suite. #Movement in F major, BWV Anh. 131. The handwriting looks like that of a child, and apparently the piece is an attempt to create a bass line for a given melody. #Aria "Warum betrübst du dich", BWV 516 #Recitative "Ich habe genug" and aria "Schlummert ein, ihr matten Augen" (solo), BWV 82/2,3 #Chorale setting "Schaff's mit mir, Gott", BWV 514 #Minuet in D minor, BWV Anh.
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Juno, in the form of Semele's sister Ino, enters and feigns astonishment at Semele's increased beauty. She exclaims that Semele must have become a goddess herself and gives her a mirror (Behold in this mirror). Semele is enraptured by her own beauty (Aria: Myself I shall adore). "Ino" advises Semele to insist that Jupiter appear to her in his real, godlike form, and that will make her immortal herself (Accompanied recitative: Conjure him by his oath).
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The opera was written at the time of the formation of realism in art, and The Stone Guest corresponded to this genre. Dargomyzhsky used the ideas of the society of The Five. The great innovations of this opera are seen in its style. It was written without arias and ensembles (not counting two small romances sung by Lauraru: Александр Даргомыжский – «Каменный гость» ) and it is entirely built on the "melodic recitative" of the human voice put to music.
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He says "threatening Spain" could not touch one blade of grass in Britain, as the land itself would rise up against them. :6a. Contralto recitative: "Place for the Queen our show to see, Now speak Immortal Poetry." (Palmer) :7. Scene from The Merchant of Venice (Act V, scene i): "How sweet the moonlight sleeps" (Lemmens-Sherrington and Cummings) ::Lorenzo speaks to his new bride, Jessica, comparing the moon and stars in the quiet night to harmony of their souls.
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Sonata 5 is the most regular; Sonata 10 has two refrains, in the pattern ABCDEBDFBG. Sonata 4 has the quite unusual plan of ABCDEFGHIJI'J'I'/'. Sections are essentially of three types: (1) fast sections in duple meter, often with some imitation, derived from the canzona tradition; (2) slow, expressive, homophonic sections in duple meter, related perhaps to the toccata and recitative; and (3) homophonic sections (occasionally with brief passages in imitation) in triple time, apparently related to the dance.
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Also the music itself was through readjustment and changes mistreated. Thus, the opera started with the final chorus and Sarastro’s recitative. This was followed by trio Nr. 16 sung by six priestesses which in turn was followed by a chorus from Titus, and only then came the original introduction. Monostatos' aria was sung by Papagena (renamed Mona), the first aria of the Queen of the Night was sung by Pamina, and the duet (7) became a trio.
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The scores for megamusicals are also grand, consisting of pop-influenced catchy songs, power ballads, lush harmonies and lavish orchestrations. Similar to operetta, this genre relies on the "continuous musicalization of dramatic action", and commonly feature a sung-through script in which the recitative is used to carry any dialogue in between musical numbers. As such, they are also referred to as "pop-operas". Megamusicals have huge budgets and their non-artistic elements tend to be large as well.
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In movement 5, Bach differentiates chorale and recitative differently from the second. The chorale lines are four-part settings, the recitatives are given to individual different singers in the sequence bass, tenor, alto, bass. The continuo unifies the movement by a constant independent regular motion in motifs based on triads. In the last aria Bach invents a setting for strings that illustrates the instability of "frenzied reason" in syncopated rhythm, interrupted by chords on the repeated appeal "" (be silent).
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In addition to Isifile's laments, Egeo also laments that Medea has left him in I.4 with the recitative "Si parte, mi deride?" Susan McClary suggests that because the expression of emotion was more acceptable for seventeenth-century women than men, that lamentation was more acceptable for women than men. Moreover, a male character that laments has somehow been musically emasculated. McClary, "Constructions of gender in Monteverdi's dramatic music", Cambridge Opera Journal 1:3 Nov 1989, 203-223.
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In the parts of the service where the ḥazzán would traditionally have a more solistic rôle, the basic melodies are embellished according to the general principles of Baroque performance practice: for example, after a prayer or hymn sung by the congregation, the ḥazzán often repeats the last line in a highly elaborated form. Two- and three-part harmony is relatively common, and Edwin Seroussi has shown that the harmonies are a reflection of more complex, four-part harmonies in written sources from the 18th century. The recitative style of the central parts of the service, such as the Amidah, the Psalms and the cantillation of the Torah is loosely related to that of other Sephardi and Mizraḥi communities, though there is no formal maqam system as used by most of these.An example of this recitative style can be heard in the first part of the 2002 BBC TV serial Daniel Deronda, where (now emeritus) Reverend Halfon Benarroch can be heard chanting the psalms that begin the Afternoon Service.
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A secco recitative leads to the third chorale, which is sung by the soprano alone like an aria, accompanied for the first line only by the continuo, but for the rest of the text by the oboes, playing an obbligato melody in unison. The only aria of the cantata is dominated by the oboes and accompanied by pizzicato in the strings which symbolizes funerary bells, according to John Eliot Gardiner. The closing chorale is again enriched by a soaring additional violin part.
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On the hundredth performance, Arnold gave a large banquet for the composer, cast, musicians and production team.Salaman, p. 213. Although Barnett made extended use in the opera of recitative, it has been shown that there was also spoken dialogue, and the palm for being the first through- composed opera of the period must go to Charles Horn's Dirce of 1823, which was unsuccessful and sank without trace.Carr, Bruce, "The first all-sung English 19th-century opera", in Musical Times, vol.
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His only opera, Genoveva, Op. 81, premiered in Spring 1850. In it, Schumann attempted to abolish recitative, which he regarded as an interruption to the musical flow (an influence on Richard Wagner; Schumann's consistently flowing melody can be seen as a forerunner to Wagner's Melos). The subject of Genoveva—based on Ludwig Tieck and Christian Friedrich Hebbel's plays—was not seen an ideal choice. The text is often considered to lack dramatic qualities; the work has not remained in the repertoire.
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Act three opens with a powerful and dramatic accompanied recitative for King Saul as he seeks advice from the Witch of Endor. The Witch invokes the ghost of Samuel in a passage which conjures up a supernatural atmosphere by the use of an irregular bass line with prominent oboes and bassoons. Bassoons also introduce the Ghost of Samuel as the apparition prophesies doom for the King. A martial "Battle symphony" with trumpets and drums ensues, followed shortly by the famous Dead March.
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The similarities between Zumsteeg and Schubert's writings included: having a rhapsodic form, clear depiction of mood, and the utilization of recitative in their works. Six of Schubert's songs are closely based on Zumsteeg's settings of the same exact texts: Hagars Klage (D5), Lied der Liebe (D109), Nachtgesang (D314), Ritter Toggenburg (D397), Die Erwartung (D159), and Skolie (D507). In addition, there are close similarities between Zumsteeg and Schubert's choice in melodic structure, form, and selection of key and meter in these pieces.
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The oldest chorale chosen for the Passion dates from 1525. Bach used the hymns in different ways, most are four-part setting, two are the of the two chorale fantasias framing Part I, one as a commenting element in a tenor recitative. Three of the texts Bach used for chorale settings are written by Paul Gerhardt. Bach included five stanzas of his "" in the Passion, and he uses the first two stanzas of the poem to conclude the Flagellation scene.
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The answers were accompanied by a recitative accompaniment, and the interviews include vocal stars Anna Prohaska, Laurent Naouri and Lorin Sklamberg. A mini opera house was built to contain the installation. The Süddeutsche Zeitung writes: : Voices of Help (2016-2017) was a three-room documentary sound installation at the Youth Museum Berlin. The piece explored concepts of help through interviews with community and social workers around Berlin's so-called Rote Insel, or Red Island, an erstwhile socialist stronghold in Schöneberg.
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Dean and Knapp, pp. 184–85 Handel's revisions for the 1731 revival were even more radical, since they not only affected individual musical numbers but involved alterations in the plot. The production was advertised "With New Scenes and Cloathes", but many of the changes involved reducing or eliminating the pyrotechnics and special effects that had characterised the original production. The only significant new music in the 1731 production is a long accompanied recitative for Rinaldo, though other numbers are changed or cut.
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The main musical numbers from the 1711 libretto are listed, together with changes and replacements from the two major revisions of 1717 and 1731. Minor changes, transpositions, and alterations to recitative sections are not shown. New numbers introduced in 1717 and 1731 are listed separately. Other arias not listed may have been sung in Rinaldo during the years 1711–17, but in the absence of contemporary evidence from scores or librettos the extent of such changes cannot be accurately ascertained.
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Recitative and arioso. Hamlet, realizing that Ophélie has gone mad, but still unaware that she is dead, begs forgiveness for his ill treatment of her (Hamlet: Comme une pâle fleur - "Like a delicate flower"). The English music critic John Steane, reviewing Simon Keenlyside's performance of this aria, wrote: > Coming after the grave-diggers' scene, it is a tender yet bitterly repentant > elegy on Ophelia's death. The soliloquy has no counterpart in Shakespeare > and brings out the best in both Thomas and Keenlyside.
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Tenor Recitative and Aria Say it that you are redeemed by the Lord, he has delivered them out of trouble, of severe tribulation, from shame and bondage captives in the darkness, all which he hath redeemed from distress Say it! Give thanks to him and praise ye, His goodness! (Psalm 107) He numbers our tears in our time of need, he comforts the afflicted with his word. (Psalm 56) Say it! Give thanks to him and praise ye his kindness. 4\.
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Duration of roughly 10–13 minutes. The third movement's structure alternates two slow arioso sections with two faster fugues. In Brendel's analysis there are six sections – recitative, arioso, first fugue, arioso, fugue inversion, homophonic conclusion . The movement uses the scherzo's concluding ritardando bass arpeggio in F major to resolve to B minor, forming a seamless bridge between the rough humour of the scherzo and the doleful meditation of the Arioso, in A minor (though written with six flats instead of seven).
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Finally, with only about a week to go before opening night, Carte hired Bond to play Cousin Hebe.Ainger, pp. 156–57 At this stage of her career, Bond was not comfortable with spoken dialogue, and so her character was written out, or given nothing to say, in several scenes.Bond, Chapter 4, accessed 10 March 2008 After opening night, however, a portion of the recitative was converted to spoken dialogue, and Bond would have dialogue in all of the remaining roles that she created.
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Mantinades (singular mantinada, Greek: μαντινάδα, μαντινάδες) is the art of musical declamation (recitative) in form of a narrative or dialogue, sung in the rhythm of accompanying music. It is prominent in several parts of Greece, especially on the island of Crete where mantinades are performed in accompaniment of the Cretan lyra and Cretan laouto (a stringed instrument resembling lute). The word is derived from Venetian matinada, "morning song". They typically consist of Cretan rhyming couplets, often improvised during dance music.
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Nathaniel Lee's play The Massacre at Paris was written during the 1680s when the author was in and out of Bedlam. The premiere took place in 1689.Curtis Price, Henry Purcell and the London stage (Cambridge University Press 1984) Henry Purcell set to omen to Charles IX from act V, "Thy genius, lo", in two versions, the one for baritone (Z 604a) appearing in Orpheus Britannicus. For a revival in 1695 he recast the speech as a recitative for treble.
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The poet included for a recitative a verse from the Book of Jeremiah, praising God's greatness (), and he quoted from the Christmas story in the Gospel of Luke the singing of the angels (). In this early text, three biblical quotations alternate with arias. The closing chorale is the fifth stanza of Caspar Füger's hymn "Wir Christenleut". Bach led the Thomanerchor in the first performance in the morning of Christmas Day in the Nikolaikirche, repeated in the afternoon in the Thomaskirche.
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The partial discography below lists some of the many other awards won by Jacobs' recordings. His recordings and work have won numerous awards, including the Grammy Award for "Best Opera", Gramophone 's "Record of the Year", the "III Premio Traetta 2011", and numerous European awards. His recording of Mozart's The Magic Flute was Record of the Year at the inaugural International Classical Music Awards in April 2011. He is particularly noted as a singer's conductor, and for his handling of recitative.
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Bach shaped the opening chorus in a da capo form and used a technique to embed the vocal parts in the concerto of the orchestra. A characteristic trumpet calls to wake up, initiating figurative movement in the other instruments and the voices. The choir contrasts short calls "" and long chords "". All instruments accompany the recitative, illustrating the fright of the sinners, the calmness of the chosen ones, the destruction of the world, and the fear of the ones called to be judged.
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The chromatic fantasia begins as a toccata with fast, up and down surging runs in thirty-second notes (demisemiquavers) and broken chords in sixteenth-note (semiquaver) triplets, which are often diminished seventh chords lined up in semitones. The second part is a series of very clear and remotely modulating soft leading chords that are written in the oldest copies as "Arpeggio", i.e. they require a spread chord. The third part is entitled Recitative and includes a variety of ornamented, enriched, highly expressive melodies.
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Weber's innovations were eclipsed by those of Wagner, one of the most revolutionary and controversial figures in musical history. Wagner strove to achieve his ideal of opera as "music drama", eliminating all distinction between aria and recitative, employing a complex web of leitmotifs and vastly increasing the power and richness of the orchestra. Wagner also drew on Germanic mythology in his huge operatic cycle Der Ring des Nibelungen. After Wagner, opera could never be the same again, so great was his influence.
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Keiser drew on foreign operatic traditions, for instance he included dances after the model of the French tradition of Lully. The recitative in his operas was always in German so the audience could follow the plot, but from Claudius in 1703 he began to include arias in Italian which allowed for florid vocal display. The hallmark of the Hamburg style was its eclecticism. Orpheus (1726) by TelemannAnother prolific composer, Telemann began to eclipse Keiser as the leading opera composer in Hamburg from 1717.
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Bach uses the trumpet, the royal instrument of the Baroque, only in movement 3 to symbolize the reign of Jesus. The trumpet appears first in the ritornello, which is repeated by the voice and again with the voice embedded. After a middle section, the first part of the aria is not repeated da capo; instead the added line is set as a recitative accompanied by strings, followed only by a repeat of the ritornello. The following duet is of intimate character.
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The text of the fixed portions of the Little Hours as used by Eastern Orthodox and Eastern Catholics of Byzantine Rite is found in the Horologion. At the Little Hours, the majority of the Office is read (actually a simple recitative—never just said with the normal speaking voice) by the reader alone, with very few variable parts. Those parts which are variable are the Troparion and Kontakion of the day. Structurally, the Little Hours are related to Compline and the Midnight Office.
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The continuo accompanying the vocal line is "tortuous and chromatically convoluted". The soprano recitative is accompanied by a simple recorder trio, a combination designed to represent the "aura of the angels". As this is the only movement to include the recorders, the parts were likely performed by the oboe and taille players. The fourth movement is a trio of the soprano, alto and tenor voices; the alto sings the chorale line with the strings while the soprano and tenor perform a duet aria.
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Craig Smith notes that this is "the closest Bach gets to South German rococo architecture. One can almost see the putti and gold sunbursts of the many churches from this era in Bavaria and Austria". The second movement is a secco bass recitative. It provides a dual transition, both harmonically – moving from a major key to minor to prepare the third movement – and thematically – "progressing (or retrogressing) from the state of celebration to a recognition of the humility of Christ's state".
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At the end of 1745, Voltaire and Rameau, who were busy on other works, commissioned Rousseau to turn La Princesse de Navarre into a new opera, with linking recitative, called Les fêtes de Ramire. Rousseau then claimed the two had stolen the credit for the words and music he had contributed, though musicologists have been able to identify almost nothing of the piece as Rousseau's work. Nevertheless, the embittered Rousseau nursed a grudge against Rameau for the rest of his life.New Grove p.
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A recitative, "Die Welt wird wieder neu" (The world becomes new again), leads to the second aria, "Phoebus eilt mit schnellen Pferden" (Phoebus hastes with rapid horses) which is accompanied only by the continuo. The trotting of the horse mentioned in the text is illustrated in the continuo. The movement was described as a "vividly melismatic depiction of warm breezes hurrying through the reborn world". The aria shows similarity to the last movement of Bach's Violin Sonata in G major, BWV 1019.
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Movement 2 begins as a recitative with string accompaniment, but ends as an arioso with continuo on the final lines "" (Ah, that only, as he wishes, everyone might also love him). In the chorale, two violins play partly independent parts, achieving a full sound. The chorale is followed by an aria with an obbligato violin. Scholars have discussed if this unusual ending of the cantata was Bach's intention or if he had planned to conclude the work with Neumeister's fifth movement, another chorale.
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The work subsequently appeared as such on the catalogue of the British Library. Thelma is a saga of deceit, magic, retribution and the triumph of love over wickedness. The composer has followed Richard Wagner's manner in eschewing the established "numbers" opera format, preferring to blend recitative, aria and ensemble into a seamless whole. It is possible that he had read Marie Corelli's 1887 "Nordic" novel Thelma (it appears that the name "Thelma" may have been created by Corelli for her heroine).
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Athamas is astonished when she tells him bluntly that she loves him (Duet: You've undone me). Cadmus interrupts their confusion and describes the extraordinary event he has just witnessed: as they fled the temple Semele was suddenly carried off by an eagle (Accompanied recitative: Wing'd with our fears). The priests and augurs identify this eagle as Jupiter himself (Chorus: Hail Cadmus, hail!). As the act ends, Semele is seen enjoying her role as the god’s new mistress (Aria: Endless pleasure, endless love).
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Jupiter knows this will mean her destruction and mourns her impending doom (Accompanied recitative: Ah, whither is she gone). Juno triumphs in the success of her scheme (Aria: Above measure is the pleasure). Scene Three The Birth of Bacchus by Giulio Pippi The scene discovers Semele under a canopy, leaning pensively, while a mournful symphony is playing. She looks up and sees Jupiter descending in a cloud; flashes of lightning issue from either side, and thunder is heard grumbling in the air.
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He shoves Leporello forward, ordering him to tell Donna Elvira the truth about him, and then hurries away. Leporello tells Donna Elvira that Don Giovanni is not worth her feelings for him. He is unfaithful to everyone; his conquests include 640 women and girls in Italy, 231 in Germany, 100 in France, 91 in Turkey, but in Spain, 1,003 ("Madamina, il catalogo è questo" – "My dear lady, this is the catalogue"). In a frequently cut recitative, Donna Elvira vows vengeance.
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Sole is also elated that Giasone will marry his descendant Medea and so he lets forth his brightest light. In the following recitative, Amore chides Sole because no one has asked her for permission for this marriage. She had intended that Giasone marry Queen Isifile of the Island of Lemnos: the two are already married and have had twin children. After Amore's aria, they argue over this problem for the remainder of the prologue without resolution and they intend to fight one another.
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He became a noted member of the qawwal community due to his unique and crisp voice. Profile of Aziz Mian on urduwire.com website Retrieved 2 July 2018 In the early days of his career, he was nicknamed Fauji Qawwal () (meaning "Military Qawwal") because most of his early stage-performances were in military barracks for the army personnel. He was known for a "more recitative, more dramatic diction" and was inclined toward qawwali's religious rather than entertainment qualities, though he also enjoyed success in more ashiqana sufi qawwalis.
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"Gently rocking siciliano melodies, expressing spiritual tranquillity and compassion" appear in extended ritornellos. The recitative is accompanied by three upper string parts, similar to the original Brandenburg concerto movement. In the second aria, the violins and violas are combined to an obbligato part, "whose 'knocking' motif of repeated notes insistently underlines the urgency of the text". The cantata is closed by a four-part chorale setting of the well-known melody which Bach used to conclude his St John Passion with the third stanza, "".
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Handel replaced various arias in Metastasio's text with new ones which he considered to have greater dramatic expression. Furthermore, as the baritone who was to play Timagene, Giovanni Commano, was not a strong singer, so Handel cut much of the material his role was to have sung. Handel's version was sung at least 27 times at the Hamburg Gänsemarkt-Oper under the title Triumph der Grossmuth und Treue, oder CLEOFIDA, Königin von Indien with a German translation of the recitative by .Bernd Baselt: Thematisch-systematisches Verzeichnis. Bühnenwerke.
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It cannot be given a satisfactory performance without a certain amount of reconstruction of lost material, as the parts for tenor, bass, basso continuo and other instruments (probably trumpets and timpani, maybe also flutes) for all of the music are missing. A reconstruction was made for Helmuth Rilling in 1983 by Reinhold Kubik. Ton Koopman made a version for his 1999 recording, adding a recitative for bass at the end. Other reconstructions of the work were made by Michael Radulesco and Alan Dergal Rautenberg.
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The first recitative, "" (The sinful birth of the cursed heirs of Adam), is secco, but several phrases are close to an arioso. The musicologist Julian Mincham notes that Bach follows the meaning of the text closely, for example by "rhythmic dislocations for death and destruction", a change in harmony on "poisoned", and "the complete change of mood at the mention of the blessed Christian". He summarizes: "Here anger and resentment at Man’s inheritance of suppurating sin is contrasted against the peace and joy of God-given salvation".
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Musicologist Julian Mincham points out that it is "an unusual and imaginative combination of aria and chorus" and likens it to the interaction between a pastor and his flock. A second secco recitative leads to a tender aria which was accompanied by an obbligato oboe da caccia in 1726. In a later performance, likely in 1734, this was replaced by a "violetta", which can be a viola or a descant viola da gamba, according to Johann Gottfried Walther. The cantata closes with a four-part chorale.
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An anonymous hymnwriter added the final stanza already in the first publication in 1554. In the typical format of Bach's chorale cantatas, the first and last stanza are retained unchanged, while an unknown librettist paraphrased the inner stanzas to texts for recitatives and arias. In this case, he transcribed rather freely each stanza of the hymn to a sequence of aria and recitative. Similar to Bach's cantata for the same occasion in the first cycle, , the text deals with the Christian's acceptance of God's will.
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"Di tanti palpiti" from Rossini's Tancredi (sung complete with its introductory recitative) was delivered with "appropriately upright, masculine tones" and a confident grasp of Rossini's melodic idiom. It was the composer's fault, not von Stade's, that what was meant to be an aria of lament sounded incongruously cheerful. "Il mio ben quando verrà" from Paisiello's Nina widened the recital's emotional range with tenderness and charm. Accompanied by some pretty woodwind playing, von Stade sang it with "all her most shapely phrasing and mellow tone".
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The revised 1799 version borrowed its overture from an earlier Méhul opera, Horatius Coclès (1794). Dry recitative, with only the simplest of orchestral accompaniment, predominates in the early part of the opera, possibly as a way of allowing the singers more freedom in their declamation. Musical numbers become more frequent as the score progresses. The score shows the influence of the Sturm und Drang style popular during the French Revolutionary era - and already present in operas such as Johann Christoph Vogel's La toison d'or (1786).
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The chorale stanza is sung by the soprano on the tune of "Allein Gott in der Höh sei Ehr" by Nikolaus Decius, with a slightly ornamented melody, whereas the two oboes play a theme in ritornellos which is derived from the first line of the tune. The only recitative is a miniature sermon, accompanied by the strings accenting phrases of the text. Movement 5 is the only movement in the cantata in pastorale rhythm. The strings, violins and viola's, play in unison, so in the low register.
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The tenor recitative is again in the minor mode, this time to describe the fragility of man. This movement moves into a striking tenor aria, describing a personal response to the text. The aria is the longest movement of the cantata, representing a third of the total length of the work. The trumpet plays the full chorale melody of "Herzlich lieb hab ich dich, o Herr", probably with the third stanza mentioning angels in mind, over a siciliano rhythm in the strings and continuo.
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The closing chorale is a stanza from Elisabeth Cruciger's hymn "". The music is scored for three vocal soloists, a four-part choir, oboe, strings and continuo. The work shows that Bach had mastered the composition of a dramatic scene, an expressive aria with obbligato oboe, a recitative with strings, an exuberant dance, and a chorale in the style of his predecessor in the position as Thomaskantor, Johann Kuhnau. Bach directed the first performance of the cantata during a church service, together with another audition piece, .
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Because opera is a mixed art form, Kim finds it particularly revealing of a nation's artistic state and important for the application of his seed theory. Kim finds hierarchies between and within elements of opera, like instruments subordinate to vocals and music over dance. The main thrust of the work is to replace classical – mainly Western but also certain forms of Korean – opera with a superior Korean revolutionary opera. Kim analyzes various Western operatic forms such as aria, recitative, and leitmotif to reject them.
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"Musically, verismo composers consciously strove for the integration of the opera's underlying drama with its music." These composers abandoned the "recitative and set-piece structure" of earlier Italian opera. Instead, the operas were "through-composed," with few breaks in a seamlessly integrated sung text. While verismo operas may contain arias that can be sung as stand-alone pieces, they are generally written to arise naturally from their dramatic surroundings, and their structure is variable, being based on text that usually does not follow a regular strophic format.
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A simple secco recitative leads to the second aria, which is again, like the Sinfonia, taken from the concerto, with the voice woven into the solo organ and the strings. According to Dürr, the aria is an example of "how a piece can gain rather than lose from its adaptation in the context of a new work". Another example is the Agnus Dei from Bach's Mass in B minor'. The text marks a farewell to love in the world: "" (Die in me, world and all your love).
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In the second movement, the recitative "" ("My pilgrimage in the world is like a sea voyage"), the sea is evoked by the accompanying cello line. Albert Schweitzer noted that Bach was often inspired by a single word to create an image of waves, and recommended augmenting the cello with a viola and bassoon to give more weight to the image. According to Gardiner, the style is reminiscent of older music and the assuring words "Ich bin bei dir" ("I am with you") are a "whispered comfort".
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The cantata begins with the first verse of the gospel, which Bach had set already as a recitative for bass in his cantata for Pentecost , composed in Weimar in 1714 on a text of Salomon Franck. In the second movement, the poet praises the great love of God. The third movement is the first stanza of Martin Luther's hymn for Pentecost, "", asking for the coming of the Holy Spirit. In an unusual closing aria, the poet deals with the expected greater bliss in heaven.
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Although the opera was successful in its time, it was derided as rubbish by later critics. One described how the opening verse began in recitative and then switched to a da capo aria which ended in the middle of a line. Another described it as ‘filled with antiquated Italian airs’ which made it resemble ‘the Hospital of the old Decrepit Italian Operas.’ Charles Burney said that it broke the rules of composition in every song, as well as “the prosody and accents of our language”.
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He supplied a photograph of Tito, as it were, when what was needed was a movie. He "never quite [touched] the greatness of voice and of heart demanded by the role", although the orchestra revealed much about the emperor that he was unable to show us. The hallmark of the album as a whole was its kinetic energy, exemplified by the five minutes of "electrifying" recitative (accompanied by an excellent harpsichordist) at its very beginning. Its vitality was chiefly attributable to Colin Davis's conducting.
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The aria was a bass version of the soprano aria K. 294, written earlier for Aloysia Weber; Clive 1993, 53 Mozart may also have written another work for Fischer, the recitative and aria "Così dunque tradisci…Aspri rimorsi atroci" (K. 432/421a). Shortly after (April 1), Fischer wrote a 16-line poem of friendship in Mozart's album, whose last four lines (in English) are: :Wilt thou my devotion know? :This my recompense shall be: :Be my friend, for long ago :Hast thou a friend in me.
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The San Francisco Opera gave the opera many stagings beginning on 29 September 1924.San Francisco opera's online database In the 1980s a piano score was discovered where spoken dialogue was set as recitative by Massenet, possibly for the Italian premiere; this version was performed at the Opéra de Saint-Etienne as part of the 2009 Massenet Festival.Laurent Bury, "Jean-Louis Pichon: 'Je pense avoir fait évoluer le regard des gens sur Massenet'", Interview with Jean-Louis Pichon, 9 November 2011, on forumopera.com. Accessed 10 August 2014.
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After Hába successfully resolved instrumental and theoretical problems with the quarter-tone system in the 1920s, he started to compose fully in that style. His work is bi-chromatic and in some folklore-inspired scenes and recitative parts of the score Hába approached to the intonational diction of the folk dialect. In spite of the folklore atmosphere of the work, its music is very independent and entirely original. The opera is strongly connected to Moravian ethnic traditions and takes advantage of local dialect and music.
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The chorale melodies and their texts would have been known to those attending the services in the St Thomas church. The oldest chorale Bach used in the St Matthew Passion dates from 1525. Three chorales are written by Paul Gerhardt and Bach included five stanzas from his O Haupt voll Blut und Wunden. Bach used the hymns in different ways, most are four-part setting, two as the of the two chorale fantasias framing Part I, one as a commenting element in a tenor recitative.
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Il Trionfo (Triumph) The hall in the emperor's palace Irene and the populace greet the victor Belisarius. Antonina hates her husband because Proclus, the slave of Belisarius, has confessed on his deathbed, that upon command of his master he had exposed her son on the shore of the ocean, thus causing his death. The Emperor Justinian greets his commander and grants his prayer for the release of the prisoners. The captive, Alamiro, who adores Belisarius, refuses to leave him (Recitative and duet: Che veggio!...
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Shortly before the initial Vienna performance, the Court Opera's director Franz von Jauner decided to use parts of the original dialogue along with some of Guiraud's recitatives; this hybrid and the full recitative version became the norms for productions of the opera outside France for most of the next century.Dean 1965, p. 129(n) Despite its deviations from Bizet's original format, and some critical reservations, the 1875 Vienna production was a great success with the city's public. It also won praise from both Wagner and Brahms.
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Bach composes some texts that his relative set before, including this cantata, which was written by Ernst Ludwig, Duke of Saxe-Meiningen, according to Christoph Wolff. The cantata is regarded as part of Bach's third annual cycle. The poet derived from the gospel idea that thanks to God for his goodness are man's obligation. A profound scholar of the Bible, he quotes for the opening chorus a verse from Psalm 50 () and for the first recitative in Part II verses 15 and 16 from the gospel.
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Mincham continues: "One can never quite predict the turns which this spiky, disjointed melody is likely to take". A second part speaks of Belial, whose evil intervention is mentioned frequently in literature, including Milton's Paradise Lost. Both parts of the aria are repeated; after only four measures of what seems like a da capo, a modified version of the middle section begins which depicts Belial, the "demon of lies and guilt". The following secco recitative stresses the text "" (One day those hearts, so stony, … will their salvation forfeit) in an arioso.
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The text, depicting the affliction that Christians have to pass, is assumed to have been written by Salomon Franck, the Weimar court poet who wrote most texts for Bach cantatas of the Weimar period. It follows details of the Gospel and the idea from the epistle reading: "For this is thankworthy, if a man for conscience toward God endure grief, suffering wrongfull." (verse 19). The text of the opening chorus corresponds to , the text of the first recitative is taken from , "we must through much tribulation enter into the kingdom of God".
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He was unable to complete his opera Moses und Aron (1932/33), which was one of the first works of its genre written completely using dodecaphonic composition. Along with twelve-tone music, Schoenberg also returned to tonality with works during his last period, like the Suite for Strings in G major (1935), the Chamber Symphony No. 2 in E minor, Op. 38 (begun in 1906, completed in 1939), the Variations on a Recitative in D minor, Op. 40 (1941). During this period his notable students included John Cage and Lou Harrison.
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Mohammed Flayfel took a close interest in Nouhad's talent. Among other things, he taught her to recite verses from the Koran (in the recitative style known as Tajweed). On one occasion, Nouhad was heard singing by Halim el Roumi, head of the Lebanese radio station and a prominent musician in his own right (also the father of the famous Lebanese singer Majida Roumi). Roumi was impressed by her voice and noticed that it had a rare flexibility that allowed her to sing both Arabic and Western modes admirably.
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She was one of only three females known to have been a member of the Utile Dulci, the other being Anna Charlotta von Stapelmohr and Anna Maria Lenngren.Ann Öhrberg: Fasa för all flärd, konstlan och förställning” Den ideala retorn inom 1700-talets nya offentlighet. Samlaren. 2010 In 1777, it is mentioned that she performed at one of the ceremonies of the Utile Dulci with her own written recitative and aria. In 1795, she was elected as a member into the Swedish Royal Academy of Music, together with Margareta Alströmer and Christina Fredenheim.
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In 1708, he further received the honour of viceroyalty at Naples, where he died. His libretti are markedly different from the later moralizing tone of Metastasio and Apostolo Zeno, whose ideas came to dictate opera seria. His libretto for Agrippina is marked out by its amorality and the domination of aria over recitative. His portrayal of the Emperor Claudius has been perceived as an oblique attack on the character of Pope Clement XI. Grimani frequently clashed with Clement in the course of protecting the interests of the Habsburgs at the Vatican.
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He composed Erschallet, ihr Lieder as the third cantata in the series, to a text probably written by court poet Salomon Franck. The text reflects different aspects of the Holy Spirit. The librettist included a quotation from the day's prescribed Gospel reading in the only recitative, and for the closing chorale he used a stanza from Philipp Nicolai's hymn "" (1599). The work is in six movements, and scored for four vocal soloists, four-part choir, three trumpets, timpani, oboe, bassoon and a string orchestra of two violins, two violas, and basso continuo.
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The tenor expresses the position of Jesus "" (I live, my heart, for your pleasure), whereas the soprano answers as the believer: "" (You live, my Jesus, for my pleasure). The movement resembles duets of Bach's secular cantatas and is possibly the parody of an unknown work. It is unusual that Bach has the tenor represent the voice of Jesus. The following secco recitative ends as an arioso to stress the words "" (My heart, take note!), a thought picked up in the following bass aria, the movement with the richest instrumentation, all instruments but the viola.
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Maximum Bob is known for his unorthodox behavior on stage. Among the things he has done, he has stopped songs to ask the audience a question (though it usually doesn't interrupt the overall flow of the song), erratically moving around on the stage making strange gestures and noises, and making extremely dark and sexual jokes with the audience, usually about sex and murder. These all play into the dark and psychotic theme of the band. He also uses a form of recitative with onomatopoeic stuttering as part of the act.
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His second opera, The Student from Salamanca, was produced by Beverly Sills for the New York City Opera Company in 1980. His first opera, The System, premiered in New York at the Mannes College of Music on March 5, 1974. His orchestral compositions include: Burgundy Variations, 1968; Sprint, 1982; Alla Breve, 1984; Escapade, 1984; Romeo and Juliet, 1984; and Estampie, 1988. His band and wind ensemble compositions include: Dionysia, 1964; Recitative and March, viola soloist and wind ensemble, 1966;The Eve of St. Agnes, 1976; and Foliations, 1995.
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Céphale et Procris was part of a movement to introduce a more Italianate style of writing recitative, arias and ensembles into serious French opera. It thus has much in common with such contemporary works as Philidor's Ernelinde, princesse de Norvège (1767) and Gossec's Sabinus (1773), both of which were also played during the Comte d'Artois' wedding festivities.Dratwicki, pp. 20–21 Although Marmontel described the opera as a ballet héroïque, the musicologist Benoït Dratwicki writes that Céphale et Procris does not really fit the genre as conceived earlier in the 18th century.
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Contrasting passages in monodies could be more melodic or more declamatory: these two styles of presentation eventually developed into the aria and the recitative, and the overall form merged with the cantata by about 1635. The parallel development of solo song with accompaniment in France was called the air de cour: the term monody is not normally applied to these more conservative songs, however, which retained many musical characteristics of the Renaissance chanson. An important early treatise on monody is contained in Giulio Caccini's song collection, Le nuove musiche (Florence, 1601).
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The entrance of the royal court is accompanied by a four-and-a-half minute march in alla breve time and A-B-A form which is introduced with a fanfare. The theme of the A section was first heard near the end of the trio recitative with Claudius, Hamlet, and Gertrude in the first scene of act 2. The King and Queen enter first, followed by Polonius, Ophélie, Hamlet, Horatio, Marcellus, and the court.In the video recording with Simon Keenlyside this scenic transformation occurs with the curtain up.
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The fourth and final act, which included the Mad Scene and the Gravediggers Scene, was simply split into two. To confer more weight to the new fourth act, the ballet was added between the choral introduction of the Mad Scene and Ophélie's recitative and aria. In 1863 the director of the Opéra, Émile Perrin, wrote in a letter to a minister of state that Thomas had nearly finished writing the music. Later the press conjectured as to the reason for the delay of the opera, suggesting that Thomas had yet to find his ideal Ophélie.
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Claudio Monteverdi by Bernardo Strozzi, The music of Dafne is now lost. The first opera for which music has survived was performed in 1600 at the wedding of Henry IV of France and Marie de Medici at the Pitti Palace in Florence. The opera, Euridice, with a libretto by Rinuccini, set to music by Peri and Giulio Caccini, recounted the story of Orpheus and Eurydice. The style of singing favored by Peri and Caccini was a heightened form of natural speech, dramatic recitative supported by instrumental string music.
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Recitative thus preceded the development of arias, though it soon became the custom to include separate songs and instrumental interludes during periods when voices were silent. Both Dafne and Euridice also included choruses commenting on the action at the end of each act in the manner of Greek tragedy. The theme of Orpheus, the demi-god of music, was understandably popular and attracted Claudio Monteverdi (1567-1643) who wrote his first opera, L'Orfeo (The Fable of Orpheus), in 1607 for the court of Mantua. Monteverdi insisted on a strong relationship between the words and music.
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An earlier setting of the text, also entitled Erwin und Elmire, was made by Johann André and first performed in May 1775 in Frankfurt. After Anna Amalia's, several more settings were to follow, including ones by Carl David Stegmann (Hamburg, 1776), Ernst Wilhelm Wolf (Weimar, 1785) and Karl Christian Agthe (Ballenstedt, 1785). The most recent was by the Swiss composer Othmar Schoeck (1886–1957) which premiered in 1915. Goethe revised the libretto in 1787/88 while touring in Italy, introducing a secondary pair of lovers into the tale, and adapting the spoken dialogue into recitative.
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The original vocal music (the dance music is not extant), in a baroque style, was composed by Henry Lawes, who also played the part of The Attendant Spirit. Generally, masques were not dramas; they could be viewed as pre-figuring the recitative of opera. In 1745 George Frideric Handel composed three songs and a trio as part of a private arrangement of the masque which was first performed, in June 1745, also at Ludlow Castle. Scenes from Comus for vocal soloists and orchestra is one of the best-known works of composer Hugh Wood (1932– ).
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Its posthumous première (at the Opéra on 22 September 1789) was given only after the première of Cherubini's opera on the same subject. Among the musical qualities of this work are the variety of recitative forms, the treatment of the woodwind as solo instruments and the harmonic colour of the choruses. The overture, composed in monothematic sonata form, remained popular into the early 19th century, and was incorporated into Pierre Gardel's ballet- pantomime Psyché (1790), which had more than 1000 performances at the Opéra National de Paris between its première and 1829.
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The following recitative begins with the same words as the aria, , on a new melody. The middle section stresses the words "" (Let us go with this man!), speaking of following Jesus, by an arioso in which the continuo follows the singer. The central aria, beginning "" (Fall asleep, you weary eyes), is a (slumber aria). In a complex structure, it is not only a da capo aria of three sections framed by a ritornello of the strings, but repeats the first section in the center of the middle section.
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Bach structured the cantata in seven movements. The chorale tune is used in movements 1, 4 and 7, as a chorale fantasia, a chorale sung by a solo voice, and a four-part closing chorale. These three movements frame two sets of aria and recitative. Bach scored the work for four vocal soloists (soprano (S), alto (A), tenor (T) and bass (B)), a four-part choir, and a Baroque instrumental ensemble of horn (Co) to double the soprano, flauto traverso (Ft), two oboes (Ob), two violins (Vl), viola (Va), and basso continuo.
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Craig Smith suggests that the "vaulting high-energy fugue theme is the perfect illustration of the heroic struggle". The bass recitative in E minor describes the importance of the victory over Satan, but exudes a sombre mood, suggesting the continued difficulties of mankind. The third movement is a soprano aria with obbligato oboes, "an oasis of protective tranquillity" in the major mode. However, elements of the music disturb the peace conveyed by the text: the extended ritornello begins with an "odd three-bar phrasing", leading into a passage of constant momentum between the two oboes.
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This is usually preceded and interspersed by recitative, this is the beginning of the tân cổ version from folk composer :vi:Viễn Châu (1924) :Mấy cánh mai vàng gởi... gió... xuân :Đường xa đã mỏi gót phong trần :Bâng khuâng dạo bản đàn năm cũ :Một chút ân tình gởi... cố... nhân : :Several yellow orchid branches I sent... through the spring... breeze :The road was too long that worn the heels of the weathered man :Marveling I play old year melody :A little love sent... to my old... flame.
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The main challenge for all was achieving variety, a break from the pattern of recitativo secco and aria da capo. The mutable moods of Metastasio's librettos helped, as did innovations made by the composer, such as stromento recitative or cutting a ritornello. During this period the choice of keys to reflect certain emotions became standardized: D minor became the choice key for a composer's typical "rage" aria, while D major for pomp and bravura, G minor for pastoral effect and E flat for pathetic effect, became the usual options.
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Orchestras grew in size, arias lengthened, ensembles became more prominent, and obbligato recitative became both common and more elaborate. While throughout the 1780s Metastasio's libretti still dominated the repertory, a new group of Venetian librettists pushed opera seria in a new direction. The work of Gaetano Sertor and the group surrounding him finally broke the absolute dominance of the singers and gave opera seria a new impetus towards the spectacular and the dramatic elements of 19th-century Romantic opera. Tragic endings, on-stage death and regicide became the norm rather than the exception.
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Bach structured the cantata in six movements, beginning with a biblical quotation for the vox Christi, Jesus speaking. An aria is followed by a chorale for the soprano, a set of recitative and aria, and the closing chorale, the only movement for choir. Bach scored the work for three vocal soloists (alto, tenor, bass), a four-part choir and a Baroque instrumental ensemble of two oboes d'amore (Oa), two violins (Vl), viola (Va) and basso continuo. In the following table of the movements, the scoring follows the Neue Bach-Ausgabe.
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As in BWV 36.1, the first movement is cheerful in nature, and the tenor aria includes a significant oboe d'amore line. The final movement is a "jolly chorus with interpolated recitative". There are also related sacred cantatas, two versions of the church cantata for the First Sunday in Advent, Schwingt freudig euch empor, BWV 36.Work and at Bach Digital website The cantata is unusual in being a secular work which was parodied as a sacred work and then, some five years later again as a secular work.
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Schneider, pp. 270–74. Schneider argues that Renzi could hardly have been satisfied to sing only the role of Ottavia in Poppea, which is half the size of any other role written for her, lacks any hint of comedy, is dramatically and emotionally uniform, is set purely with recitative, and primarily explored the lower range of her voice, and hence he suggests that Ottavia and Drusilla may have been written for her as a virtuoso quick-change part.Schneider, pp. 269–84. For contemporary responses to Renzi's performance in the opera, see Schneider, pp.
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Bach structured the cantata in six movements, beginning with a biblical quotation for the vox Christi, Jesus speaking. A set of aria and recitative is followed by a chorus on another biblical quotation from the gospel, while an aria leads to the closing chorale. Bach scored the work for three vocal soloists (alto (A), tenor (T) and bass (B)), a four-part choir, and a Baroque instrumental ensemble of two oboes d'amore (Oa), two violins (Vl), viola (Va) and basso continuo. The duration of the cantata is given as 20 minutes.
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Bach structured the cantata in five movements. The text and tune of the hymn are kept in the outer choral movements, a chorale fantasia and a four-part closing chorale, which frame an alternating arias and a recitative. Bach scored the work for four vocal soloists (soprano, alto, tenor, bass), a four-part choir and a Baroque instrumental ensemble of two horns (Co), two oboes d'amore (Oa), two violins (Vl), viola (Va) and basso continuo. In the following table of the movements, the scoring follows the Neue Bach-Ausgabe.
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The accompaniment comprises flowing triplets in the flute, "the palpitations of an excited heartbeat", over repeated chords in the strings. The tenor recitative adopts the voice of a pastor preaching to his followers. The movement is "short but operatically declamatory" and modulates from the minor mode to G major to set up the final movement. Unusual for Bach who often closes cantatas with a simple four-part setting of a chorale, the closing chorus reprises the music of the first movement, with a text entreating the listener to sing and dance.
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Another psalm verse is rendered as a tenor recitative, followed by a tenor aria on free poetry. A third psalm verse is set as a bass aria, answered by another tenor aria on free poetry with an instrumental quotation of the hymn tune. The cantata is closed by a hybrid movement which combines like a chorale fantasia the third stanza of the hymn as cantus firmus with a vivid counterpoint of "Hallelujah" closing the psalm. In the following table of the movements, the scoring follows the Neue Bach-Ausgabe.
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Henle composed mostly for mixed choirs accompanied by organ, revolutionary at the time, given the traditionally strict separation of men and women in the synagogue. During Henle's thirty-four years as main cantor in Hamburg, he also worked as an author, developed the choirs of the reform synagogue, trained future singers and cantors, and was chairman of the German Association of Cantors for more than fifteen years. Henle reintroduced biblical cantillation and Ashkenazi pronunciation at the Hamburg synagogue. Until then the cantors of the Hamburg synagogue had used Sephardic recitative and Portuguese pronunciation of Hebrew.
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In Bartholomew Fair, Ben Jonson lampoons the poem in the fair's puppet show; his Hellespont is the River Thames, and his Leander is a dyer's son in Puddle-wharf. A poem based to some extent on Marlowe's text was set to music around 1628 by the composer Nicholas Lanier; this may have been one of the earliest works in recitative in English. King Charles I was fond of the work, and had Lanier perform it repeatedly; Samuel Pepys also admired it, and had it transcribed by his "domestic musician", Cesare Morelli.Robert Latham, ed.
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Bach arranged the movements in symmetry around movement 4 as the turning point in the cantata between desolation and hope, a recitative, which receives added weight by the cantus firmus of the chorale played by the oboe. One line of the chorale stanza is sung unchanged: "" (the sins I committed). Opening of the first movement, from Bach's autograph manuscript (Zweig collection) In the opening chorus Bach gave the tune in unadorned long notes to the soprano, reinforced by the trumpet. The vocal parts are embedded in an independent instrumental concerto.
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The government emphasized optimistic folk-based tunes and revolutionary music throughout most of the 20th century. Ideological messages are conveyed through massive orchestral pieces like the "Five Great Revolutionary Operas" based on traditional Korean ch'angguk. Revolutionary operas differ from their Western counterparts by adding traditional instruments to the orchestra and avoiding recitative segments. Sea of Blood is the most widely performed of the Five Great Operas: since its premiere in 1971, it has been played over 1,500 times, and its 2010 tour in China was a major success.
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The accompanying instrumental lines represent the "writhing of serpents ... being torn apart" by his choice. He then sings a duet recitative with Virtue: "metaphorically she 'weds' herself to him and they end together with a vow of unity". This moves into a long duet aria "with all the quiet tranquility of a love song but, perhaps, one that commits minds and emotions rather than bodies". The character of Mercury appears for the first time in the penultimate movement, accompanied by a "haze of God-like mysticism" created by the strings.
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The voices change between unison, homophonic seven-part sections and imitation. Musicologist Julian Mincham notes that Bach "makes great play of the dramatic interjections of one choir, often using the initial motive, against the uninterrupted flowing counterpoint of the other". The trumpets are silent in the middle section, where "Bach continues to play the two choirs off against each other before they unite, as the people are encouraged to do, at the end of this section". In the following two movements, recitative and aria, the tenor is accompanied by two oboes.
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Bach composed the cantata in his fourth year as Thomaskantor in Leipzig. It is structured in five movements, alternating arias and recitatives for a bass soloist and closing with a four- part chorale. He scored the work for a Baroque instrumental ensemble of three woodwind instruments (two oboes and taille), three string instruments (two violins and a viola) and continuo. An obbligato cello features in the first recitative and an obbligato oboe in the second aria, resulting in different timbres in the four movements for the same voice part.
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The words of an opera are known as the libretto (literally "small book"). Some composers, notably Wagner, have written their own libretti; others have worked in close collaboration with their librettists, e.g. Mozart with Lorenzo Da Ponte. Traditional opera, often referred to as "number opera", consists of two modes of singing: recitative, the plot-driving passages sung in a style designed to imitate and emphasize the inflections of speech, and aria (an "air" or formal song) in which the characters express their emotions in a more structured melodic style.
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Armide in the Salle du Palais-Royal in 1761 In rivalry with imported Italian opera productions, a separate French tradition was founded by the Italian Jean-Baptiste Lully at the court of King Louis XIV. Despite his foreign origin, Lully established an Academy of Music and monopolised French opera from 1672. Starting with Cadmus et Hermione, Lully and his librettist Quinault created tragédie en musique, a form in which dance music and choral writing were particularly prominent. Lully's operas also show a concern for expressive recitative which matched the contours of the French language.
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But with Almond's added musical score and the dedicated and enthusiastic performances of the cast, this doesn't feel as cloying as it could be. Scored for a string quartet with Aaron Benham as the pianist/music director, Almond's score flows in and out like recitative and fits in with the chamber nature of the intimate venue. In fact, the music makes the quirkiness and daffiness of the characters and the fantastical situations feel far more acceptable by heightening the unreal nature of it all."Morgan, Scott C. "Theater Review.
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This is followed by a sequence aria–recitative–aria, and the cantata is concluded by a four-part chorale. Bach scored the work for four vocal soloists (soprano, alto, tenor and bass), a four-part choir only in the closing chorale, and a Baroque instrumental ensemble in an unusual combination of instruments, two oboes d'amore (Oa), two oboes da caccia (Oc), two violins (Vl), viola (Va), a violoncello piccolo (Vp) and basso continuo. In the following table of the movements, the scoring follows the Neue Bach-Ausgabe. The continuo, playing throughout, is not shown.
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Illustration by Chen Hongshou, woodblock print, from the 1639 edition published by Zhang ShenzhiThe original story was first told in a literary Chinese short story written by Yuan Zhen during the Tang Dynasty. This version was called The Story of Yingying, or Yingying's Biography. This version differs from the later play in that Zhang Sheng ultimately breaks from Yingying, and does not ask for her hand in marriage. Despite the unhappy ending, the story was popular with later writers, and recitative works based on it began accumulating in the centuries that followed.
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The only recitative, "" (For God abandons none who entrust themselves to Him), is accompanied by the oboes d'amore, shows an extended melisma on the word "" (joy) and culminates in an arioso in the final line, with a melisma on (rescue). The following four stanzas are composed as arias, not as the typical da capo arias, but mostly in two parts. Bach achieves variation by changing voice type, key and time signature. He also varies the mode, alternating major and minor keys, expresses different affekts, and he successfully "blurs" the bar form of the stanzas.
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Davenant had seen Italian opera sung in Paris; this inspired him to conceive a cunning plan: as the Puritan government had no objection to music, only drama, he obtained permission to stage a performance of his opera The Siege of Rhodes, to be sung in "recitative music". Thus, the first English opera was performed at Rutland House in May 1656 , simultaneously overcoming the prohibition of drama. The Rutland House production also included England's first professional actress, Mrs. Coleman and was later transferred to the Cockpit Theatre in Drury Lane.
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The opera was first published in 1763, but without recitative or librettos. A copy of the full score, which is partly in the composer’s hand, also survives and is in the collection of the library at the Royal College of Music. Most of the music displays a simple and lyrical nature with the exception of the music for Rosetta. Rosetta, a role written for Arne's lover Charlotte Brent, requires a gifted coloratura soprano, particularly for the aria "The traveller benighted" which has several challenging passages containing wide vocal leaps, fast runs, and trills.
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Chrieng Brunh (Northern Khmer: เจรียงเบริญ ) is a type of Khmer vocal music or epic recitative practiced by the Khmers indigenous to Northeast Thailand. From the Khmer words charieng, meaning "song" and brunh referring to the particular rhythm, it is also sometimes transliterated as jarieng be-rin or similar variations. Chrieng brunh may be sung by an individual or as a duet by a man and a woman singing alternating verses. Although this type of folk music can be performed a cappella, it is often accompanied by the khaen.
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By 1858, Westerdahl was considered an example of the outdated old recitative way of acting. When she wished to play one of her old heroine parts, she was told: "Madam is too old!" At this point, she was described as overweight, a drunk and with a frivolous mouth, but talented in comedy, and she was recommended by August Bournonville as an example of good instinct and fantasy in contrast to mere education. Fanny Westerdahl formally retired with a pension in 1862, but was active as a guest actor for several years afterwards.
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Six years later, he exchanged it for a post at Saint-Georges-sur-Loire. In 1696 he became surintendant de la musique du roi (Superintendent of the Music of the King), a position he shared with Michel-Richard de Lalande until 1719. With his brother Louis he composed Orphée (a lyric tragedy, 1690) that was badly received when it was performed, although historians of music today find it important for the prominence given in it to the accompanied recitative (La Gorce 2001). On his own, he also composed Le Triomphe des brunes (a divertissement, 1695).
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In January 1617, however, he became more enthusiastic on learning that the project had been scaled down and was now being projected as a series of intermedi. He informed Striggio that what he had first considered a rather monotonous piece he now thought fully appropriate to the occasion. He began work on the recitative sections, but before he could start setting the more expressive numbers, the duke had a change of heart and cancelled Monteverdi's commission. Le nozze di Tetide was abandoned; its libretto and whatever music existed have disappeared.
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In his youth, Hindemith supplemented the family income by performing at dances, inns, and in cinema, operetta, and spa orchestras. Later, his sense of humour occasioned numerous parody pieces, dramatic, instrumental, and vocal. These include a Gouda-Emmental March (Gouda-Emmental Marsch; 1920; lost); The atonal cabaret (Das atonale cabaret; 1921; lost); Song in the style of Richard Strauss (Lied 'im Stile Richard Strauss'; c. 1925), with text from the journal "Bees and how to keep them"; and The Expiring Frog (Recitative e aria ranatica; 1944), inspired by Encyclopædia Britannica and Charles Dickens.
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As in the cantata for the same occasion in Bach's first year in Leipzig, , the text begins with words of Jesus from the gospel, sung by the bass as the vox Christi, accompanied by the strings, doubled by the oboes. It is formally free and untitled, but resembles a fugue because the instruments enter in imitation, and the voice sings a similar theme. A secco recitative leads to an alto aria with two obbligato oboi da caccia. The prayer for forgiveness (Forgive, o Father, our guilt) is illustrated by sighing motifs.
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Alone, Egeo laments over his lost love with the recitative "Si parte, mi deride?" and the aria "Misero, cosi va". Orestes introduces himself as Isifile's (Queen of Lemnos) spy in Colchis on a mission to get information about Giasone, but he is afraid of getting caught. Orestes meets the comic character Demo, who introduces himself to Orestes as a brave and handsome hunchback in the aria "Son gobbo, son Demo". After a lengthy conversation, Demo agrees to meet with Orestes and give him information about Giasone a later time.
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They give Tamino a portrait of the Queen of the Night's daughter Pamina, with whom Tamino falls instantly in love (aria: "Dies Bildnis ist bezaubernd schön" / This image is enchantingly beautiful). The ladies return and tell Tamino that Pamina has been captured by Sarastro, whom they describe as a powerful, evil demon. Tamino vows to rescue Pamina. The Queen of the Night appears and promises Tamino that Pamina will be his if he rescues her from Sarastro (Recitative and aria: "O zittre nicht, mein lieber Sohn" / Oh, tremble not, my dear son!).
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Next, in discussing performance practice, Gossett states that: :these minimal solutions were not widely adopted. In the first performances [...] at the Rossini Opera Festival [...], the stage director, Dario Fo, preferred to have the characters declaim the verses of the Quintet [to a piano accompaniment from another work]. [...The] Wildbad festival [in 2007] commissioned Stefano Piana [...] to compose anew the lacking recitative and the Quintet. [He] noted, quite correctly, that Rossini frequently introduced a major ensemble in the middle of the first act of a comic opera, so that the absence of the piece in La gazzetta is very noticeable.
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"" is the French form of recitative, a style of musical declamation that hovers between song and ordinary speech, particularly used for dialogic and narrative interludes during operas and oratories. An obsolete sense of the term was also "the tone or rhythm peculiar to any language." Both of these definitions suggest the story's episodic nature, how each of the story's five sections happens in a register that is different from the respective ordinary lives of its two central characters, Roberta and Twyla. The story's vignettes bring together the rhythms of two lives for five, short moments, all of them narrated in Twyla's voice.
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Westport, Connecticut: Greenwood Press, 2002. 66. Helen Walker-Hill, author of From Spirituals to Symphonies, writes that Moore’s compositional style was “freely tonal… sometimes strongly modal, often using twentieth- century techniques…, frequently using recitative… style, almost always strongly contrapuntal, and dominated by the black idiom.”Ibid, 67. As for the influence of African-American traditional music, Walker-Hill writes: In a volume of The Choral Journal, Carl Harris analyzes Moore’s music as being influenced by “ragtime, blues, jazz, and gospel music.”Harris, Carl. “The Unique World of Undine Smith Moore: Teacher-Composer-Arranger.” The Choral Journal 16, no. 5 (January 1976): 7.
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On the text "" (When one day the trumpets ring out), the trumpet enters. The unusual movement combines an accompagnato recitative with an aria, contrasting the destruction of heaven and earth with the security of the believers, the latter given in text and tune from the chorale. John Eliot Gardiner describes it as a "grand, tableau-like evocation of the Last Judgement, replete with triple occurrences of a wild 6/8 section when all hell is let loose in true Monteverdian concitato ("excited") manner". He compares it to the "spectacular double chorus" from the St Matthew Passion, .
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The work is structured in seven movements, an instrumental Sinfonia, a choral passacaglia, a recitative on a Bible quotation, three arias and, as the closing chorale, the last stanza from Samuel Rodigast's hymn "" (1674). The cantata is scored for three vocal soloists, a four-part choir, trumpet, oboe, bassoon, two violins, two violas, and basso continuo. Bach performed the cantata again in his first year as Thomaskantor – director of church music – in Leipzig, on 30 April 1724. He reworked the first section of the first chorus to form the Crucifixus movement of the Credo in his Mass in B minor.
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Johann Heermann, the hymn writer The only chorale stanza of the work is "" ("I, Your troubled child"), the third stanza of Johann Heermann's "" ("Where should I flee"), published in 1630. Its term "troubled child" is a good summary of the position of the human being in relation to God. The wording of its conclusion, "In deine tiefen Wunden, da ich stets Heil gefunden" ("into Your deep wounds, where I have always found salvation") leads to the following recitative. The voice is accompanied by an obbligato viola (violoncello piccolo in the Leipzig version) in a lively figuration.
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Extract from "Di tanti palpiti" (Tancredi)Rossini's handling of arias (and duets) in cavatina style marked a development from the eighteenth-century commonplace of recitative and aria. In the words of Rosselli, in Rossini's hands "the aria became an engine for releasing emotion". Rossini's typical aria structure involved a lyrical introduction ("cantabile") and a more intensive, brilliant, conclusion ("cabaletta"). This model could be adapted in various ways so as to forward the plot (as opposed to the typical eighteenth- century handling which resulted in the action coming to a halt as the requisite repeats of the da capo aria were undertaken).
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This is a pastiche score of a cavalier sort. Mr. Malloy lifts styles with such abandon, making willful shifts – from punk riffs to agitated Broadway ballads, mock-pompous recitative to gritty Russian folk songs or drinking choruses with klezmer clarinets – that you lose track of what is being appropriated and really don't care."Tommasini, Anthony. "Pastiche, Parody, Homage and Theft", The New York Times, May 22, 2014 Time Out New York gave the piece five out of five stars, and also included it on both critics' Best of lists, stating "this is theater like no other in New York.
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In the context of staged works and concert works, arias evolved from simple melodies into structured forms. In such works, the sung, melodic, and structured aria became differentiated from the more speech-like (parlando) recitative – broadly, the latter tended to carry the story-line, the former carried more emotional freight and became an opportunity for singers to display their vocal talent. The aria evolved typically in one of two forms. Binary form arias were in two sections (A–B); arias in ternary form (A–B–A) were known as da capo arias (literally 'from the head', i.e.
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The orchestra for the holiday occasion is festive compared to the two works previously composed in Weimar. The cantata opens with a chorus, followed by the recitative, in which words spoken by Jesus are sung by the bass as the (voice of Christ). A bass aria with trumpets addresses the Trinity, and a tenor aria then describes the Spirit that was present at the Creation. This is followed by an intimate duet of the Soul (soprano) and the Spirit (alto), to which an oboe plays the ornamented melody of Martin Luther's hymn "" and a solo cello provides the bass line.
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The answer, which the lawyer had to give himself, was the commandment to love God and your neighbour. This, the Great Commandment, is the text of the first movement. Accordingly, the following text is divided in two parts, one recitative and aria dealing with the love of God, and a symmetrical part handling the love of the neighbour. The cantata's last movement is a four-part harmonisation of the "Ach Gott, vom Himmel sieh darein" hymn tune: this tune, Zahn No. 4431, was first published in Erfurt in 1524 and is based on a pre–Reformation model.
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Mozart completed this recitative and aria in Munich on 8 January 1779, as an insertion aria for the opera Alceste by Christoph Willibald Gluck. It was written specifically to showcase the superlative vocal skills of Mozart's future sister-in-law, Aloysia Weber, who was only 18 at the time. However, sopranos who are able to cope with the aria's demands have been few and far between, and hence the aria is usually omitted from performances of Alceste. It has been therefore redesignated a concert aria, to be presented in concerts by such rare singers as are able to deliver its fiendishly difficult coloratura.
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The libretto was written by the court poet, Salomon Franck, and published in in 1715. The opening refers to Jesus' words in John 3:5: "Except a man be born of water and of the Spirit, he cannot enter into the kingdom of God."() The second movement, a recitative, reflects upon birth in the Spirit as baptism through God's grace: "" (In the bath of spirit and water he becomes a child of blessedness and grace). Movement 3, an aria for alto, considers that the bond has to be renewed throughout life, because it will be broken by man, reflected in movement 4.
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The text setting, while of Donner's German translation, works well with the original Greek as well, suggesting that Mendelssohn must also have been attentive to the Greek text. Initially, Mendelssohn had attempted to imitate what he believed ancient Greek music to sound like, using mainly unison recitative and using only instruments that would have been known to the Greeks, but abandoned the idea. Michael Steinberg has cautioned about the complexity of interpreting Antigone, given that the production was not strictly speaking Mendelssohn's plan, but a group effort involving the king, Tieck, Donner, as well as Mendelssohn.Steinberg, 138.
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A view of Rhodes, designed by Inigo Jones' pupil John Webb, to be painted on a backshutter for the first performance of Davenant's opera The Siege of Rhodes "in recitative music" in May 1656, at Rutland House. The Siege of Rhodes is an opera written to a text by the impresario William Davenant.Sir William Davenant (1606–1668) The score is by five composers, the vocal music by Henry Lawes, Matthew Locke, and Captain Henry Cooke, and the instrumental music by Charles Coleman and George Hudson.Roger Parker, The Oxford Illustrated History of Opera, Oxford, Oxford University Press, 1994; pp. 39–40.
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While the composer depends on his instrumental writing for providing an expressive context to the actions, it is his use of many different vocal styles that enables a musical characterization of Father Grandier and Sister Jeanne. It is thus through these vocal lines that the characters' moral, mental, and emotional states are judged. The correct literary style of Grandier is emphasized in the opera by the fluency of the recitative, its coherence with speech intonations and subdued expression. In addition, Grandier's use of speech in the second act may be interpreted as representative of the protagonist's sobriety.
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Landi's religious context, in keeping with the Counter-Reformation spirit of Jesuit dramas, marks a new departure in the theatre in Rome, combining antiquarian interests in ancient drama with modern musical conceptions of recitative, ensembles and occasional arias. Musically, the work has considerable variety, with elements of comedy and tragedy, and went some way towards establishing specifically Christian opera in a Rome that remained musically conservative. Singers for the opera, all male, were recruited from the Papal Chapel and included castrati. The Barberinis, noted patrons of the arts, owed their current influence to the Barberini Pope Urban VIII.
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Bach structured the cantata in seven movements, and scored it for three vocal soloists, a four-part choir, and a festive Baroque orchestra with horns, oboes and strings. The opening chorus and the two arias are based on his earlier secular cantata , composed for the 11th birthday of the crown prince of Saxony on 5September 1733. The tenor soloist, in the role of the Evangelist, narrates the Biblical verse in recitative style. The choir sings the elaborate opening movement and the closing chorale, a four-part setting of a stanza from Johann Rist's "Hilf, Herr Jesu, laß gelingen".
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Frequent use of pedal point suggests rest, fermatas stop the forward motion, as described by Mincham who writes, "The frequent pauses, where everything temporarily comes to a standstill, are suggestive of that peaceful closing of life where there is no activity and disorder is a thing of the past". A short secco recitative, beginning "" (My God! When will the lovely 'now!' come), ends with a downward continuo line, suggesting both "taking one's leave and being lowered into the welcoming grave". The concluding aria is a joyful dance, anticipating death as the fulfilment of desire, "" (I am looking forward to my death).
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La resurrezione (HWV 47) is an oratorio by George Frideric Handel, set to a libretto by Carlo Sigismondo Capece (1652–1728). Capece was court poet to Queen Marie Casimire of Poland, who was living in exile in Rome. It was first performed on Easter Sunday, 8 April 1708 at Rome, with the backing of the Marchese Francesco Ruspoli, Handel's patron at this time. The work details the events between — and during — Good Friday and Easter Sunday, with the action carried forward in recitative, and exploration of character and delineation of mood taking place in the arias.
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51 In his work, Monteverdi incorporates the "speech-song" or recitative first used in Jacopo Peri's opera Dafne and Giulio Caccini's Euridice, both direct precursors of L'Orfeo, and adds solo arias, duets, ensembles, dances and instrumental interludes.Grout and Pelisca, p. 309 The story of the opera follows the Greek legend of Orpheus, who descends to Hades to persuade the gods of the Underworld to allow him to bring his dead bride, Eurydice, back to the living world. His plea is granted, on the condition that he does not look back while leading Eurydice out of Hades.
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According to John Eliot Gardiner, this hymn "apparently, had been sung on this Sunday in Leipzig from time immemorial". In Bach's typical format of the chorale cantata cycle, the text of the outer stanzas is retained unchanged, while an unknown librettist paraphrased the inner stanzas, in this case to three movements, two arias framing a recitative. According to Wolff, the librettist may have been Andreas Stübel, writing previously in 1724/25. The theme of the chorale is connected to the gospel in a general way: the believer's life depends on God's help and is lost without it.
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A connection is also provided by the image of flooding water that the psalm conveys, which begins "If it had not been the Lord who was on our side" (), and continues "then the waters had overwhelmed us, the stream had gone over our soul, then the proud waters had gone over our soul" (). The poet paraphrased it in the central recitative to "" ("Their fury would have, like a raging tide and like a foaming wave, flooded over us"). Bach first performed the cantata on 30 January 1735. It is one of his latest extant church cantatas.
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Alber was named Kapellmeister at the Staatstheater Braunschweig in 1997 and his talent quickly gained attention. He was appointed general music director the following year, a position he held until 2007. Among his tenure’s highlights include his 1998 to 2002 production of Richard Wagner’s opera tetralogy, Der Ring des Nibelungen. Alber received international recognition for his premieres of Reigen, Wintermärchen and Julie by Philippe Boesmans, and of Mozart’s La Clemenza di Tito, with newly composed recitative texts by Manfred Trojahn, in 2006, the 250th anniversary of Mozart’s birth. He earned additional acclaim for his world premiere of Siegfried Matthus’ Cosima.
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Rameau revised Hippolyte for a revival in 1742. Apart from small changes in detail, he substantially reduced the role of Phèdre, replacing her Act 3 aria "Cruelle mère des amours" with a recitative and completely suppressing her death scene in Act 4. These changes were so drastic - the musicologist Sylvie Bouissou describes them as "blasphemy" - that the soprano Mlle Chevalier refused to sing the role of Phèdre. The revised version made its debut on 11 September 1742. In spite of initial criticisms of poor singing it was a great success, running for 43 performances in 1742 and 1743.
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Cherubini's masterpiece, Médée (1797), reflected the bloodshed of the Revolution only too successfully: it was always more popular abroad than in France. The lighter Les deux journées of 1800 was part of a new mood of reconciliation in the country.Deane, Chapter One passim Theatres had proliferated during the 1790s, but when Napoleon took power, he simplified matters by effectively reducing the number of Parisian opera houses to three.Oxford Illustrated History of Opera p. 132 These were the Opéra (for serious operas with recitative not dialogue); the Opéra-Comique (for works with spoken dialogue in French); and the Théâtre-Italien (for imported Italian operas).
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At the same time it is to be different from traditional Korean musical storytelling forms pansori and changguk. On the Art of Opera contains some of the most explicit criticism of Western classical art in all of Kim's writing. In a passage criticizing Western (and possibly Peking) opera, Kim writes: One by one, Kim rejects Western operatic forms like aria, recitative, and leitmotif – all of which he seems to be reasonably familiar with – in favor of characteristic of Korean revolutionary opera. Instead of having arias and recitatives, a Korean revolutionary opera should only contain stanzaic, strophic songs.
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Luther's first and last stanza are used unchanged: the former treated as a chorale fantasia, the latter as a four-part closing chorale. An unknown librettist paraphrased the three inner stanzas as two sets of recitatives and arias. Bach scored the cantata for four vocal soloists, a four-part choir, and a Baroque instrumental ensemble of four trombones, two oboes, strings and continuo. The cantata is unusual in its use of the chorale tune not only in the outer movements, but as material for motifs in recitative and aria, once even taking the chorale melody as a continuo line.
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Oreste is reluctant to leave Pilade in danger but Pilade insists Oreste save himself (Aria:Caro amico, a morte io vo),and is then led away. In an accompanied recitative and aria, Oreste rails against the gods for their cruelty (Aria:Un interrotto affetto). Royal garden with a gate that leads to the sea - Ifigenia shows Oreste the way to the sea and urges him to flee (Aria:Sento nell'alma). Alone, Oreste expresses his thanks to the gods for sending him the "noble virgin" who has rescued him but feels guilty for leaving his friend Pilade in danger of death (Aria:Dopo l'orrore).
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Bach used the first movement of the concerto, in da capo form, as an extended instrumental introduction, assigning the solo part to the organ, the tutti to the strings and three oboes which he added for the cantata. The first vocal movement is an arioso, accompanied only by the continuo. Bach followed the careful wording of the poet by setting the lines from the following aria as a motto and conclusion of each thought as an arioso, the reflection which they frame as a secco recitative. The repeat of the essential line "" "acts like a rondo motif", according to Gardiner.
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A book musical is usually built around four to six main theme tunes that are reprised later in the show, although it sometimes consists of a series of songs not directly musically related. Spoken dialogue is generally interspersed between musical numbers, although "sung dialogue" or recitative may be used, especially in so-called "sung-through" musicals such as Jesus Christ Superstar, Falsettos, Les Misérables, Evita and Hamilton. Several shorter musicals on Broadway and in the West End have been presented in one act in recent decades. Moments of greatest dramatic intensity in a book musical are often performed in song.
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Opera is also not the only type of Western musical theatre: in the ancient world, Greek drama featured singing and instrumental accompaniment; and in modern times, other forms such as the musical have appeared. Originally understood as an entirely sung piece, in contrast to a play with songs, opera has come to include numerous genres, including some that include spoken dialogue such as musical theatre, Singspiel and Opéra comique. In traditional number opera, singers employ two styles of singing: recitative, a speech-inflected style, and self-contained arias. The 19th century saw the rise of the continuous music drama.
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The syncopated tune of the children's song is derived from the final line of Noye's recitative: "As God has bidden us doe". Mrs Noye and her Gossips enter to an F sharp minor distortion of the children's tune, which reflects their mocking attitude. In Noye's song calling for the ark to be built, a flood leitmotiv derived from the first line of the opening hymn recurs as a solemn refrain. The music which accompanies the construction work heavily involves the children's orchestra, and includes recorder trills, pizzicato open strings, and the tapping of oriental temple-blocks.
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In movement 2 the poet comments the recitative by stanza 6 of Paul Gerhardt's hymn "", which appears in the St Matthew Passion in this and four other stanzas. The beginning of movement 4, "" ("It is finished" or "It is fulfilled", (), appears literally in the Gospel of John as one of the Sayings of Jesus on the cross, and is foreshadowed in the Sunday's Gospel (). Bach's St John Passion contains an alto aria on these words, as a summary immediately after the death of Jesus. The closing chorale is the last of 33 stanzas of Paul Stockmann's "" (1633).
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The text and tune of the three stanzas of the hymn appears unchanged in three of seven movements (1, 4 and 7). An unknown author supplied additional poetry for the inner movements as sequences of recitative and duet, based on the love poetry of the Song of Songs. Bach structured the cantata in seven movements, setting the first stanza as a chorale fantasia, the second stanza in the central movement in the style of a chorale prelude, and the third stanza as a four-part chorale. He set the new texts as dramatic recitatives and love-duets, similar to contemporary opera.
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In the first movement the words of Jesus are given to the bass, the voice type which by convention was the (voice of Christ). A year earlier (in Sie werden euch in den Bann tun, BWV 44), Bach rendered the announcement of Jesus in a two-part movement, a duet for bass and tenor followed by an agitated chorus. In this cantata, he sets it as a recitative of only five measures. The instrumentation is novel, having long chords of the four oboes, two oboes da caccia and two oboes d'amore, accompany the voice above a pedal point held by the continuo.
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In earlier times, music had been part of medieval mystery plays, with the composer of these best known to modern audiences being Hildegard of Bingen. Whether these are to be regarded as possible progenitors of opera is highly debatable. Major liturgical celebrations were often dramatic to a considerable degree, featuring elaborate processions, tableaux vivants and liturgical drama; the Missa Aurea is the best-known example. A new, 17th century form of religious drama, the oratorio did arise shortly after the advent of opera, though it owes at least as much to the (originally secular) non-dramatic recitative-aria form of the cantata.
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There he reorganized the song service of the synagogue, retaining the traditional chants and melodies, but harmonizing them in accordance with modern views. Sulzer's "Shir Tziyyon" (2 vols., Vienna, 1840-1865) established models for the various sections of the musical service—the recitative of the cantor, the choral of the choir, and the responses of the congregation—and it contained music for Sabbaths, festivals, weddings, and funerals which has been introduced into nearly all the synagogues of the world. In the compilation of this work he was assisted by some of the best musical composers of Vienna.
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Later examples include the Variations for Orchestra, Op. 31 (1926–28), the Third and Fourth String Quartets (1927 and 1936, respectively), the Violin Concerto (1936) and Piano Concerto (1942). In later years, he intermittently returned to a more tonal style (Kammersymphonie no. 2, begun in 1906 but completed only in 1939; Variations on a Recitative for organ in 1941). He taught Anton Webern and Alban Berg and these three composers are often referred to as the principal members of the Second Viennese School (Haydn, Mozart and Beethoven—and sometimes Schubert—being regarded as the First Viennese School in this context).
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These pieces display a firm grasp of the techniques of 18th-century dramatic composition from the eleven-year old Mozart. The moving C major duet between Oebalus and Melia is an extraordinary composition featuring a through-composed style with enticing orchestral effects – such as muted violins, under which the rest of the strings play pizzicato. The scene that opens the second chorus is when Hyacinth dies in the presence of his father. This piece is a brilliant example of music's dramatic function and is also the first example of accompanied recitative in all of Mozart's music.
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Charles Reznikoff (August 31, 1894 – January 22, 1976) was an American poet best known for his long work, Testimony: The United States (1885–1915), Recitative (1934–1979). The term Objectivist was coined for him. The multi- volume Testimony was based on court records and explored the experiences of immigrants, black people and the urban and rural poor in the United States in the late nineteenth and early twentieth centuries. He followed this with Holocaust (1975), based on court testimony about Nazi death camps during World War II. In 1930 Reznikoff married Marie Syrkin, a prominent Zionist and friend and biographer of Golda Meir.
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On 13 April 1867, a selection of songs from the opera were performed at The Crystal Palace, arranged for military band by Charles Godfrey Jr. The overture proved popular and went on to appear in numerous further concerts.Jacobs, p. 41 and passim Like many of Sullivan's early pieces, the overture is in the style of Mendelssohn and shows that The Sapphire Necklace was a more serious work than the comic operas for which Sullivan later became famous. The two other songs, "Over the Roof" and a now-lost recitative and prayer, "Then come not yet," were less successful.
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The Office is composed of both musical and rhetorical elements, the first usually given in the musical mode or tone (echos), according to which the liturgical compositions are chanted. There are eight musical modes: four primary and four secondary (plagal). The rhetorical elements are seldom given in a normal speaking voice, but are "read" in a simple recitative. As the early chanters rarely used texts set to musical notation, they learned by heart the words and music of some standard hymn, and this served as a model for other hymns of the same rhythm or meter.
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Pelléas reveals Debussy's deeply ambivalent attitude to the works of the German composer Richard Wagner. As Donald Grout writes: "it is customary, and in the main correct, to regard Pelléas et Mélisande as a monument to French operatic reaction to Wagner".Grout p. 581 Wagner had revolutionised 19th-century opera by his insistence on making his stage works more dramatic, by his increased use of the orchestra, his abolition of the traditional distinction between aria and recitative in favour of what he termed "endless melody", and by his use of leitmotifs, recurring musical themes associated with characters or ideas.
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Roughly eight decades following Monteverdi's L'Orfeo, Jean-Baptiste Lully produced Armide with his longtime collaborator, playwright Jean-Philippe Quinault. Together they had developed the tragédie en musique, or tragédie lyrique, which served as a new form of opera that combined elements of classical French drama with ballet, the French song tradition, and a new form of recitative. Armide was one of Lully's last operas and is therefore extremely developed in style. The opera's instrumental overture is divided into two parts, all with the same highly professional sound, as if to accompany the entrance of a highly revered authority.
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The "Recitative" which begins the last movement includes five musical quotations from Britten's 1973 opera Death in Venice (his last). The concluding "Passacaglia" (one of Britten's favorite musical forms) is based on a musical motif from that opera. Its title, La Serenissima (English: the most serene), derives from the historic status of the former Republic of Venice as a sovereign republic, and is sometimes still applied to the modern city of Venice. A typical performance takes about 25 minutesalthough according to musicologist Roger Parker, Britten's markings are so precise that the timing of each movement is specified almost to the second.
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In its operatic context the lament takes the form of an extended recitative of more than 70 vocal lines, delivered in five sections divided by choral comments. Some of the wording is prefigured in the immediately preceding scene in which the First Envoy describes Arianna's plight to a sympathetic chorus of fishermen. The lament depicts Arianna's various emotional reactions to her abandonment: sorrow, anger, fear, self-pity, desolation and a sense of futility. Cusick draws attention to the manner in which Monteverdi is able to match in music the "rhetorical and syntactical gestures" in Rinuccini's text.
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Musically, Tosca is structured as a through-composed work, with arias, recitative, choruses and other elements musically woven into a seamless whole. Puccini used Wagnerian leitmotifs to identify characters, objects and ideas. While critics have often dismissed the opera as a facile melodrama with confusions of plot—musicologist Joseph Kerman famously called it a "shabby little shocker"—the power of its score and the inventiveness of its orchestration have been widely acknowledged. The dramatic force of Tosca and its characters continues to fascinate both performers and audiences, and the work remains one of the most frequently performed operas.
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The bass next sings "" (Only consider, child of God) as a secco recitative ending in an arioso, the typical style of recitatives during the Weimar period. It adopts canonic imitation between the voice and continuo parts. The interaction illustrates the unity of Christians with Jesus that the text reflects: "dass Christi Geist mit dir sich fest verbinde" (that the spirit of Christ may be firmly united with you). The mystical element of this unity, which is also exemplified in the subsequent aria and the later duet, contrasts with the "combative" character of the outer movements, where the hymn tune prevails.
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The last duet is no longer between Fear and Hope. Fear begins "" (But death remains hateful to human nature) in secco recitative, but three times the bass as the quotes the consoling words from Revelation "" (Blessed are the dead) as an arioso, each time expanded, following the scheme a ab abc. The American musicologist Eric Chafe analyses that the quotes of the vox Christi are intensified each time by lengthening the quoted text: first "Selig sind die Toten", the second time "Selig sind die Toten, die in dem Herrn sterben" (... who die in the Lord), finally "Selig sind die Toten, die in dem Herrn sterben von nun an." (... from now on).
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The Yolngu term Bunggul refers to song, music and dance, which form a ceremony in central to eastern Arnhem Land, Northern Territory. It is performed east of the Mann River as far south as Mainoru and southeast across the Rose River region to Numbulwar. The songs contain specific words and use a similar structure, and there is often a "final recitative", where lyrics are sung for a long period after the didjeridu and stick beating has stopped. Some songs tell of epic journeys in the far past, of ancestors in the Dreaming; Elkin cited an example of a song series from consisting of 188 songs.
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He explains to his wife, brother and Hamor that having made this rash vow he must now kill his daughter. His wife vehemently rejects this horrific prospect (Accompanied recitative:First perish thou and air:Let other creatures die) and Hamor pleads to be allowed to die in his sweetheart's place (Air:On me let blind mistaken zeal). All three implore Jephtha not to carry out his cruel vow but he insists that he has no choice (Quartet:Oh, spare your daughter). Iphis returns, having heard of her father's vow (Accompanied recitative: Such news flies swift) and accepts that she must now be killed by the hand of her father (Air:Happy they).
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The adaptation by McSwiney and Haym cut as much of the recitative as possible from libretto, as this was an unfamiliar form in English and difficult to write as effectively as in Italian. While the first performances were entirely in English, some sections were turned back into Italian to accommodate foreign singers, so that the performances took place in a changing mix of two languages. The original cast was: Holcomb (Prenesto), Hughs (Turnus), Lewis Ramondon (Metius), Richard Leveridge (Linco), Catherine Tofts (Camilla), Joanna Maria Lindelheim (Lavinia), and Mrs Lyndsey (Tullia). From December 6, 1707 the cast changed and performances were staged in a mix of Italian and English.
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Armida is an opera in three acts by Josef Mysliveček set to a libretto by Giovanni Ambrogio Migliavacca based on an earlier libretto by Philippe Quinault. It is one of many operas set at the time of the Crusades that is based on characters and incidents from Torquato Tasso's epic poem La Gerusalemme liberata. This opera (and all the rest of Mysliveček's operas) belong to the serious type in Italian language referred to as opera seria. It incorporates many elements from the operatic "reform" movement of the 1770s, including short vocal numbers and short choruses incorporated into the fabric of the drama and lavish use of accompanied recitative.
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Increasingly busy music heralds the appearance of the demons: fallen angels who express intense disdain of men, mere mortals by whom they were supplanted. Initially the men of the chorus sing short phrases in close harmony, but as their rage grows more intense the music shifts to a busy fugue, punctuated by shouts of derisive laughter. Gerontius cannot see the demons, and asks if he will soon see his God. In a barely accompanied recitative that recalls the very opening of the work, the Angel warns him that the experience will be almost unbearable, and in veiled terms describes the stigmata of St. Francis.
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Die Königin von Saba is written in the style of grand opera; with the usual large- scale cast and orchestra, the use of local color, and a plot set in history all typical of that genre. The vocal writing includes solo recitative and aria passages, duets, and large-scale choruses. Notable moments of the opera include Assad’s short arietta "Magische Töne" in Act 2 and the final duet in Act 4, both of which display Goldmark's lyricism at its best. Although Goldmark was never an ardent follower of Wagner, the orchestration of Die Königin von Saba is reminiscent of the effects and formal fluidity that characterized so much of Wagner's work.
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Bach composed the cantata in Leipzig for the Third Sunday after Easter, called Jubilate. The prescribed readings for the Sunday were from the First Epistle of Peter, "Submit yourselves to every ordinance of man" (), and from the Gospel of John, Jesus announcing his second coming in a Farewell discourse (). Bach contrasted sorrow and joy in earlier cantatas for the same occasion, first in Weimar in 1714, , then in Leipzig in 1725, . The unknown poet chose a quote from to begin the cantata, "We must through much tribulation enter into the kingdom of God", which Salomon Franck had already used for the first recitative of .
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Josef Tichatschek with Wilhelmine Schröder-Devrient in Tannhäuser Tichatschek rehearsed this role with Wagner as it was being written, in company with his Elisabeth, the mezzo-soprano Johanna Jachmann-Wagner. It is said that when they had finished going through the Act 3 recitative for the first time, he and Wagner embraced each other in tears. His voice, however, did not hold up well during the second and third acts of the first performance, and the repetition (for the next day) had to be postponed owing to his hoarseness, and when it did appear many cuts were made in the part.Jachmann 1944, 12–14.
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The composer assigns the part of the narrator to a choir from two to five voices, illustrating different aspects of the text. The part of the devil is spoken, in precise notation of rhythm and dynamic, the second temptation ending with a three-part spoken canon, the third temptation ending with a four-part spoken canon which ends in whispering. The part of Jesus is assigned to the choir singing always in homophony in the manner of recitative, from two to five parts. The part rendering the gospel text ends in D major, the key for the closing chorale in a four-part setting.
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A page from the 1609 score of L'Orfeo L'Orfeo is, in Redlich's analysis, the product of two musical epochs. It combines elements of the traditional madrigal style of the 16th century with those of the emerging Florentine mode, in particular the use of recitative and monodic singing as developed by the Camerata and their successors. In this new style, the text dominates the music; while sinfonias and instrumental ritornelli illustrate the action, the audience's attention is always drawn primarily to the words. The singers are required to do more than produce pleasant vocal sounds; they must represent their characters in depth and convey appropriate emotions.
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The Eucharistic hymn, with a tune that alternates in an intriguing way between phrases of two and three measures, appears in three movements, the opening chorale fantasia, within a recitative and as the closing four-part chorale. Compared to the early cantata for the same occasion, , Bach stresses the invitation of God and the joy of the banquet, rather than the possibility of man's failing to respond to the invitation. Alfred Dürr compares the opening chorus and both arias to dances: movement 1 to a gigue, movement 2 to a bourrée, and movement 5 to a polonaise. All movements are set in the major mode.
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Monteverdi achieved a collection of great variety both in style and structure, which was unique at the time. Styles range from chordal falsobordone to virtuoso singing, from recitative to polyphonic setting of many voices, and from continuo accompaniment to extensive instrumental obbligato. Structurally, he demonstrated different organisation in all movements. John Butt, who conducted a recording in 2017 with the Dunedin Consort using one voice per part, summarised the many styles: Butt described the first three psalms as radical in style, while the other two rather follow the polychoral style of Gabrieli, suggesting that the first three may have been composed especially with the publication in mind.
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The cantata's only recitative quotes one line from the Gospel reading of the day: "" (Whoever loves Me will keep My Word[, and My Father will love him, and We will come to him and make Our dwelling with him]). Bach reflects Jesus' promise to "make Our dwelling with him" in melismatic lines in counterpoint with motifs in the cello similar to motifs in movement 5. He assigned the words of Jesus to the bass as the (voice of Christ). He illustrates the final rest in God by ending the solo line on a whole note low C, the lowest note he demanded of a soloist.
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Section three is a poem, Rachel, written for Corrie by San Francisco poet Phil Goldvarg on March 18, 2003. Section four is another poem, God the Synecdoche in His Holy Land, written in memory of Rachel Corrie by Alaskan poet Linda McCarriston. Section five is a recitative, I Had No Mercy For Anybody, excerpted from the Gush Shalom translation of Moshe ("Kurdi Bear") Nissim's May 31, 2002 interview ("Jenin, A Soldier's Story") conducted in Hebrew by journalist Tsadok Yeheskeli for Israel's best-selling tabloid newspaper, Yediot Aharonot. Section six is another poem, The Skies Are Weeping, written for Corrie by Sri Lankan poet Thushara Wijeratna.
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HWV 251e is a version of the anthem written for a benefit evening at the King's Theatre, Haymarket on 28 March 1738. It was based on HWV 251c, but the initial, instrumental sinfonia was extended with another movement and a concluding Alleluja movement was added to the anthem. Originally a solo movement in C major, "Now, when I think thereupon" was transposed into D minor and split into a solo recitative followed by a unison tenor and bass chorus on the text "For I went with the multitude". In the original setting at the King's Theatre, the orchestra consisted of oboes, bassoons, strings and keyboard continuo.
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In the opening chorus the soprano and the horn present the liturgical melody of the Te Deum, whereas the lower voices move in vivid counterpoint, but also a fourth part of oboe I and violin I. The following secco recitative ends on the words "" (O, should not therefore a new song be taken up and that we sing in heated love?). Consequently, the following movement begins attacca (without a break) with the voices' "" (Let us celebrate, let us rejoice). This unusual movement combines elements of chorus and aria in a free da capo form. The first section is dominated by the chorus, the middle section by the bass.
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The tradition of the German oratorio Passion began in Hamburg in 1643 with Thomas Selle’s St John Passion and continued unbroken until the death of Carl Philipp Emanuel Bach in 1788. The oratorio Passion, made famous by Johann Sebastian Bach in his St John Passion and St Matthew Passion, is the style that is most familiar to the modern listener. It makes use of recitative to tell the Passion narrative and initially intersperses reflective chorales but later arias and choruses as well. This is in contrast to the Passion oratorio, a genre typified by the so-called Brockes-Passion text ' (set by Georg Philipp Telemann and George Frideric Handel, among others).
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Earlier works in the genre were preceded by an allegorical prologue and, during the lifetime of Louis XIV, these generally celebrated the king's noble qualities and his prowess in war. Each of the five acts usually follows a basic pattern, opening with an aria in which one of the main characters expresses their feelings, followed by dialogue in recitative interspersed with short arias (petits airs), in which the main business of the plot occurs. Each act traditionally ends with a divertissement, offering great opportunities for the chorus and the ballet troupe. Composers sometimes changed the order of these features in an act for dramatic reasons.
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The term "through-composed" is also applied to opera and musical theater to indicate a work that consists of an uninterrupted stream of music from beginning to end, as in the operas of Monteverdi and Wagner, as opposed to having a collection of songs interrupted by recitative pieces or spoken dialogue, as occurs in Mozart's Italian- and German-language operas, respectively. Examples of the modern trend towards through-composed works in musical theater include the works of Andrew Lloyd Webber and Claude-Michel Schönberg. In musical theater, works with no spoken dialogue, such as Les Misérables are usually referred to by the term "through-sung".
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There were also two staged musical "pastoral"s, Il Satiro and La Disperazione di Fileno, both produced in 1590 and written by Emilio de' Cavalieri. Although these lost works seem only to have included arias, with no recitative, they were apparently what Peri was referring to, in his preface to the published edition of his Euridice, when he wrote: "Signor Emilio del Cavalieri, before any other of whom I know, enabled us to hear our kind of music upon the stage". Other pastoral plays had long included some musical numbers; one of the earliest, Fabula di Orfeo (1480) by Poliziano had at least three solo songs and one chorus.
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Since the 1630s, the subject of the works changed greatly: those of the pastoral tradition and Arcadia, it is preferable that the poems of chivalry, usually Ludovico Ariosto and Torquato Tasso, or those taken from hagiography and Christian commedia dell'arte. With the increased number of characters, the Roman operas became very dramatic, and had several twists. With these came along a new method of fixing the lines of the recitative, better suited to the various situations that arose from the rich storyline and that was closer to speech, full of parenthetical at the expense of the paratactic style that had so characterized the first Florentine works.
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At the work's end, her travails over, she unites with Ulisse in a duet of life-affirming confidence which, Ringer suggests, no other composer bar Verdi could have achieved. Rosand divides the music of Il ritorno into "speech-like" and "musical" utterances. Speech, usually in the form of recitative, delivers information and moves the action forward, while musical utterances, either formal songs or occasional short outbursts, are lyrical passages that enhance an emotional or dramatic situation. This division is, however, less formal than in Monteverdi's earlier L'Orfeo; in Il ritorno information is frequently conveyed through the use of arioso, or even aria at times, increasing both tunefulness and tonal unity.
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This form of opéra comique was often known as comédie mêlée d'ariettes, but the range of subject matter it covered expanded beyond the merely comic. By the 19th century, opéra comique often meant little more than works with spoken dialogue performed at the Opéra-Comique theatre, as opposed to works with recitative delivery which appeared at the Paris Opéra. Thus, probably the most famous of all opéras comiques, Georges Bizet's Carmen, is on a tragic subject. As Elizabeth Bartlet and Richard Langham Smith note in their Grove article on the subject, composers and librettists frequently rejected the use of the umbrella term opéra comique in favor of more precise labels.
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The cantata is structured in seven movements: it opens with an extended choral movement that expresses the call to fall down with thanks and praise, followed by a brief recitative that provides the account from the Luther Bible of the naming of Jesus on the day of his circumcision. Four movements then reflect on the name of Jesus in meditation and prayer, and the composition is closed with an affirming chorale. The work features three vocal soloists, a four-part choir () and a Baroque instrumental ensemble of two natural horns (Co), two oboes (Ob), two violins (Vl), viola (Va) and basso continuo. The duration is given as 27 minutes.
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The third movement is sung by Nicolas alone, who recounts how “My parents died … All too soon I left the tranquil beauty of their home … and knew the wider world of men.” Nicolas then bemoans his distress over man's faults and devotes himself to a life of service to God. Britten orchestrated the second movement for just strings and tenors; the texture is much less complicated than the preceding movements. The third movement lacks a tonal center and meanders through significantly more dissonant harmonies; the absence of a catchy, recognisable tune (found in most other movements) makes the third movement come across as a recitative.
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Bach first performed the cantata on 2 February 1727. The extant autograph score and the parts show that he performed it at least three more times, in a version for soprano, BWV 82a, the first possibly in 1731 or even as early as 1730, another version for soprano in 1735; and again for bass, with minor changes to the original version, after 1745. Bach obviously had a high regard for this work. The first recitative and most of the aria were copied to the Notebook for Anna Magdalena Bach in a version with continuo accompaniment, presumably entered by Anna Magdalena Bach for her own use.
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Death of Hercules (painting by Francisco de Zurbarán, 1634, Museo del Prado) Lichas recounts how Hercules received Dejanira's gift and how the cloak was impregnated with a deadly poison which burnt and melted the flesh from his bones (Air: O scene of unexampl'd woe). The chorus lament the terrible news (Chorus: Tyrants now no more shall dread). The Temple of Jupiter As his son watches, Hercules dies in appalling suffering and cursing Dejanira's vengeance (Accompanied recitative: O Jove, what land is this). His last wish, that he be carried to the summit of Mount Oeta and set upon a funeral pyre, clarifies the oracle pronouncement in the first act.
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Bach's early cantatas are "" (chorale concertos) in the style of the 17th century, different from the recitative and aria cantata format associated with Neumeister that Bach started to use for church cantatas in 1714. The Altbachisches Archiv, a collection of 17th-century vocal works, mostly by members of the Bach family, initiated by Bach's father Johann Ambrosius, contained works in the older style. Bach also had some acquaintance with Johann Pachelbel's works, although there is no evidence that Bach and Pachelbel met. Bach grew up in Thuringia while Pachelbel was based in the same region, and Bach's elder brother and teacher Johann Christoph Bach studied with Pachelbel in Erfurt.
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Bach structured the cantata in seven movements. The opening chorus is followed by a chorale, then the two soloists sing a sequence of recitative and aria each, and work closes with a chorale. Bach scored the cantata for two vocal soloists (tenor (T) and bass (B)), a four-part choir and a festive Baroque instrumental ensemble of two horns (Co), two recorders (Fl), two oboes da caccia (Oc), two violins (Vl), viola (Va), and basso continuo. Bach employed a pair of horns before in his Christmas cantata , BWV 40, and later in his cantata for Christmas 1724, , and later in Part IV of his Christmas Oratorio.
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Bach structured the cantata in four movements: a duet for soprano (S) and alto (A), a recitative for tenor (T), a chorus, and a closing chorale. He scored it for the three vocal soloists, a four-part choir and a Baroque instrumental ensemble. The duration is given as 20 minutes. In the following table of the movements, the scoring and keys follow the Neue Bach-Ausgabe for the version performed in 1724, which is in B minor, uses oboes d'amore in the first movement and brass playing colla parte with the voices in the last movement, a choir of cornett (Ct) and three trombones (Tb) (or trumpets (Tr)).
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He had "a fine, clear tenor, whose florid style of recitative with frequent roulades long remained a beloved memory with London Jews". After Salomon Sulzer pioneered the use of a full choir in the synagogue in Vienna in 1825, Jewish communities all over Europe followed his example. However, at the Great Synagogue in London, Chief Rabbi Solomon Hirschell expressly forbade the use of sheet music (which he referred to as the "Book of Strokes") and the tuning fork. Hirschell would not permit the repetition by the new choir of the word Hallelujah unless the last syllable, embodying the Divine name, were omitted until the close.
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The arias contrast, interpreting the text in its affekt and in single phrases. Gardiner notes about the first pair of recitative and aria: In movement 8, the call to wake up is intensified by trumpet signals and fast scales, evoking the Last Judgement. The first motif in movement 10 is sung by the two singers of the duet on the words O Menschenkind ("o child of man") and are repeated instrumentally as a hint of that warning. Both parts of the cantata are concluded by the same four-part chorale setting, asking finally "" (Take me, Jesus, if you will, into the felicity of your tent).
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The following recitative, termed an "exemplary mini-sermon in its own right", is secco and ends in an arioso. Here as in the first work for the same occasion, BWV 185, Bach shows the mirror effect of the words, "" (Make yourself into such an image, as you would have your neighbour be!) by imitation of voice and continuo. This phrase is rendered three times. The central choral movement, "a powerful chorus which forms the core of the cantata", is in two sections: the complete text is once rendered in a free form, then again as a fugue, comparable to the concept prelude and fugue.
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The lyrics of the cantata are based on a poem in six verses of Picander, "", published in 1725 in his first spiritual book . The Bach scholar Alfred Dürr has nevertheless reason to date the cantata in 1723 already, suggesting that the cantata text may have preceded the poem, but there is no certain evidence that the cantata was not composed some years later. The first recitative describes the desire for God as expressed in Psalm 42 (), "As the hart panteth after the water brooks, so panteth my soul after thee, O God." Only the melody of the closing chorale "Auf meinen lieben Gott" (Lübeck, 1603) is known.
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They attacked what they regarded as poor staging, acting and choreography, but their harshest criticism was reserved for the alterations to the score made by Vincent d'Indy. Laloy condemned the production for focusing on the recitative at the expense of the arias. He remarked: > How hard it is for some of us to understand an art whose sole aim is to > please, not to teach or even move, us. We have utterly forgotten the > character of early opera, which is a suite of dances tied together by > dialogues and airs, and not, as in the nineteenth century, a dramatic plot > decked out with festivities and parades.
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Christmas Night received its Scottish premiere on 14 December 2011 at the Usher Hall in Edinburgh performed by the Dollar Academy Combined School Choirs.Dollar Academy Christmas Concert Dollar Academy 14 December 2011 His setting of the St John Passion is an hour-long work premiered by Wells Cathedral Choir in 2013. It follows the format established by Bach, with the story narrated in recitative by a tenor evangelist interspersed with interjections from the chorus (as the crowd) and from Pilate and Jesus, the whole being interleaved with chorales and meditations sung by the choir. Many of the chorales are new settings of popular hymns.
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The cantata text is the usual combination of Bible quotation, free contemporary poetry and as closing chorale a stanza from a hymn as an affirmation. An unknown poet chose from the Gospel verses 31 and 34 as the text for movement 1, and wrote a sequence of aria, recitative and aria for the following movements. His poetic text places the Christian in general, including the listener at Bach's time or any time, in the situation of the disciples: he is pictured as wanting to follow Jesus even in suffering, although he does not comprehend. The poetry ends on a prayer for "denial of the flesh".
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The first movement of this cantata is "about as tragic as it gets": it is in a minor key and quickly sounds a strong dissonance between the oboe phrase and the continuo. Descending arpeggiated strings underline the "wails of the damned" represented by the oboes. After the opening ritornello, the vocal lines alternate between choir and solo presentations of the phrases of the chorale, with each voice (except the bass) having an arioso line.Julian Mincham A tenor recitative leads into a "shadowy" alto aria which echoes the first movement of Antonio Vivaldi's 'Spring' concert (published the year before, 1725), accompanied by an oboe da caccia.
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Bach structured the cantata in six movements. The text and tune of the hymn are retained in the outer choral movements, a chorale fantasia and a four-part closing chorale, which frame two sets of recitative and aria. Bach scored the work for four vocal soloists (soprano, alto, tenor, bass), a four-part choir, and a Baroque instrumental ensemble of four trombones (Tb), two oboes (Ob), two violins (Vl), viola (Va) and basso continuo. This is one of three Bach cantatas to use four different trombone parts (soprano, alto, tenor, and bass), the others being Ach Gott, vom Himmel sieh darein, BWV 2 and Ich hatte viel Bekümmernis, BWV 21.
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In the baroque and classical periods, composers typically had the double bass double the cello part in orchestral passages. A notable exception is Haydn, who composed solo passages for the double bass in his Symphonies No. 6 Le Matin, No. 7 Le midi, No. 8 Le Soir, No. 31 Horn Signal, and No. 45 Farewell—but who otherwise grouped bass and cello parts together. Beethoven paved the way for separate double bass parts, which became more common in the romantic era. The scherzo and trio from Beethoven's Fifth Symphony are famous orchestral excerpts, as is the recitative at the beginning of the fourth movement of Beethoven's Ninth Symphony.
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In a Shabbat or festival service, the maqam is relevant for three purposes: #The main body of the prayers is rendered in a recitative, which differs according to the applicable maqam. #Certain prayers, such as Kaddish, Nishmat and the Kedushah, are more elaborate, and borrow their tune from hymns ("pizmonim") used in the community. The hymn used is chosen so as to fit the applicable maqam, and there is an elaborate table set out at the back of the community's hymn books, showing which tune should be used for which prayer on which occasion. #Additionally pizmonim conforming to the "maqam of the week" will be interpolated at points of the ritual.
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It is structured in two similar parts, and is in pastoral . The steady flow of the oboe can be seen as depicting the "pure water" mentioned in the text, the steps in the continuo as "the steps made on this significant journey" "on the pathway of the righteousness of His commandments". The central movement begins as an arioso, accompanied by the continuo, illustrating the walk through the "valley of darkness". The second part is a dramatic recitative with strings, first expressing "" (persecution, sorrow, trouble) in a broken melodic line against sustained string chords, then "Thy rod and Thy staff comfort me", where the "first violins weave a comforting little melody".
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The final stanza translates literally as, "Ruler over death and life, Let my end one day be good, Teach me to yield the spirit, With courage sure and firm. Help me to have an honest grave Near faithful Christian kin, Again at last within the earth, And never more with shame." The tenor aria is characterized by continued tones of the death knell and string pizzicato in the accompaniment, and an eloquent duet between the vocal line and the oboe d'amore. The following alto recitative "brings forth a bit of the terror of death", in contrast with the joyous bass aria in "jig tempo" that follows.
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Birkmann's text alludes to Matthew's gospel; although there is no explicit reference to the sick man, he speaks in the first person as a follower of Christ who bears his cross and suffers until the end, when (in the words of ) "God shall wipe away the tears from their eyes". The cantata takes as its starting point the torments which the faithful must endure. The text is rich in biblical references. The metaphor of life as a sea voyage in the first recitative comes from the beginning of that Sunday's Gospel reading: "There He went on board a ship and passed over and came into His own city" ().
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The fourth movement, "" ("I stand ready to receive the inheritance of my divinity with desire and longing from Jesus' hands"), is a recitativo accompagnato with strings. It begins as a declamatory recitative, with sustained string accompaniment. After seven bars the time signature changes from 4/4 to 3/4, resuming a simple, calm version of the second half of the abgesang from the first movement and repeating words related to the Book of Revelation in a triplet rhythm. Gardiner describes this change: " ... now slowed to adagio and transposed to F minor, and from there by means of melisma floating effortlessly upwards, for the first time, to C major".
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These separate plots were almost immediately resurrected in a separately developing tradition that partly derived from the commedia dell'arte, a long-flourishing improvisatory stage tradition of Italy. Just as intermedi had once been performed in between the acts of stage plays, operas in the new comic genre of "intermezzi", which developed largely in Naples in the 1710s and '20s, were initially staged during the intermissions of opera seria. They became so popular, however, that they were soon being offered as separate productions. Opera seria was elevated in tone and highly stylised in form, usually consisting of secco recitative interspersed with long da capo arias.
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Although these lost works seem only to have included arias, with no recitative, they were apparently what Peri was referring to, in his preface to the published edition of his Euridice, when he wrote: "Signor Emilio del Cavalieri, before any other of whom I know, enabled us to hear our kind of music upon the stage".JSTOR Peri and Corsi's "Dafne": Some New Discoveries and Observations, William V. Porter; Journal of the American Musicological Society, Vol. 18, No. 2 (Summer, 1965), p. 170 Other pastoral plays had long included some musical numbers; one of the earliest, La fabula d'Orfeo (1480) by Poliziano had at least three solo songs and one chorus.
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Johann Sebastian Bach composed the church cantata ' (Why would you grieve), 107' in Leipzig for the seventh Sunday after Trinity and first performed on 23 July 1724. The chorale cantata is based on the words of Johann Heermann's hymn in seven stanzas "" (1630). Bach structured the cantata, the seventh work in his chorale cantata cycle, in seven movements: two framing choral movements, a recitative and an unusual sequence of four bipartite arias. He scored the work for three vocal soloists, a four-part choir, and a Baroque chamber ensemble of a horn to reinforce the hymn tune in the outer movements, two transverse flutes, two oboes d'amore, strings and continuo.
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The unknown poet of the cantata text kept stanzas 1, 3, 6 and 7 unchanged, expanding 3 by recitative, and reworded 2, 4 and 5 for the respective movements of the cantata. The topic of the gospel is God's word, as Jesus explains in verse 11, "Now the parable is this: The seed is the word of God.", which is mentioned in the first line of the hymn, "bei deinem Wort" (close to your word). Instead of relating closely to the parable, the poet concentrates on a general request to God: to keep his people faithful to his word, to protect them from enemies and to provide peace.
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They believed contemporary art was inferior to classical Greek and Roman works, and decided to attempt to recreate Greek tragedy, as they understood it. Their work added to that of the Florentine Camerata of the previous decade, which produced the first experiments in monody, the solo song style over continuo bass which eventually developed into recitative and aria. Peri and Corsi brought in the poet Ottavio Rinuccini to write a text, and the result, Dafne, though nowadays thought to be a long way from anything the Greeks would have recognised, is seen as the first work in a new form, opera. Rinuccini and Peri next collaborated on Euridice.
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Gluck's ideals heavily influenced the popular works of Mozart, Wagner, and Weber, with Wagner's Gesamtkunstwerk vision especially influenced by that of Gluck. Old-style opera seria and the domination of embellishment-orientated singers came to be increasingly unpopular after the success of Gluck's operas as a whole and Orfeo in particular. In Orfeo ed Euridice the orchestra is far more predominant than in earlier opera, most notably in Orfeo's arioso "Che puro ciel". Here the voice is reduced to the comparatively minor role of recitative-style declamation, while the oboe carries the main melody, supported by solos from the flute, cello, bassoon, and horn.
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Opus 109 is one of Beethoven's last three, five or six sonatas that are counted among his late works. The different cut-off points arise from the fact that the sonatas from Opus 90 on are varied and contradictory in form and in their predominant musical tendencies. The pianistic means are reduced to leaner, chamber music-like voice leading, as in the first movement of Opus 110, or dissolved into recitative-like passages, as in the third movement of the same work. These procedures contrast with a heightened virtuosity, a broadening of the form and an increase in overall length, as for example in the Hammerklavier sonata, Op. 106.
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Statue of Kazybek Aqyn in Naryn, Kyrgyzstan Akyns or aqyns (, ; , ; both transcribed as aqın or اقىن) are improvising poets and singers in the Kazakh and Kyrgyz cultures. Akyns are different from the or , who are song performers or epic storytellers. In aytys, akyns improvise in the form of a song-like recitative, usually to the accompaniment of a dombra (among Kazakhs) or a qomuz (among Kyrgyz). Considering the nomadic lifestyle and illiteracy of most of the rural population in Central Asia in pre-Soviet times, akyns played an important role in terms of expressing people's thoughts and feelings, exposing social vices, and glorifying heroes.
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During the Baroque era, the harpsichord was a standard part of the continuo group, the musicians who performed the basso continuo part that acted as the foundation for many musical pieces in this era. During the late 18th century, with the development of the fortepiano (and then the increasing use of the piano in the 19th century) the harpsichord gradually disappeared from the musical scene (except in opera, where it continued to be used to accompany recitative). In the 20th century, it made a resurgence, being used in historically informed performances of older music, in new compositions, and, in rare cases, in certain styles of popular music (e.g., Baroque pop).
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In England, the Kirkman and Shudi firms produced sophisticated harpsichords of great power and sonority. German builders extended the sound repertoire of the instrument by adding sixteen foot and two foot choirs; these instruments have recently served as models for modern builders. In the late 18th century the harpsichord was supplanted by the piano and almost disappeared from view for most of the 19th century: an exception was its continued use in opera for accompanying recitative, but the piano sometimes displaced it even there. Twentieth-century efforts to revive the harpsichord began with instruments that used piano technology, with heavy strings and metal frames.
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The Indian Queen followed in 1695, in which year he also wrote songs for Dryden and Davenant's version of Shakespeare's The Tempest (recently, this has been disputed by music scholars), probably including "Full fathom five" and "Come unto these yellow sands". The Indian Queen was adapted from a tragedy by Dryden and Sir Robert Howard. In these semi-operas (another term for which at the time was "dramatic opera"), the main characters of the plays do not sing but speak their lines: the action moves in dialogue rather than recitative. The related songs are sung "for" them by singers, who have minor dramatic roles.
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Hiller qualifies Stölzel's choral music as full in texture and rich in harmony, and names the Canonic Mass in thirteen real voices and the German Te Deum as examples of Stölzel's accomplished style, fully mastering the composition of canons and fugues. Gerber largely repeats Hiller's biographical notes and judgement about Stölzel's music, adding descriptions of Stölzel's 1736 double cantata cycle and vocal chamber music, where the singing voice is treated as an instrumental part, in some passages rather an accompaniment than the leading voice. Gerber praises Stölzel for his art of composing recitatives and summarizes the content of the then still unpublished Abhandlung vom Recitative.
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From the 1962 Glyndebourne production: Lucano, played by Hugues Cuénod, performs in his singing contest with Nerone (act 2, scene 6) Written early in the history of opera, L'incoronazione di Poppea broke new ground in matching music to stage action, and in its musical reproductions of the natural inflections of the human voice.Robinson, p. 149 Monteverdi uses all the means for vocal expression available to a composer of his time—aria, arioso, arietta, ensemble, recitative—although Ringer comments that in this work the boundaries between these forms are more than usually porous.Ringer, p. 232 These elements are woven into a continuous fabric which ensures that the music always serves the drama, while maintaining a tonal and formal unity throughout.
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"Les Cinq Sens: L'Ouïe", an etching by Abraham Bosse, c. 1638 With the arrival of Calvinism, music was relatively simple, at least in the parts of France subject to Calvinist influence. In strictly Calvinist areas, the only musical expression allowed was singing of French translations of the Psalms, for instance those written by Goudimel (who was killed in the St. Bartholomew's Day Massacre in 1572). Starting with the 17th century, Italian and German opera was the most influential form of music, though French opera composers like Balthasar de Beaujoyeaux, Jean Philippe Rameau and Jean Baptiste Lully made a distinctive national style characterized by dance rhythms, spoken dialogue and a lack of Italian recitative arias.
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It is, like most hand-written instrumental parts for Bach's cycles of cantatas, a collaborative work: the right hand side of the sheet on display (chorus, recitative) was written by Bach's student and nephew Johann Heinrich Bach (the son of Bach's older brother Johann Christoph Bach from Ohrdruf), the upper left hand side (air) was written by Bach's wife Anna Magdalena Bach, and the music of the final chorale, along with all titles, subtitles, and some corrections up to the word Fine, are in the hand of Johann Sebastian Bach.Johann Sebastian Bach: Neue Ausgabe sämtlicher Werke, Serie I, Kantaten Band 6, Kritischer Bericht. Bärenreiter, Kassel 1996, p. 66. Another exhibit is the Clavecin Royal (Johann Gottlob Wagner, Dresden 1788).
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The opening of the opera, with Admeto on his deathbed tormented by a ballet of demons representing his inner physical and mental agony, is very striking in its use of unusual harmonies, dissonance and chromaticism, followed by a dramatic accompanied recitative for the suffering king. 18th century musicologist Charles Burney wrote that he was "told by persons who heard this opera performed when it first came out, that Senesino never sung or acted better, or more to the satisfaction of the public, than in this scene."Charles Burney: A General History of Music: from the Earliest Ages to the Present Period. Vol. 4, London 1789, reprint Cambridge University Press 2010, , S. 315 f.
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Quoted in Streatfeild > (1910) p. 111 When Merighi returned for the 1736 season after an absence of several years, Delany wrote: > Merighi — with no sound in her voice, but thundering action, a beauty with > no other merit Quoted in Streatfeild (1910) p. 139 Merighi's acting ability (and that of the castrato, Nicolo Grimaldi) was also noted by Giambattista Mancini in his 1774 Pensieri e riflessioni pratiche sopra il canto figurato: > Nicola Grimaldi, alias Cavalier Niccolino, possessed the art of recitative > and acting to such perfection that although he was very poor in other > talents and did not have a beautiful voice, he became very singular. The > same is true of Madame Merighi.
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In the central duet violins and violas play the melody of the chorale. Bach later arranged this movement for organ as one of the Schübler Chorales, BWV 647. The opening chorus is a concerto of three elements: the orchestra, dominated by the two oboes, playing an introduction and ritornellos, the cantus firmus in the soprano, and the other voices which start each of the three sections and keep singing on the long final notes of the cantus firmus, soprano and alto opening the first section, tenor and bass the second, all four voices the last section. Movements 2 and 5 are composed in the same fashion, alternating the slightly ornamented lines of the chorale with recitative.
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"Bluebird of Happiness" is a song composed in 1934 by Sandor Harmati, with words by Edward Heyman and additional lyrics by Harry Parr-Davies. Harmati wrote the song for his friend, the tenor Jan Peerce, the leading singer at Radio City Music Hall. Peerce recorded it three times: in 1936, under the name Paul Robinson, with the Radio City Music Hall Orchestra conducted by Ernö Rapée; on June 7, 1945, under his own name, with the RCA Victor Symphony Orchestra conducted by Sylvan Levin; and in 1958 (the Las Vegas version) with Joe Reisman and his Orchestra. Each version included slight variations in the spoken recitative, which was accompanied by Boldi's "Chanson Bohemienne", rather than Harmati's music.
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He is believed to have been the first composer to use the term "divertimento", in his 1681 composition Il divertimento de' grandi musiche da camera, ò per servizio di tavola. He was the organist at the church of SS. Giovanni e Paolo. He is also known for setting Hebrew religious texts to recitative in the style of Claudio Monteverdi, such as in his Cantata Ebraica in Dialogo, a work commissioned from Grossi (himself a Gentile) by the relatively free and well- off Jewish community of Modena. This work was likely intended for performance by an amateur choir (the choral parts are relatively simple, suggesting deliberate tailoring to the capabilities of less advanced musicians) with professional-standard operatic soloists.
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Stedman, p. 160 Since Bond had little experience as an actress, Gilbert and Sullivan cut the dialogue out of the role, except for a few lines in the last scene, which they turned into recitative. Other new cast members were Emma Howson and George Power in the romantic roles, who were improvements on the romantic soprano and tenor in The Sorcerer.Stedman, p. 161 Gilbert acted as stage director for his own plays and operas. He sought realism in acting, just as he strove for realistic visual elements. He deprecated self-conscious interaction with the audience and insisted on a style of portrayal in which the characters were never aware of their own absurdity but were coherent internal wholes.
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The piece begins with an introduction in G major, with vocal assistance in the form of a recitative which is omitted in the symphonic version. Then follows in sequence: the dance of the hours of dawn, the hours of day, the hours of the night and the morning. The episode devoted to dawn (in E major) merges with the extensive introduction to the episode dedicated to daytime hours, anticipating the rhythmic structure of four notes, which characterizes the episode. The transition point between the two episodes, where it marks the birth of the day, coincides with the intervention in fortissimo of the chorus (""), which follows a slow chromatic passage, typical of Ponchielli's style.
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Important songs from the album were "ABCD avioni" ("ABCD Airplanes") and "Ruža lutanja" ("Rose of Wandering"), the latter featuring a recitative by the conceptual artist Miroslav Mandić, the creator of a project of walking around Europe on foot. During the same year, the song "Nebo, nebo plavo je" appeared on the various artists compilation album Radio Utopia, released by B92.Various - Radio Utopia (B92: 1989-1994) (CD) at Discogs The following album, the 1996 Ili 5 minuta ispred tebe (If Not 5 Minutes Ahead of You), the band had recorded at the Zrenjanin Tarkus studio. Guest appearances on the album featured Zoran Erkman "Zerkman" on trumpet and Ivana Vince on backing vocals.
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The ten cantatas were dedicated to the 8th to 14th and 21st to 22nd Sunday after Trinity and the second Sunday after Easter. The words for the first movement are taken from the Book of Lamentations (), a lament about the historic destruction of Jerusalem. The text, suitable in connection with the announcement by Jesus, is among the prescribed readings for Good Friday and has been set to music often. The text for the inner movements 2 to 5 were written by the unknown poet, who dedicated a pair of recitative and aria to the memory of the historic event, another pair to the warning that the contemporary Christian is threatened in a similar way.
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The cantata is based on a text by Erdmann Neumeister, a pioneer of the use of a format using recitative and aria, which was new in religious music. This text was written for the Eisenach court and published in Gotha in 1711 in the collection (Sacred singing and playing), which had been set to music by Georg Philipp Telemann. It is one of few texts set to music in Weimar which were not written not by the court poet Salomon Franck. The text cites Isaiah in the second movement, "For as the rain cometh down, and the snow from heaven, … So shall my word be ..." (), related to the Gospel about God's word compared to seed.
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He described it as "the finest piece of accompanied recitative, without symphonies, with which I am acquainted. The modulation is learned, and so uncommon, that there is hardly a chord that the ear expects; and yet the words are well expressed, and the phrases pathetic and pleasing." This commemoration, mounted on a giant scale, proved so popular that it was repeated in succeeding years. The dissemination of Handel's music from Giulio Cesare for domestic music-making continued when one of Handel's two arrangements of the overture for harpsichord–the less ornamented and polished of the two–was included in Walsh's second collection of Handel overtures published in 1727; the chorus with horns was included as a dance.
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A soprano recitative, "" (Alas! that my faith is yet so weak), adopts a modified version of the chorale melody as the continuo line. Gardiner notes the "uncompromising" way of changing the normal order: the soprano, usually singing a chorale cantus firmus (firm song) to the continuo, expresses weakness and insecurity here, marked "a battuta", while the firm foundation is the chorale in the bass, to which the text of stanza three, "" (Therefore I will hope in God), could be imagined. Gardiner points out a detail: the word "Zeichen" (sign) "is given expressive, symbolic expression, a diminished seventh chord assigned to that word … formed by all three 'signs", one sharp (F-sharp), one flat (E-flat) and one natural (C).
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Bach departed from his cousin's model in two ways. Firstly he divided the libretto into two parts that framed the church sermon: Bach usually started Part II with the central New Testament passage; only in the case of BWV 102 did he place it at the conclusion of Part I. Secondly Bach took the sixth verse section of each libretto, written in archaic alexandrines, wholly as a recitative leading into the final chorale. In the libretto of BWV 39, the Old Testament passage is taken from the Book of Isaiah () and the New Testament passage from the Epistle to the Hebrews (). Both passages have as common themes the invocations to love thy neighbour and to share God's gifts.
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Simon Crouch remarks that this cantata is "pervaded with the spirit of the dance", particularly given its frequent use of triple meter and the dominance of the major mode. The opening chorus is a chorale fantasia wherein the soprano sings the chorale melody while the lower voices create chordal harmonies. The long instrumental ritornello, created by strings (doubled by oboes and flutes) and continuo, appears at the beginning of the movement and four bars before the voices finish at the end. The second movement is a bass recitative remarkable for its final line: Bach repeats the line four times in an arioso, accompanied by "a version of Schweitzer's three-note 'joy' motive" in the continuo.
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The lyricist, Don Black ..., and the playwright, Christopher Hampton ..., smartly tailor their jokes to the original screenplay's style. At times, even Lloyd Webber gets into the Wilder swing. Both acts open with joltingly angry diatribes about Hollywood, part exposition-packed recitative and part song, in which the surprisingly dark, jazz-accented music, the most interesting I've yet encountered from this composer, meshes perfectly with the cynical lyrics. Anderson makes the sardonic Wilder voice an almost physical presence in Sunset Boulevard, but he is too often drowned out by both LuPone's Broadway belt and mechanical efforts of Lloyd Webber and his director, Trevor Nunn, to stamp the proven formulas of Phantom and Les Miz on even an intimate tale.
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The music of the aria, marked "Siciliano" as the slow movement of the harpsichord concerto, has been regarded as a "farewell to worldly life", in "a mood of heart-stopping intensity", also as a mystic contemplation of a heavenly love. The aria has been compared in character to the aria of the repenting Peter "" from Bach's St Matthew Passion. After the love of God has been expanded in great detail in five movements, the commandment to also love one's neighbour is expressed in a short recitative, leading to the chorale, which asks the Holy Spirit to assist in doing so, "so that we might love each other from our hearts and remain of one mind in peace".
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John Eliot Gardiner translates the text as "There is something stubborn (or defiant or wilful) and fainthearted (or disheartened or despairing) about the human heart", describes the movement as a "dramatic antithesis between headstrong aggression and lily-livered frailty", and wonders "whether this arresting comment on the human condition reflected Bach's own views". The soprano aria "" (Your dear bright light) is in contrast a "light-footed" gavotte, sometimes without continuo. Jesus and Nicodemus, by Crijn Hendricksz, 1616–1645 In the following recitative, Nicodemus speaks for the Christian. Bach added a quotation from the Gospel to Ziegler's printed text, "for whosoever believes in Thee, shall not perish" and stressed it by setting it as an arioso.
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When Borosini went to London in 1724, he brought with him the score for Bajazet and showed it to George Frideric Handel. Handel had already written his own opera Tamerlano on the basis of the 1711 Piovene libretto, simplifying it by eliminating all the secondary characters except Leone. However when Borosini showed him the score for Bajazet he rewrote his own material again, adding in a death scene for Borosini in the title role. The libretto Handel eventually used was written for him by Nicola Francesco Haym and amalgamated elements from Gasparini’s libretto from both 1711 and 1719. Handel also cut much of the recitative in Gasparini’s version, as was his usual practice.
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It is based on Philipp Nicolai's Lutheran hymn in three stanzas, "", which is based on the Gospel. Published in Nicolai's (Mirror of Joy of the Life Everlasting) in 1599, its text was introduced: "" (Another [call] of the voice at midnight and of the wise maidens who meet their celestial Bridegroom / Matthew 25 / D. Philippus Nicolai). The text of the three stanzas appears unchanged and with the melody in the outer movements and the central movements (1, 4 and 7), while an unknown author supplied poetry for the other movements, twice a sequence of recitative and duet. He refers to the love poetry of the Song of Songs, showing Jesus as the bridegroom of the Soul.
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The commenting chorale, on the almost unadorned melody of "", is sung by the tenor on an ostinato in the continuo derived from the first line of the chorale. Hofmann observes in the continuo ostinato that "at the place where the song text has the word "Herzeleid" (heart ache), it is expanded by means of chromatic notes in between – a figurative expression of sorrow, of the lamentation that characterizes the whole movement". Mincham notes that this central chorale "seems almost to pre-empt the atonal harmonies of the twentieth century". The following short secco recitative marks a turning point, resulting in an aria of consolation in dance-like movement, accompanied by the strings doubled by the oboes.
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Apollo et Hyacinthus was part of a much larger work, which has caused debate as to whether this work can be considered Mozart's first 'operatic work'. Many historians consider it to be operatic because it is a secular drama composed of five arias, two duets, a chorus and a trio, connected with recitative. However, it was part of the annual end-of- term 'final comoedia' and did not even receive a distinguishing name until Mozart's sister Nannerl entered it into Leopold's catalogue of his son's early works with the name after the composer's death. The custom at the university was to perform short musical dramas or 'intermedia' interspersed between acts of the larger play.
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Bach composed the cantata in his third year in Leipzig for the feast of Ascension. The prescribed readings for the feast day were from the Acts of the Apostles, the prologue and Ascension (), and from the Gospel of Mark, Jesus telling his disciples to preach and baptise, and his Ascension (). The text of the cantata is unusual as it consists mostly of a poem in six stanzas, which forms movements 5 to 10 of the work in 11 movements. The structure is similar to that of cantatas by Bach's cousin Johann Ludwig Bach, court conductor in Meiningen, that Bach performed during 1726: Old Testament quotation, recitative, aria, New Testament quotation, poem, chorale.
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This opera constitutes the last of three short serious operas by this composer, the other two being A Feast in Time of Plague and Mademoiselle Fifi. The musical setting of the text of Mateo Falcone has a declamatory-melodic character, in keeping with the composer's veneration, if not slavish emulation, of Alexander Dargomyzhsky's method of "melodic recitative," which had been most thoroughly demonstrated in The Stone Guest. There are no extractable "numbers" from this opera to speak of, although highlights include the orchestral passages that suggest the rustic scenery with a kind of barcarolle, and the intimate Latin prayer near the end (a setting of "Ave Maria"), which is reminiscent of the composer's art songs.
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The opera is the most popular of Gluck's works, and was one of the most influential on subsequent German operas. Variations on its plot—the underground rescue mission in which the hero must control, or conceal, his emotions—can be found in Mozart's The Magic Flute, Beethoven's Fidelio, and Wagner's Das Rheingold. Though originally set to an Italian libretto, Orfeo ed Euridice owes much to the genre of French opera, particularly in its use of accompanied recitative and a general absence of vocal virtuosity. Indeed, twelve years after the 1762 premiere, Gluck re- adapted the opera to suit the tastes of a Parisian audience at the Académie Royale de Musique with a libretto by Pierre-Louis Moline.
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However, his son Arnold, though of marriageable age, is not participating and is evidently uncomfortable. The entire on-stage cast sings in celebration (Célebrons tous en ce beau jour, le travail, l'hymen et l'amour – "Let all celebrate, on this glorious day, work, marriage and love"). Tell invites Melchthal into his chalet; before they move off, Melchthal chides his son for his failure to marry. His father's rebuke provokes an outpouring of despair from Arnold: in his recitative we learn of his previous service in the forces of the Austrian rulers, his rescue of Mathilde from an avalanche, and the conflict between his love for her and his shame at serving the "perfidious power".
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Dargomyzhsky was born in Troitsko village, Belyovsky District, Tula Governorate, and educated in Saint Petersburg. He was already known as a talented musical amateur when in 1833 he met Mikhail Glinka and was encouraged to devote himself to composition. His opera Esmeralda (libretto by composer, based on Victor Hugo's The Hunchback of Notre Dame) was composed in 1839 (performed 1847), and his Rusalka was performed in 1856; but he had little success or recognition either at home or abroad, except in Belgium, until the 1860s, when he became the elder statesman, but not a member, of The Five. His last opera, The Stone Guest, is his most famous work, known as a pioneering effort in melodic recitative.
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''''' (English: Ariadne) (SV 291) is the lost second opera by Italian composer Claudio Monteverdi. One of the earliest operas in general, it was composed in 1607–1608 and first performed on 28 May 1608, as part of the musical festivities for a royal wedding at the court of Duke Vincenzo Gonzaga in Mantua. All the music is lost apart from the extended recitative known as "'" ("Ariadne's Lament"). The libretto, which survives complete, was written in eight scenes by Ottavio Rinuccini, who used Ovid's Heroides and other classical sources to relate the story of Ariadne's abandonment by Theseus on the island of Naxos and her subsequent elevation as bride to the god Bacchus.
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Many composers wrote musical settings of the Passion in the late 17th century. Like other Baroque oratorio passions, Bach's setting presents the Biblical text of Matthew 26–27 in a relatively simple way, primarily using recitative, while aria and arioso movements set newly written poetic texts which comment on the various events in the Biblical narrative and present the characters' states of mind in a lyrical, monologue-like manner. The St Matthew Passion is set for two choirs and two orchestras. Both include two transverse flutes (Choir 1 also includes 2 recorders for No. 19), two oboes, in certain movements instead oboe d'amore or oboe da caccia, two violins, viola, viola da gamba, and basso continuo.
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The bard, as part of the "rogue" group, was one of the standard character classes available in the second edition Player's Handbook; in this edition, the bard was regularized. According to the second edition Player's Handbook, the bard class is a more generalized character than the more precise historical term, which applied only to certain groups of Celtic poets who sang the history of their tribes in long, recitative poems. The book cites historical and legendary examples of bards such as Alan-a-Dale, Will Scarlet, Amergin, and even Homer, noting that every culture has its storyteller or poet, whether such as person is called bard, skald, fili, jongleur, or another name. In AD&D; 2nd edition, bards were of the rogue group.
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BWV 214, the goddess even quitted her usual ferocity in order to congratulate Maria Josepha of Austria, Princess Elector of Saxony and Queen of Poland, on her birthday on 8 December 1733.BWV 214, Leipzig 1733; translations of the aria and recitative are on Emmanuel Music}} She retains her harsh aspect in "Prometheus Absolved" by Giovanni Ambrogio Migliavacca (1718–1795), however. In this cantata celebrating the birth of the Archduchess Isabella in 1762, the deities sit in judgement on Prometheus, some arguing for clemency, while Bellona and others demand rigour. She also plays her proper part in the 'heroic cantata' created by the composer Francesco Bianchi and the librettist Lorenzo da Ponte, entitled "The Wedding of the Thames and Bellona" (Le nozze del Tamigi e Bellona).
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The entire opera shows the influence of Mozart's Le nozze di Figaro, which was being successfully revived at the time. Among the musical highlights, besides the sinfonia, are Falstaff's strutting Act I patter aria, the quartet in Act I, the duettino "La stessa, La stessissima", the technically brilliant "laughter" trio in the opening moments of Act II, the canonical duet of Mr. and Mrs. Ford toward the end of Act II (featuring a rare late 18th century cello solo) and the grand finale to Act II. Throughout the score Salieri employs careful tone painting, parody of opera seria conventions, a more harmonically interesting structure for the secco recitative, and more involved counterpoint; traits that have helped return Falstaff to the playing boards.
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The original 1935 Broadway production of Porgy and Bess closed after only 124 performances.Porgy and Bess (1935) at the Internet Broadway Database A 1942 revival,Porgy and Bess (1942) at the Internet Broadway Database stripped of all recitative, fared slightly better, as did a subsequent national tour and another revival in 1953,Porgy and Bess (1953) at the Internet Broadway Database but in financial terms, the work did not have a very good track record. Still, there were many who thought it had potential as a film. Otto Preminger was one of several producers, including Hal Wallis, Louis B. Mayer, Dore Schary, Anatole Litvak, Joseph L. Mankiewicz, and Harry Cohn, who had tried to secure the film rights without success.
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It contains 29 variations, some of which form pairs, and the first setting of the theme returns and is used as a refrain three times. Toccata mit dem Pedal aus C, the last piece in Anmuthige Clavier-Übung, was described by Willi Apel as "perhaps the only developed toccata written in central Germany before Bach." The toccata starts with a pedal solo, which is followed by a chordal section with recitative breaks, a song-like section in 3/4 time, an interlude, and a fugue whose subject is heard in the pedal twice, requiring alternating feet. Sectional organ works with virtuosic use of pedal were common for north German composers, but no central or south German composers attempted such pieces before Krieger.
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' (You shall weep and wail), 103', is a cantata by Johann Sebastian Bach, a church cantata for the third Sunday after Easter, called Jubilate. Bach composed the cantata in his second year as in Leipzig and first performed it on 22 April 1725. It is the first of nine cantatas on texts by Christiana Mariana von Ziegler, which Bach composed at the end of his second annual cycle of cantatas in Leipzig. Based on the Gospel reading from the Farewell Discourse, where Jesus, announcing that he will leave, says "your sorrow shall be turned into joy", Bach contrasts music of sorrow and joy, notably in the unusual first movement, where he inserts an almost operatic recitative of Jesus in the fugal choral setting.
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Earlier in 1786, Mozart had produced a previous (musically only distantly related) score based on the same text, as an insertion aria for the character Idamante in a revised version of his 1781 opera Idomeneo, made for a private performance in Prince Auersperg's palace in Vienna. For that revival, Mozart reworked the role of Idamante (originally a castrato) for the tenor voice, and the substitution of this scena (recitative and rondò "", KV 490) for that of 1781 was only one of many changes that resulted from this recasting. The K. 505 setting was written for Nancy Storace, probably for her farewell concert from Vienna on 23 February 1787 at the Theater am Kärntnertor. Mozart himself very likely played the obbligato piano part (K.
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Wolff, 297. The version most familiar to us today is not the original version from 1724, but rather the version of 1739–1749.Melamed, Daniel R. Hearing Bach's Passions, 72. New York: Oxford University Press. 2005. In the 1724 version, the Recitative Movement No. 33 reads "Und die Vorhang im Tempel zerriß in zwei Stück; von oben an bis unten aus." (Mark 15, 33) and was in 3 measures. From 1725 on, this was replaced by the more familiar 7-measure quote from Matthew 27: 51–52 (except in the 3rd version, in which this was taken out altogether). In 1725, Bach replaced the opening and closing choruses and added three arias (BWV 245a-c) while cutting one (Ach, mein Sinn) from the original version.
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The opera is scored for a reduced orchestra and piano: piccolo, flute, 2 oboes, clarinet, bass clarinet, bassoon, contrabassoon, 2 horns, 2 trumpets, trombone, piano, celesta, harp, percussions(timpani, vibraphone, xylophone, glockenspiel, tubular bells, triangle, bass drum, ratchet, small side drum, tambourine, tam-tam, wood blocks, cymbal), and strings (particularly the high ranges of some of these instruments and of the soprano voice). The orchestral music is late-Romantic in style, rejecting avant-garde techniques and influenced by composers like Wagner, Strauss, Ravel, and early Stravinsky. The vocal music generally resembles recitative or Sprechgesang, though the mother's and child's parts are sometimes more expressive. In general, the score is lyrical and musically conservative, with few innovations and frequent use of clichés.
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Johann Sebastian Bach composed the church cantata ' (God the Lord is sun and shield), 79', in Leipzig in 1725, his third year as Thomaskantor, for Reformation Day and led the first performance on 31 October 1725. The text was written by an unknown poet, who did not refer to the prescribed readings for the day. Bach began the libretto for the feast with a quotation from Psalm 84 and included two hymn stanzas, the first from Martin Rinckart's "", associated with Reformation Day in Leipzig, as the third movement, and as the last movement the final stanza of Ludwig Helmbold's "". Bach composed a work of "festive magnificence", structured in six movements, with an aria following the opening chorus, a pair of recitative and duet following the first chorale.
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He also taught at Westminster Choir College, Wellesley College, Vassar College, and Columbia University, performed a recital series at Harvard University, and published a monograph on "Albert Schweitzer's Contribution to Organ-building". Although primarily known for his performances of Baroque music, Weinrich also performed many 20th- century organ works, including the premieres of Samuel Barber's Prelude and Fugue in B Minor, Louis Vierne's Organ Symphony No. 6 in B minor, and Arnold Schoenberg's Variations on a Recitative (Op. 40). Carl Weinrich died in Princeton, New Jersey at the age of 86 after suffering from Parkinson's disease for several years. Amongst his students were the composer Betsy Jolas, the composer and organist George Lynn, and the musicologist and critic Joseph Kerman.
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Johann Sebastian Bach composed the church cantata ' (You shall love God, your Lord), 77' in Leipzig for the thirteenth Sunday after Trinity and first performed it on 22 August 1723. Bach composed the cantata in his first year as Thomaskantor in Leipzig, where he had begun a first cantata cycle for the occasions of the liturgical year on the first Sunday after Trinity with . The cantata text, written by Johann Oswald Knauer, is focused on the prescribed reading for the Sunday, the parable of the Good Samaritan containing the Great Commandment, which is used as the text of the first movement. A pair of recitative and aria deals with the love of God, while a symmetrical pair deals with the love of the neighbour.
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Traditional drama, often called "Chinese opera," grew out of the zaju (variety plays) of the Yuan dynasty (1279–1368) and continues to exist in 368 different forms, the best known of which is Beijing Opera, which assumed its present form in the mid-nineteenth century and was extremely popular in the Qing dynasty (1644–1911) court. In Beijing Opera, traditional Chinese string instrument and percussion instruments provide a strong rhythmic accompaniment to the acting. The acting is based on allusion: gestures, footwork, and other body movements express such actions as riding a horse, rowing a boat, or opening a door. Spoken dialogue is divided into recitative and Beijing colloquial speech, the former employed by serious characters and the latter by young females and clowns.
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Part of the overture to Elijah arranged by Mendelssohn for piano duet (manuscript in the Library of Congress) Mendelssohn's two large biblical oratorios, St Paul in 1836 and Elijah in 1846, are greatly influenced by J. S. Bach. The surviving fragments of an unfinished oratorio, Christus, consist of a recitative, a chorus "There Shall a Star Come out of Jacob", and a male voice trio. Strikingly different is the more overtly Romantic Die erste Walpurgisnacht (The First Walpurgis Night), a setting for chorus and orchestra of a ballad by Goethe describing pagan rituals of the Druids in the Harz mountains in the early days of Christianity. This score has been seen by the scholar Heinz-Klaus Metzger as a "Jewish protest against the domination of Christianity".
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Together with Monteverdi's other Venetian stage works, Il ritorno is classified as one of the first modern operas. Its music, while showing the influence of earlier works, also demonstrates Monteverdi's development as a composer of opera, through his use of fashionable forms such as arioso, duet and ensemble alongside the older- style recitative. By using a variety of musical styles, Monteverdi is able to express the feelings and emotions of a great range of characters, divine and human, through their music. Il ritorno has been described as an "ugly duckling", and conversely as the most tender and moving of Monteverdi's surviving operas, one which although it might disappoint initially, will on subsequent hearings reveal a vocal style of extraordinary eloquence.
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Strauss replaced about 1/3 of Mozart's score with some of his own music (even introducing the "Fall of Troy" motif from his own 1928 opera Die ägyptische Helena), and rearranged much of the music left behind. For example, Ilia's opening aria "" is mostly intact with a few changes to the long introductory recitative, but when Idamante (specifically written to be sung by a tenor in this version) enters, he sings Mozart's "", K. 490, (which was added to Mozart's original revision of Idomeneo) instead of "". A few major changes to the plot were made as well, such as changing princess Elettra to priestess Ismene. Critics have noted that Strauss's additions contain an interesting blend of the classical style of composition and Strauss's own characteristic sound.
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The Earl of Mount Edgcumbe described Marchesi's impression at London as following: :Marchesi was at this time (1788) a very well-looking young man, of good figure, and graceful deportment. His acting was spirited and expressive: his vocal powers were very great, his voice of extensive compass, but a little inclined to be thick. His execution was very considerable, and he was rather too fond of displaying it; nor was his cantabile singing equal to his bravura. In recitative, and scenes of energy and passion, he was incomparable, and had he been less lavish of ornaments, which were not always appropriate, and possessed a more pure and simple taste, his performance would have been faultless: it was always striking, animated and effective.
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One of several comic village operas written to Sabina librettos (The Bartered Bride is the most famous), it has a cast of four characters and is made up of a handful of closed numbers: five solos, two duets, one quartet, an overture and an intermezzo, and three brief ensembles for chorus and soloists. It was the first Czech comic opera to replace spoken dialogue with recitative. Blodek's opera is often considered to be one of the most ‘Czech’ operas after those of Smetana – it was written shortly after the première of The Bartered Bride. Blodek's next opera, Zítek, again to a Sabina libretto (a historical comedy set in the 14th century), was a more ambitious work both in its musical vocabulary and in its operatic form.
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Johann Sebastian Bach composed the church cantata ' (Lord Christ, the only Son of God), 96', in Leipzig for the 18th Sunday after Trinity and first performed it on 8 October 1724. The chorale cantata, part of Bach's second annual cycle, is based on the hymn in five stanzas "" by Elisabeth Cruciger, published in in 1524. The hymn, related to mysticism and comparing Jesus to the Morning star, matches two aspects of the prescribed gospel for the Sunday, the Great Commandment and a theological dispute about the term "Son of David". An unknown poet kept the first and last stanza for the first and last movement of the cantata, and paraphrased the inner stanzas as four movements, alternating recitative and aria.
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The text has been attributed in 2015 to Christoph Birkmann, a theologian and student of Bach, by Christine Blanken of the Bach-Archiv Leipzig. He retells the topic of the gospel in the first recitative, and expands it to the journey, suffering and perils of the contemporary Christian, with a focus on the contrast between suffering on Earth and joy in Heaven. The two outer movements are unusually similar, both duets of the Soul and Jesus, using a hymn stanza and free text. The first movements includes the first stanza of "Ach Gott, wie manches Herzeleid", published by Martin Moller in 1587; the last movement includes the second stanza of Martin Behm's "", published in 1610 in the second volume of the collection .
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By Mozart's own account, Aloysia was a very fine pupil, and at the end of the instruction period he wrote a kind of examination piece, the recitative and aria K. 294 "Alcandro, lo confesso/Non sò, d'onde viene". As Mozart wrote to his father: > When I had it ready, I said to Mlle Weber: learn the aria yourself, sing it > as you wish; then let me hear it and I will tell you honestly what I like > and what I don't like. After two days, I came and she sang it to me, > accompanying herself. Then I was obliged to admit that she had sung it > exactly as I had wanted it and as I would have taught it to her myself.
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Gardiner comments: The musicologist Julian Mincham compares the instrumental music to "mist and fog, images which imply movements of wind and air" and hears the lower voices as "evincing a feeling of primeval power and solidarity". In the first aria, the text "" (As quickly as rushing water) is illustrated in the flute, the violin and the tenor voice by "fast-flowing" music, "each musician required to keep changing functions – to respond, imitate, echo or double one another – while variously contributing to the insistent onwardness of the tumbling torrent". In a recitative for alto, "" (Joy becomes sadness), images such as flowers speak of transience until the grave. The Bach scholar Klaus Hofmann describes it as a "far-reaching coloratura [which] culminates in an uneasy dissonance".
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Doo-wop (also spelled doowop and doo wop) is a genre of rhythm and blues music that originated among African-American youth in the 1940s, mainly in the large cities of the United States, including New York, Philadelphia, Chicago, Baltimore, Newark, Detroit, and Washington, DC. It features vocal group harmony that carries an engaging melodic line to a simple beat with little or no instrumentation. Lyrics are simple, usually about love, sung by a lead vocal over background vocals of repeated, varying syllables, and often featuring, in the bridge, a melodramatically heartfelt recitative addressed to the beloved. Gaining popularity in the 1950s, doo-wop enjoyed its peak successes in the early 1960s, but continued to influence performers in other genres.Hoffmann, F. Roots of Rock: Doo-Wop.
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' (Jesus gathered the twelve to Himself), 22', is a church cantata by Johann Sebastian Bach composed for Quinquagesima, the last Sunday before Lent. Bach composed it as an audition piece for the position of Thomaskantor in Leipzig and first performed it there on 7 February 1723. The work, which is in five movements, begins with a scene from the Gospel reading in which Jesus predicts his suffering in Jerusalem. The unknown poet of the cantata text took the scene as a starting point for a sequence of aria, recitative, and aria, in which the contemporary Christian takes the place of the disciples, who do not understand what Jesus is telling them about the events soon to unfold, but follow him nevertheless.
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The stile recitativo, as the newly created style of monody was called, proved to be popular not only in Florence, but elsewhere in Italy. Florence and Venice were the two most progressive musical centers in Europe at the end of the 16th century, and the combination of musical innovations from each place resulted in the development of what came to be known as the Baroque style. Caccini's achievement was to create a type of direct musical expression, as easily understood as speech, which later developed into the operatic recitative, and which influenced numerous other stylistic and textural elements in Baroque music. Caccini's most influential work was a collection of monodies and songs for solo voice and basso continuo, published in 1602, called Le nuove musiche.
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NeonTommy wrote "This song balances really well between long, powerful phrases and banter-like recitative, and is a great illustration of the dynamic between Anna and Elsa. It’s also the first time where we get to hear Anna and Elsa sing as equals (the earlier version of this song is more about Anna than it is about Elsa), so it’s quite fun to hear this song between two sisters." GeeksOfDoom wrote "The reoccurrence of the “sister song” signifies how Elsa has changed, much unlike Anna, who still sees the potential of their relationship. The song incorporates polyphony and intensifies their emotions as it builds to a crescendo. While it’s not a substantial addition – the scene could have played out just as well without music – it’s still entertaining".
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Christoph Prégardien (born 18 January 1956) is a German lyric tenor whose career is closely associated with the roles in Mozart operas, as well as performances of Lieder, oratorio roles, and Baroque music. He is well known for his performances and recordings of the Evangelist roles in Bach's St John Passion and St Matthew Passion. Excerpt of the Evangelist's recitative from Bach's St John Passion Born in Limburg an der Lahn, Germany, he began his musical education as a choirboy at the cathedral's boys' choir, the Limburger Domsingknaben. He then studied singing with Martin Gründler and Karlheinz Jarius in Frankfurt at the Hochschule für Musik, with Carla Castellani in Milan, with Alois Treml in Stuttgart, and attended Hartmut Höll's lieder- class.
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The cantata in structured in six movements, beginning with an aria for tenor (T), followed by two pairs of recitative and aria, one for bass (B), the other for the duet of soprano (S) and alto (A), and a concluding chorale when all four parts are united. As with several other cantatas on words by Franck, it is scored for a small Baroque chamber ensemble of two violins (Vl), viola (Va), two cellos (Vc) and basso continuo (Bc). In the following table of the movements, the scoring, keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4). The instruments are shown separately for winds and strings, while the continuo, playing throughout, is not shown.
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The statue was presented as a gift from the Catholic people of the United States to the Sanctuary of Fátima in 1958. Many of the events of the Marian apparitions at Fátima are depicted in the stained glass windows in the basilica, while fifteen altars within the church are dedicated to the fifteen mysteries of the Rosary. At the four corners of the basilica are statues of the four great apostles of the Rosary and to their devotion to the Immaculate Heart of Mary: Saint Anthony Mary Claret, Saint Dominic, Saint John Eudes and Saint Stephen, King of Hungary. A five-section organ (grande organ, positive, recitative, solo and echo) controlled by a console of five keyboards and pedals is installed in the choir.
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Although it bore all the marks of Ashton's familiarly gentle, classically oriented manner, it discarded the classical ballet conventions that appear in such Ashton successes as Cinderella and Sylvia. What he was trying to suggest, says Ashton, was "the ebb and flow of the sea: I aimed at an unbroken continuity of dance, which would remove the distinction between aria and recitative." As a result, Ondine offered few pyrotechnics, gained its effects instead through sinuous mass movements in which the undulation of arm and body suggested forests of sea plants stirring to unseen tides. The sense of submarine fantasy was reinforced by Stage Designer Lila de Nobili's fine scenery: a castle of mist and fruitfulness, shadowy crags and waterfalls, aqueous skies streaked pink and green.
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The cantata in D major is scored for choir, soloists and piano. The 149-bar long work is in seven movements: #Eingangschor: Es blühten wunderschön auf der Aue - four-part mixed choir #Recitative: Der Knabe saß hold auf der Mutter Schooß - soprano and alto #Arie: Sie küsste den Knaben herzlich - soprano and alto #Duet: Die Mutter erfreute das freudige Schweben - soprano and alto, Allegro #Quartet: Verborgen unter blumiger Hülle - soprano, alto, tenor and bass #Duet: Die ringelt' und raschelt' im Grase fort - tenor and bass, Moderato #Schlußchor: Wie welkt ein Blümchen im Morgenroth - eight- part mixed choir a cappella, Andante The third version is 7 bars shorter (142 bars), and the first duet: soprano and alto, is replaced by a duet: soprano and tenor.
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His vocal art ranged from the late Romantic vocal lyric to a reduction of the melodic line to such an extent that it would sometimes cross the border into recitative. In his symphonic works he painted the national melodies he used with bold orchestration and for the names of the movements he often used non- musical terminology of a programmatic nature. He wrote a large number of works for the choir, with particular attention being drawn by four collections containing more than 100 harmonised or arranged folk songs. In the five string quartets written between 1917 and 1947 it is possible to see the evolution of his composing style; the five symphonies created from 1937 to the end of his life describe Dobronić’s mature composerly thinking.
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Le comte Ory is a comic opera written by Gioachino Rossini in 1828. Some of the music originates from his opera Il viaggio a Reims written three years earlier for the coronation of Charles X. The French libretto was by Eugène Scribe and Charles-Gaspard Delestre-Poirson adapted from a comedy they had first written in 1817. The work is ostensibly a comic opera in that the story is humorous, even farcical. However, it was devised for the Opéra rather than for the Théâtre de l'Opéra-Comique and there are structural inconsistencies with the contemporary opéra comique genre: whereas the latter consists of relatively short lyrical numbers and spoken dialogue, Le comte Ory consists of "highly developed, even massive musical forms linked by accompanied recitative".
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A third category, the largest (14 songs) they consider derived from German and Italian styles, with "My Soul is Dark" and its Italian ornamentation an example of the latter, and "My Soul is Dark" based on the German lieder style. Two of the songs in this category, "Thou whose spell" and "A Spirit Pass'd" (whose tripartite structure includes a trio, a recitative and an aria), are considered to be influenced by the tradition of oratorio. In eight of the songs they discern specific 'Jewish' characteristics, either because the music seeks to evoke "the stereotypical figure of the suffering Jew", or because the melodic line and 'orientalist' harmonies used by Nathan suggest the exoticism of his subject.Byron (1988), pp. 30-37.
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Polyphemus, by Van Cleve, Louvre The opera shifts from its pastoral and sensual mood into an elegiac quality as the chorus warns Acis and Galatea about the arrival of a monstrous giant, Polyphemus, singing "no joy shall last". The fugal minor-key of the chorus's music along with the percussive lines in the lower instruments, indicating the heavy footsteps of the giant, provides an effective dramatic transition into the more serious nature of the second act. Polyphemus enters singing of his jealous love for Galatea, "I rage, I melt, I burn", which is in a part-comic furioso accompanied recitative. This is followed by his aria "O ruddier than the cherry" which is written in counterpoint to a sopranino recorder.
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Harrison was not by any objective standards a singer (the talking on pitch style he used in My Fair Lady would be adopted by many other classically trained actors with limited vocal ranges); the music was written to allow for long periods of recitative, or "speaking to the music". Nevertheless, "Talk to the Animals", which Harrison performed in Doctor Dolittle, won the Academy Award for Best Original Song in 1967. Despite excelling in comedy (Noël Coward described him as "The best light comedy actor in the world—except for me."), he attracted favorable notices in dramatic roles such as his portrayal of Julius Caesar in Cleopatra (1963) and as Pope Julius II in The Agony and the Ecstasy (1965), opposite Charlton Heston as Michelangelo.
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The prescribed readings for the feast day were from the Epistle to Titus, "God's mercy appeared" () or from Isaiah, "Unto us a child is born" (), and from the Gospel of Luke, the Nativity, Annunciation to the shepherds and the angels' song (). The unknown poet of the cantata text kept the first and the last stanza, expanded verse 2 by recitatives, transformed stanzas 3 and 4 to movement 3, an aria, stanza 5 to a recitative, and stanza 6 again to an aria. Bach performed the cantata again four more times on 25 December, in 1731, in 1732 or 1733, and twice in the 1740s, even after his Christmas Oratorio had been first performed in 1734, which also uses two stanzas of Luther's chorale.
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As the Head of Music Staff at Vienna State Opera from 2010-2013, Kelly oversaw the daily musical life of more the fifty ensemble singers in more than fifty operas. At the Staatsoper she also curated a recital series in the house’s famous Mahlersaal, and served as the series’ principal pianist. She was the recitative accompanist for new productions of Le nozze di Figaro and Don Giovanni, and assisted Maestro Franz Welser-Möst on new productions. Kathleen Kelly has also been associated with the Glimmerglass Festival’s Young American Artist Program, the CoOperative Training Program at Westminster Choir College, the Seattle Opera, Opera Australia, and the Moscow Conservatory. As a recital pianist she has appeared at Carnegie Hall, the Kennedy Center, and Vienna’s Musikverein.
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Antoni de Literes (18 June 1673 Majorca – 18 January 1747 Madrid), also known as Antonio de Literes or Antoni Literes Carrión) was a Spanish composer of zarzuelas. As with other national forms of baroque opera, Literes's stage works employ a wide variety of musical forms – arias, ariettas and recitative (accompanied and unaccompanied) as well as dance movements and choruses, though here mingled with spoken verse dialogue. His use of the orchestra follows French and Italian practice in including guitars, lutes, and harpsichords amongst the continuo instruments. From 1693, after the exile of his predecessor Sebastián Durón, Literes became the Master of the Capilla Real of Madrid, playing the bass viol and soon being accounted the greatest Spanish court composer of his time.
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Merula's secular music includes solo madrigals with instrumental accompaniment, sometimes using the Monteverdian stile concitato tremolo effect, and in formal design prefiguring the later Baroque cantata with its division into aria and recitative. He wrote one opera, La finta savia, produced in 1643, and based on a libretto by Giulio Strozzi. Among his instrumental music are numerous ensemble canzonas, whose sectional structure looks ahead to the sonata da chiesa, and his writing for strings—especially the violin—is exceptionally idiomatic, also looking ahead to the highly developed writing of the late Baroque. He also wrote canzonettas, dialogues, keyboard toccatas and capriccios, a Sonata cromatica, and numerous other pieces which display an interest in just about every contemporary musical trend in north Italy.
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The opening recitative, speaking of longing and waiting, expands expressively on a throbbing pedal point of 11 measures, moving only on the words "" mentioning "joy" (the lack of joy, though), only to sink back for the final "" (almost all my confidence has drained away). In the following duet, an unusual obbligato bassoon plays virtuoso figurations in a wide range of two and one half octaves (including a truly remarkable G0), whereas the voices sing together, for most of the time in homophony. Movement 3 speaks words of consolation. Bach chose the bass as the (voice of Christ) to deliver them, almost as an arioso on the words "" (so that the light of His grace might shine on you all the more brightly).
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Compared to Bach's other chorale cantatas of the period, the unknown poet kept much of the original text, six of the eight stanzas, expanding two of them by recitative, to connect even closer to the Gospel. He paraphrased only stanzas 3 and 6 to an aria each. In the last aria, in a statement of opposition to rationalism—the "weasel words of rationalists, who would bring down the whole Lutheran theological edifice" in the words of John Eliot Gardiner—the poet expands the words of the reformers' hymn, "" (reason cannot grasp it), appealing to reason, described as unstable and frenzied, to be silent. Bach first performed the cantata on 30 July 1724, as the eighth chorale cantata of his second annual cycle.
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The Gregorian and the Lutheran choral themes match and merge through traditional and nontraditional harmonic procedures, such as non-tonal, modal, polytonal, twelve-tone serial, and so on. The second movement (Adagio), all performed by solo organ, draws on the Antifona of the Ascension, and culminates in a melodic-recitative meditation of variations on the chorale of the Our Father with musical themes on twelve-tone series. The third movement (Vivace) for solo organ expresses a word of contrast, and culminates in the fourth movement (Final) in the form of an organ Fugue in a twelve-tone series, yet emersed in the context of a tonal-polytonal harmonic framework. Here the choir intervenes from time to time by interpolating with the German text of the Our Father, in a mono-rhythmic harmonic form.
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The middle section is of an improvisatory, fantasia-like character, with extremely harsh modulations and sonorities, culminating in C minor with fortissimo chords. The chromaticism, triplet emphasis, and modulatory patterns of this section are all reminiscent of the developments nested within the Allegro's exposition. After the C minor climax (according to Fisk, a key of great importance in the cycle due to its relation to "Der Wanderer"), a recitative section with startling sforzando outbursts emphasizing an ascending minor second leads to a serene phrase in the major mode (C major), which in turn leads (as the dominant of F minor) back to the A section, here somewhat transformed, with new accompanimental figuration. The final bars of the movement feature rolled chords that prefigure the opening of the following Scherzo.
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St. Augustine was evidently opposed to the growing tendency to abandon the simple recitative tone and make the chant of the offices more solemn, complex and ornate as the ceremonial became more formal. Gradually the formularies became more fixed, and liberty to improvise was curtailed by the African councils. Few, however, of the prayers have been preserved, although many shorter verses and acclamations have been quoted in the writings of the period, as for example, the Deo Gratias, Deo Laudes, and Amen, with which the people approved the words of the preacher, or the doxologies and conclusions of some of the prayers. The people still used the sign of the cross frequently in their private devotions as in the more difficult days of Tertullian (when the Christians were still under persecution).
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Born in Valenciennes in 1749, she first appeared at the Paris Opéra in a revival of Campra's L'Europe galante in 1766. After an undistinguished beginning to her career, when she appeared only in minor roles, such as Cupid in Berton and Trial's, Théonis (1767), and La Borde's Ismène et Isménias, (1770) her status in the company rapidly improved following Gluck's arrival in Paris in 1774. The new maestro and the primadonna in office, Sophie Arnould, could not stand each other,To Mlle Arnould who insisted upon new great arias to sing in Iphigénie en Aulide instead of perpetual recitative, cantankerous Gluck is reported to have once replied that, first of all, one was supposed to be able to sing (Antonia Fraser, Maria Antonietta. La solitudine di una regina, Milan, Mondadori, 2004, p.
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Stefan Kister (12 April 2014) Die Katze lässt das Mausen nicht Stuttgarter ZeitungSigrid Löffler (15 April 2014) Das große Krimi-Puzzle Lewitscharoff has received praise for her playful mastery of language, described by the jury of the Berlin Literature Prize in 2010 as "uncommonly dense and original prose works ... that oppose all classifications with their own peculiar amalgam of humor and profundity. ... Lewitscharoff's poetic gesture is a brilliant recitative, a virtuoso rhetoric". In 2011, she was described in Die Welt as "the most dazzling stylist of contemporary German literature." Literature expert Ulrike Veder puts Lewitscharoff in the magical realism tradition and has further expressed on Lewitscharoff's writing that "it's the constellation of profound knowledge and a writing style that is funny and headstrong and that not only plays with language but actually enriches the language".
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Even among other festive music written by Bach, this work's scoring for four trumpets is unusual. It is characterised by a very solemn character and the attributes of courtly homage music, such as the opening chorus in the form of a French overture or fanfare-like trumpet interjections in the bass recitative. Bach created a work that in musical terms corresponds less to sacred music and more to the type of secular music for a princely court, as had been required of him during his time in office in Köthen. Only in its final two movements does Bach again use simple forms to emphasize the work's character of a church cantata, implying that earthly powers do not last, but God – the supreme ruler – is entitled to have the last word.
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Born in Berlin to a wealthy family, as a young man Giacomo Meyerbeer had musical ambitions and studied and traveled in Italy. Much impressed and influenced by the leading Italian composer of operas of the day, Rossini, Meyerbeer composed an opera in the style of that composer, Romilda e Costanza, which was produced in Padua in 1817. Through the support of a star singer of the day, Carolina Bassi, Meyerbeer had the opportunity to compose an opera for Turin, and the already ninety year old libretto Semiramide riconosciuta (presented in Turin simply as Semiramide) by Pietro Metasasio was chosen for the occasion. The libretti of Metastasio followed the form of opera seria, with passages of secco recitative followed by solo arias for the singers and contain little or no ensembles (duets, trios, etc.) or choruses.
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Tosi also dedicates a chapter each to recitative and aria singing, preaching throughout the necessity of improvising one's own graces and divisions on the spot in performances. There are a few teachings of Tosi's in his Opinioni that have been particularly interesting to singers and scholars over the years. Tosi clearly advocates uniting and blending the chest and head registers, the first recorded vocal pedagogue to do so. While earlier writers such as Zacconi and Caccini stated that singers ought to only sing in their “natural voice,” Tosi went so far as to say “[I]f [the chest and head register] do not perfectly unite, the Voice will be of divers Registers, and must consequently lose its Beauty.”Observations on the Florid Song, Bel Canto Masters Study Series (Pitch Perfect, 2009), p. 11. .
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The Beggar's Opera is a ballad opera in three acts written in 1728 by John Gay with music arranged by Johann Christoph Pepusch. It is one of the watershed plays in Augustan drama and is the only example of the once thriving genre of satirical ballad opera to remain popular today. Ballad operas were satiric musical plays that used some of the conventions of opera, but without recitative. The lyrics of the airs in the piece are set to popular broadsheet ballads, opera arias, church hymns and folk tunes of the time. The Beggar's Opera premiered at the Lincoln's Inn Fields Theatre on 29 January 1728 and ran for 62 consecutive performances, the second longest run in theatre history up to that time (after 146 performances of Robert Cambert's Pomone in Paris in 1671).
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Each year while he was in Hamburg, Bach compiled a new Passion to be performed during Lent. The Gospel text to be used was chosen on a rotating cycle, as was the Hamburg tradition established in the late 17th century, in the order Matthew, Mark, Luke, and John. As they were performed in a regular Sunday service (not at a separate Vespers, as was the custom in Leipzig), Bach modeled his Passions on those of Telemann: they were roughly an hour long, and began in the Garden of Gethsemane and ended with the death of Jesus, rather than telling the contextualizing details as well. The biblical text was set in recitative and assigned to the appropriate characters (individual singers taking the roles of the Evangelist, Jesus, Peter, and so on).
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Mario Bernardi (left) with another conductor, Bramwell Tovey, in 2005 Alan Blyth reviewed the album on LP in Gramophone in January 1980. Readers who were regular visitors to Glyndebourne, he wrote, would already be familiar with Frederica von Stade's portrayal of Penelope, the lonely, sorrowing queen of Ithaca in Monteverdi's Il ritorno d'Ulisse in patria. In her arioso and recitative "Torna, torna", she was "deeply moved [and] deeply moving" as she pleaded for her husband to come back to her after his long absence in the Greeks' war against the Trojans. Monteverdi's genius, von Stade's artistry and the able support of Janice Taylor as Ericlea combined to paint a picture that captured the very essence of romantic devotion, even if the music was performed in the "fanciful" edition confected by Raymond Leppard.
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This is mostly used when the piece changes to free time after having had a time signature. # Instead of a time signature, a large is written on the stave. # Note heads alone are used, without time values (typically black note heads without stems) # The passage is marked "recitativo" or "parlando" Examples of musical genres employing free time include Gregorian chant, the petihot used as transitions between Baqashot in Sephardic Jewish cantillation, nusach, layali, early types of organum, Anglican chant, the préludes non mesurés of 17th-century French lute and keyboard music, the alap of Hindustani classical music, Javanese pathetan, the hora lungă of Romania, the urtiin duu of Mongolia, the Zulu izibongo, free improvisation, free jazz and noise music. Cadenzas are most often in unmeasured rhythm, and so is recitative.
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In 1851 it was recorded that Hassé had written many hymns which had not been "collected", and it is not known whether any subsequent attempts have been made to collect and index his compositions. In 1822 he had published in London, Polyhymnia, or Select Airs by celebrated foreign Composers, adapted to words by James Montgomery (another of the Fulneck Moravians). In addition, he had published in Leeds a compilation entitled, Sacred Music, partly original, partly selected; this appeared in two volumes, the first of which appeared in 1829 and the second of which appeared posthumously in 1832. The original compositions, apparently written by himself, included a chorus, "Blessed are they", a recitative and air, "The Mountains shall depart", and a bass solo with chorus entitled, "Amen, praise the Lord".
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A royal apartment The King's Theatre in the Haymarket, where Hercules was first performed Lichas, a royal herald, notices the inconsolable grief of Dejanira, (Accompanied recitative: See, with what sad dejection in her looks) and sympathises (Air: No longer, fate, relentless frown). Dejanira is convinced that her husband, Hercules, has been killed whilst on a military expedition that has kept him apart from her for more than a year (Accompanied recitative:O, Hercules, why art thou absent from me? and Air: The world, when day's career is run). Hyllus, son of Dejanira and Hercules, enters and reports that an oracle has been consulted and indicated that the hero is dead and the summits of Mount Oeta are ablaze with fire (Arioso:I feel, I feel the god, he swells my breast).
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In 1996, Herrmann was the youngest finalist and winner of the International Johann Sebastian Bach Competition in Leipzig and in 1999 she won the special prize of the . In 2002, she made her debut at the Salzburg Festival and in 2003 conducted Mozart's recitative and rondo Ch'io mi scordi di te? for soprano with piano obbligato and orchestra KV 505 with Elīna Garanča, Marcello Viotti and the Mozarteum Orchestra Salzburg. Herrmann performed as a soloist with orchestras such as the Camerata Salzburg, the Mozarteum Orchestra Salzburg, the Bruckner Orchester Linz, the Vienna Chamber Orchestra, the NHK Symphony Orchestra, The Florida Orchestra, the MDR Sinfonieorchester, the Israel Chamber Orchestra and worked with the conductors Sir Roger Norrington, Manfred Honeck, Hubert Soudant, Sir Neville Marriner, James Judd, Pinchas Steinberg, Fabio Luisi, Lawrence Renes, Stefan Sanderling.
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The third act, divided into two brief scenes, begins with Zurga's entrance to quiet chromatic scales played over a tonic pedal, an effect that Bizet would later use in his incidental music to '. The duet "Je frémis", says Dean, has clear hints of Verdi's ', and the fiery chorus "Dès que le soleil" is reminiscent of a Mendelssohn scherzo, but otherwise the final act's music is weak and lacking in dramatic force. In the closing scene, in which Zurga bids a last farewell to his dreams of love, the friendship theme from the act 1 duet sounds for the final time. According to Lacombe, ' is characteristic of French opéra lyrique, in particular through Bizet's use of arioso and dramatic recitative, his creation of atmospheres, and his evocation of the exotic.
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William Davenant produced The Tempest in the same year, which was the first musical adaption of a Shakespeare play (composed by Locke and Johnson). About 1683, John Blow composed Venus and Adonis, often thought of as the first true English-language opera. Blow's immediate successor was the better known Henry Purcell. Despite the success of his masterwork Dido and Aeneas (1689), in which the action is furthered by the use of Italian-style recitative, much of Purcell's best work was not involved in the composing of typical opera, but instead, he usually worked within the constraints of the semi-opera format, where isolated scenes and masques are contained within the structure of a spoken play, such as Shakespeare in Purcell's The Fairy-Queen (1692) and Beaumont and Fletcher in The Prophetess (1690) and Bonduca (1696).
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Bach structured the cantata in seven movements, beginning with a chorale fantasia and ending in a closing chorale, as usually in his chorale cantatas, but with an unusual sequence of only one recitative and four arias, setting the poetic hymn stanzas. He scored it for three vocal soloists (soprano (S), tenor (T) and bass) (B), a four-part choir, and a Baroque chamber ensemble of corno da caccia (Co) to support the chorale tune in the outer movements, two flauti traversi (Ft), two oboes d'amore (Oa), two violins (Vl), two violas (Va) and basso continuo (Bc). In the following table of the movements, the scoring follows the Neue Bach-Ausgabe, the keys are given for the Weimar version. The time signature is provided using the symbol for common time (4/4).
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The Bible quote is sung in recitative by the tenor as the Evangelist, accompanied by the continuo in repeated fast notes, possibly illustrating the anxious heart beat of the disciples, when Jesus appears, "On the evening, however, of the same Sabbath, when the disciples had gathered and the door was locked out of fear of the Jews, Jesus came and walked among them". In movement 3, an aria marked adagio, the repetition is kept in the bassoon, but the strings hold long chords and the oboes play extended melodic lines. According to Dürr, it may have been another movement from the same concerto that movement 1 relies on. Bach composed the chorale text of movement 4, "Do not despair, o little flock", as a duet, accompanied only by the continuo including bassoon.
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Later commentators have asserted that Carmen forms the bridge between the tradition of opéra comique and the realism or verismo that characterised late 19th- century Italian opera. The music of Carmen has since been widely acclaimed for brilliance of melody, harmony, atmosphere, and orchestration, and for the skill with which Bizet musically represented the emotions and suffering of his characters. After the composer's death, the score was subject to significant amendment, including the introduction of recitative in place of the original dialogue; there is no standard edition of the opera, and different views exist as to what versions best express Bizet's intentions. The opera has been recorded many times since the first acoustical recording in 1908, and the story has been the subject of many screen and stage adaptations.
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Schnaut recorded Leonore in Beethoven's Fidelio with Christoph von Dohnányi (1990). A review devotes a paragraph to her performance, noting: > Her vocal acting is excellent: an example is her eruption after the on-stage > plotting ... She starts with steady, controlled recitative before moving > into her truly dramatic soprano with some fairly horrible leaps which she > hits well. If there is a suggestion of a lack of vocal strength in her lower > register and a slight diminishing of tonal beauty on high, it is more than > made up for by her evenness of head to chest transfers, her assurance of > vocal line and the believable drama with which she invests the role. In November 1992, she recorded Brünnhilde in Die Walküre with Dohnányi and the Cleveland Orchestra for Decca.
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He continues by noting the absence of music for the Quintet, in spite of the presence of the text in the printed libretto: "[The libretto] was "without the "virgolette" which generally indicate that a passage of text was not set to music by the composer." Then he notes other factors: :First, there is a remark in a review of the opera from the Giornale delle Due Sicilie that Felice Pellegrini was particularly effective in a "Quintet of the first Act" Gossett continues by saying that maybe the reviewer was mistaken "since the Finale I opens with a Quintet of voices", suggesting, then, that the reviewer had mixed them up. The second issue concerns the misbinding of "the Recitative after the Quintet [....] in Rossini's autograph manuscript of the opera. It is found in the second act [...] where it makes no sense whatsoever.
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Handel went into partnership with John James Heidegger, the theatrical impresario who held the lease on the King's Theatre in the Haymarket where the operas were presented and started a new opera company with a new prima donna, Anna Strada. For the opera season of 1732, opening with Ezio, Handel added to his ensemble of singers the tenor Giovanni Battista Pinacci, his wife alto Anna Bagnolesi, and the renowned bass Antonio Montagnana, the latter beginning a long association with Handel and creating many roles in Handel's works. Ezio is the last of three operas Handel composed to texts by the most famous librettist of the day, Metastasio, the other two being Siroe and Poro. Many of the long passages of recitative in the Metastasio original were cut in Handel's version, London audiences preferring to move more swiftly from one aria to the next.
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Despite the ideals of Gluck, and the trend to organise libretti so that arias had a more organic part in the drama rather than merely interrupting its flow, in the operas of the early 19th century, (for example those of Gioachino Rossini and Gaetano Donizetti), bravura arias remained focal attractions, and they continued to play a major role in grand opera, and in Italian opera through the 19th century. A favoured form of aria in the first half of the 19th century in Italian opera was the cabaletta, in which a songlike cantabile section is followed by a more animated section, the cabaletta proper, repeated in whole or in part. Typically such arias would be preceded by recitative, the whole sequence being termed a scena. There might also be opportunities for participation by orchestra or chorus.
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In the middle section of the first movement, Franck paraphrases the Gospel text, which says in verse 23 that God wants to dwell with man, to "" (God Himself shall prepare our souls for His temple, more literally: "God wants to prepare [our] souls to become his temples"). The words for the recitative are the quotation of verse 23 from the Gospel of John, "" (Whoever loves Me will keep My Word, and My Father will love him, and We will come to him and make Our dwelling with him). Movement 3 addresses the Trinity and movement 4 the Spirit that was present at the Creation. Movement 5 is a duet of the Soul and the Spirit, underlined by an instrumental quote from Martin Luther's Pentecost hymn "", which is based on the Latin hymn "Veni Sancte Spiritus, reple tuorum corda fidelium".
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Almirena's recitative, and few bars of "Lascia ch'io pianga", from Handel's 1711 autograph score No complete autograph score exists; fragments representing about three-quarters of the 1711 score are held by the Royal Music Library (a subdivision of the British Library in London) and the Fitzwilliam Museum in Cambridge. The oldest complete score, dating from about 1716, is an error- strewn manuscript that may be a copy from one or more of the performing scores from that period. The manuscript bears numerous notes and corrections in Handel's hand, and was possibly the basis for the substantial revisions which he effected in 1731. It was also used by the copyist John Christopher Smith to produce two performing scores for the 1720s Hamburg performances. Further complete manuscript copies were produced by Smith and others in 1725–28 (the "Malmesbury" score), 1740 ("Lennard") and 1745 ("Granville").
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John Blow About 1683, John Blow composed Venus and Adonis, often thought of as the first true English-language opera. Blow's immediate successor was the better known Henry Purcell. Despite the success of his masterwork Dido and Aeneas (1689), in which the action is furthered by the use of Italian-style recitative, much of Purcell's best work was not involved in the composing of typical opera, but instead he usually worked within the constraints of the semi-opera format, where isolated scenes and masques are contained within the structure of a spoken play, such as Shakespeare in Purcell's The Fairy-Queen (1692) and Beaumont and Fletcher in The Prophetess (1690) and Bonduca (1696). The main characters of the play tend not to be involved in the musical scenes, which means that Purcell was rarely able to develop his characters through song.
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Gioachino Rossini, painted by an unknown artist Alan Blyth reviewed the first version of the album on LP in Gramophone in February 1977. If he were in charge of an opera house, he wrote, he would be eagerly planning a staging of Rossini's Otello, That was how much he had been enthused by hearing Frederica von Stade's performance of Rossini's version of Desdemona's Willow Song scene. To understand his excitement, readers had only to "listen how her voice runs delicately through the phrase 'Salce d'amor delizia' ending with a heartrending diminuendo ... or how affectingly she touches in the recitative, or how she rightly allows a little harshness into her lovely tone in the word 'l'ingrato' or covers it for the Prayer". These details were no doubt the result of meticulous design, and yet von Stade's execution of them felt wholly free of artifice.
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Structurally and musically, Roméo et Juliette is most indebted to Beethoven's 9th symphony – not just due to the use of soloists and choir, but in factors such as the weight of the vocal contribution being in the finale, and also in aspects of the orchestration such as the theme of the trombone recitative at the Introduction. The roles of Roméo and Juliette are represented by the orchestra, and the narrative aspects by the voices. Berlioz's reasoning follows: > If, in the famous garden and cemetery scenes, the dialogue of the two > lovers, Juliet's asides, and Romeo's passionate outbursts are not sung, if > the duets of love and despair are given to the orchestra, the reasons for > this are numerous and easy to understand. First, and this reason alone would > be sufficient, it is a symphony and not an opera.
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Haydn's musical setting stems from a suggestion of van Swieten's that the words should be sung by the bass soloist over an unadorned bass line. However, he only partly followed this suggestion, and after pondering, added to his bass line a rich layer of four-part harmony for divided cellos and violas, crucial to the final result.Of the passage, Rosemary Hughes writes (1970, 135), "Only a profoundly experienced, as well as profoundly inspired, musician could have endowed the recitative 'Be fruitful all' with the shrouded depth and richness suggested by its accompaniment of divided lower strings alone." The premieres of the three oratorios The Seven Last Words, The Creation and The Seasons all took place under the auspices of the Gesellschaft der Associierten, who also provided financial guarantees needed for Haydn to undertake long-term projects.
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After a clipped soprano recitative, the chorus and orchestra unite in the final chorale, ending the cantata. Christoph Wolff notes that "the texturally transparent and rhythmically vibrant setting" of the closing chorale is informed by the treatment of the opening chorus. More generally Emil Platen and Wolff have observed that when Bach adapted or borrowed chorales from more recent composers such as Vopelius or Vetter, he composed in a more fashionable and melodic style. In 1998 the authenticity of the closing chorale of BWV 8 was placed in doubt, when it was summarily listed as "spurious" in the second small edition of the Bach-Werke-Verzeichnis, prepared by the Göttingen musicologists Alfred Dürr and Yoshitake Kobayashi: prior to that, in 1991 and 1996, the musicologist Frieder Rempp had published critical commentaries on the closing chorale for the Neue Bach-Ausgabe.
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Harsh criticism is also known from Messiah-librettist Charles Jennens who recorded it was 'a baudy Opera'. The questionable morals of whether Semele was 'profane' and so perhaps not suitable for decent members of the audience meant that the work quickly fell from the repertoire, only being revived once by Handel. However, Semele remains a work of high quality. As the late Lord Harewood put it: > the music of Semele is so full of variety, the recitative so expressive, the > orchestration so inventive, the characterization so apt, the general level > of invention so high, the action so full of credible situation and incident > – in a word, the piece as a whole is so suited to the operatic stage – that > one can only suppose its neglect to have been due to an act of abnegation on > the part of opera companies.
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Before she can answer, Donna Elvira returns and tells Donna Anna and Don Ottavio that Don Giovanni is a false-hearted seducer. Don Giovanni tries to convince Don Ottavio and Donna Anna that Donna Elvira is insane (Quartet: "" – "Don't trust him, oh sad one"). As Don Giovanni leaves, Donna Anna suddenly recognizes him as her father's murderer and tells Don Ottavio the story of his intrusion, claiming that she was deceived at first because she was expecting a night visit from Don Ottavio himself, but managed to fight Don Giovanni off after discovering the impostor (long recitative exchange between Donna Anna and Don Ottavio). She repeats her demand that he avenge her and points out that he will be avenging himself as well (aria: "Or sai chi l'onore Rapire a me volse" – "Now you know who wanted to rob me of my honour").
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"Whither Must I Wander" offers the first of Vaughan Williams's many "big tunes," the essentially strophic song recalls happy days of the past and reminds us that while the world is renewed each spring, our traveller cannot bring back his past. However, the composer offers the listener some consolation in "Bright is the ring of words": The listener is reminded that while all wanderers (and artists) must eventually die, the beauty of their work shall remain as a testament of their lives. The final song, "I have trod the upward and the downward slope", was added to the cycle only in 1960 after its posthumous publication. This song recapitulates the whole cycle in just four phrases that form a miniature scena of recitative and arioso, quoting four of the previous songs in the cycle, before ending with the opening chords, suggesting that the traveller's journey continues forever, even in death.
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It is thought that there was once a cycle for reading the Psalms, parallel to the triennial cycle for Torah reading, as the number of psalms (150) is similar to the number of Torah portions in that cycle, and remnants of this tradition exist in Italy. All Jewish liturgies contain copious extracts from the Psalms, but these are normally sung to a regular recitative or rhythmic tune rather than read or chanted. Some communities also have a custom of reading Proverbs in the weeks following Pesach, and Job on the Ninth of Ab. The five megillot are read on the festivals, as mentioned above, though Sephardim have no custom of public reading of Song of Songs on Passover or Ecclesiastes on Sukkot. There are traces of an early custom of reading a haftarah from Ketuvim on Shabbat afternoons, but this does not survive in any community.
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Her pain is expressed in the Rondeau "Fatal Auteur de mes alarmes" (act IV) by the intervals of sixths or fourths, violently attacked or by the metaphorical coulés and chutes de voix on the word "couler" (to flow). She also expresses her fury in her duet with Orion “Transports de haine & de rage” (act V), a syllabic and well-marked air, punctuated with rapid vocalizations. The roles of Alphisa and Pallantus have fewer opportunities to express the dramatic quality of the libretto in their airs, more focused on the singing aspect. Nevertheless, through Alphisa's trills and ascending lines, Lacoste depicts her ardent love for Orion in her monologue "Qu'ai j'entendu..." (act III) while Pallantus balances between his tenderness for the nymph through ports de voix and his violence against the gods through attacks in his higher register in his final recitative in act V.
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The feel of the Nixon era is recreated through popular music references; Sellars has observed that some of the music associated with Nixon is derived from the big band sound of the late 1930s, when the Nixons fell in love. Other commentators have noted Adams's limitations as a melodist, and his reliance for long stretches on what critic Donal Henahan has described as "a prosaically chanted recitative style". However, Robert Hugill, reviewing the 2006 English National Opera revival, found that the sometimes tedious "endless arpeggios" are often followed by gripping music which immediately re-engages the listener's interest. This verdict contrasts with that of Davis after the original Houston performance; Davis commented that Adams' inexperience as an opera writer was evident in often "turgid instrumentation", and that at points where "the music must be the crucial and defining element ... Adams fails to do the job".
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The Bertati aria, "Dell' Italia ed Alemagna" uses punch lines such as "ve ne sono non se quante (there I know not how many)" while Da Ponte uses specific numerical figures to add to the humor (e.g. "ma in Espagna, son già mille e tre, mille e tre, mille e tre (But in Spain he had one thousand and three, one thousand and three, one thousand and three)". Bertati also structures the aria differently, beginning immediately with the list and not including an introduction, which is in the preceding recitative. Da Ponte removed ugly words and references to women of lower social station ("cuoche," "guattere"), and took a reference that being female is enough to be of interest to Giovanni (although Bertati's Giovanni, unlike Da Ponte's, is not interested in old ladies), to a more subtle conclusion shifted to the closing that it Giovanni wants anyone who wears a skirt.
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William Davenant produced The Tempest in the same year, which was the first Shakespeare play to be set to music (composed by Locke and Johnson). About 1683, Blow composed Venus and Adonis, often thought of as the first true English-language opera.R. Parker, The Oxford Illustrated History of Opera (Oxford: Oxford University Press, 2001), p. 42. Purcell produced Dido and Aeneas (1689), often described as the finest in the genre, in which the action is furthered by the use of Italian-style recitative, but much of Purcell's best work was not involved in the composing of typical opera, but instead he usually worked within the constraints of the semi-opera format, where isolated scenes and masques are contained within the structure of a spoken play, such as Shakespeare's Midsummer Night's Dream in his The Fairy-Queen (1692) or Beaumont and Fletcher dramas in The Prophetess (1690) and Bonduca (1696).
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85 The first instrument he learned to play as a child was the ukulele; the second was the mandolin, which remained his favorite instrument throughout his life and figures in several of his scores. Sur's family moved to the mainland United States in 1951 and eventually settled in Los Angeles. He studied ethnomusicology for a year at UCLA as an undergraduate before transferring to Berkeley and studying with Andrew Imbrie, Seymour Shifrin, and Colin McPhee, who taught him Balinese composition techniques.Dyer (18 March 1990) Following post-graduate work at Princeton with Roger Sessions and Earl Kim, he spent four years in Korea (1964–68) doing research on Korean court music. On his return from Korea, he continued his post-graduate studies at Harvard University where he received a PhD in composition in 1972 with The Sleepwalker's Ballad, "an accompanied recitative for soprano and chamber ensemble".
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In the last aria, an "unusual oboe trio" accompanies the bass boice in "" (To hang one's heart on earthly treasures). Gardiner comments: "He scores this Totentanz (Dance of the dead) for three oboes and continuo supporting his bass soloist in a mock bourrée", the oboes undermining in "throbbing accompaniment ... those earthly pleasures by which men are seduced", then representing "through jagged figures ... the tongues of flame which will soon reduce them to ashes, and finally in hurtling semiquaver scales of 6/4 chords ... surging waves which will tear all worldly things apart". Mincham sees a connection of the runs to those of movement 1, but points out how different their function is here: A recitative for soprano, "" (The highest glory and magnificence), expresses that even highest power will not escape death. The closing chorale, "" (Ah, how fleeting, ah how insignificant), is a four-part setting.
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Of the fifty two songs from operas and oratorios in the "Royal Edition" selected by William Thomas Best in 1880, with English translations of the Italian texts by Maria X. Hayes, only three came from Giulio Cesare, all for Cleopatra: Piangerò la sorte mia ("Hope, no more this heart sustaining"); V'adoro, pupille, saette d'amore ("Ye dear eyes so tender"); and Da tempeste ("When by storms"). Chrysander's faithful rendition of Handel's original score was accompanied in 1878 by a seven volume compendium of opera and oratorio songs prepared for Breitkopf & Hārtel by Victorie Gervinus, widow of the Handel scholar Georg Gottfried Gervinus. The possible voice types—soprano, mezzo-soprano, alto, tenor, bass—are given for each aria or recitative. All the texts were in German with no reference to Italian or English; and in all the seven volumes there are only six numbers from Giulio Cesare: Alma del gran Pompeo (Vol.
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At the peak of its development, the harpsichord lost favor to the piano. The piano quickly evolved away from its harpsichord-like origins, and the accumulated traditional knowledge of harpsichord builders gradually dissipated. The old harpsichords were not valued, often destroyed (for example, they were used in the Paris Conservatory for firewoodFor further details see Hubbard 1967, 116.), and the instrument was something of a ghost for the duration of the 19th century. One exception is the continued use for recitative music in opera well into the 19th century, it was also used in basso continuoso because of its power to "cut through" the orchestra, the fact that it did not completely disappear from the public eye due to sporadic use in popular music (that persisted until around the turn of the century) played a role in revival efforts that began in the mid-19th century.
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Such was his genius in his embellishments and cadences, that their > variety was inexhaustible. ... As an actor, with many disadvantages of > person ... he was nevertheless forcible and impressive ... His recitative > was inimitably fine, so that even those who did not understand the language > could not fail to comprehend, from his countenance, voice and action, every > sentiment he expressed. As a concert singer, and particularly in private > society, he shone almost more than on the stage ... he was a worthy and good > man, modest and diffident to a fault ... He was unpresuming in his manners, > grateful and attached to all his numerous friends and patrons.The Earl of > Mount Edgcumbe: Musical Reminiscences, containing an account of the Italian > opera in England from 1773, The fourth Edition, continued to the present > time, and including the Festival in Westminster Abbey (London/Richmond, > 1834), pp 12-16 (accessible for free online in books.
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When Vincenzo Galilei first attacked Zarlino in the Dialogo of 1581, it provoked Artusi to defend his teacher and the style he represented. In 1600 and 1603 Artusi attacked the "crudities" and "license" shown in the works of a composer he initially refused to name (it was Claudio Monteverdi). Monteverdi replied in the introduction to his fifth book of madrigals (1605) with his discussion of the division of musical practice into two streams: what he called prima pratica, and seconda pratica: prima pratica being the previous polyphonic ideal of the sixteenth century, with flowing counterpoint, prepared dissonance, and equality of voices; and seconda pratica being the new style of monody and accompanied recitative, which emphasized soprano and bass voices, and in addition showed the beginnings of conscious functional tonality. Artusi's major contribution to the literature of music theory was his book on dissonance in counterpoint.
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Les Misérables at Sondheim Theatre in London The English-language version, with lyrics by Herbert Kretzmer and additional material by James Fenton, was substantially expanded and reworked from a literal translation by Siobhan Bracke of the original Paris version, in particular adding a prologue to tell Jean Valjean's background story. Kretzmer's lyrics are not a direct translation of the French, a term that Kretzmer refused to use. A third of the English lyrics were a rough translation, another third were adapted from the French lyrics and the final third consisted of new material. The majority is performed in recitative style; the vocalists use natural speech, not musical metrics. The first production in English, produced by Cameron Mackintosh and adapted and directed by Trevor Nunn and John Caird, played to preview performances beginning on 28 September 1985 and formally opened on 8 October 1985 at the Barbican Centre, London.
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Kobzar Ostap Veresai - One of the finest exponents of Dumy in the 19th century A Duma (, plural dumy) is a sung epic poem which originated in Ukraine during the Hetmanate Era in the sixteenth century (possibly based on earlier Kievan epic forms). Historically, dumy were performed by itinerant Cossack bards called kobzari, who accompanied themselves on a kobza or a torban, but after the abolition of Hetmanate by the Empress Catherine of Russia the epic singing became the domain of blind itinerant musicians who retained the kobzar appellation and accompanied their singing by playing a bandura (rarely a kobza) or a relya/lira (a Ukrainian variety of hurdy-gurdy). Dumas are sung in recitative, in the so-called "duma mode", a variety of the Dorian mode with raised fourth degree. Dumy were songs built around historical events, many dealing with the military actions in some form.
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While musique mesurée was created and sung by a small group of people for a limited audience, and for the most part in secret, it was to have a profound effect on French music for the next hundred years. The air de cour, the secular style of song which dominated the musical scene in France beginning in the 1580s, used the principles of musique mesurée with the difference that it usually used rhyming verse. In addition, even in the late 17th century, the influence of musique mesurée can be seen in the style of French recitative, both in opera and in sacred music. Composers that continued using the methods of musique mesurée into the 17th century included Jacques Mauduit, who used it for creating large works for mixed vocal and instrumental forces, roughly in the Venetian style, and Eustache Du Caurroy, who used the method for psalm settings.
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Nikolay Gogol (1809–1852) The idea to set Gogol's Marriage to music came from the advice and influence of Alexander Dargomyzhsky, who began to compose his own experimental opera, The Stone Guest, to Alexander Pushkin's tragedy just two years earlier (in 1866). Dargomyzhsky declared that the text would be set "just as it stands, so that the inner truth of the text should not be distorted", and in a manner that abolished the 'unrealistic' division between aria and recitative in favour of a continuous mode of syllabic but lyrically heightened declamation somewhere between the two. In 1868, Mussorgsky rapidly set the first eleven scenes of Zhenitba, with his priority being to render into music the natural accents and patterns of the play's naturalistic and deliberately humdrum dialogue. Mussorgsky's aim was to create individual musical signatures for each character using the natural rhythms of the text.
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His style offered a peculiar synthesis: if La Captive, particularly close to Bellini, is one of his most inspired pieces, others like Les Rossignols borrow much of their vocality from Rossini while Amour et Patrie resembles Méhul most, with a recitative close to Berlioz. When the "king-citizen" Louis-Philippe came into power, the nobility who had always patronised artistic institutions were forced back and were gradually replaced in the theatre by the wealthy bourgeoisie. After having obtained his certificate in December 1830, de Coussemaker became a trainee in Dowaai, where in 1832 he took up the thread of his studies in counterpoint, with Victor Lefebvre. As he wished to elevate the level of religious music, in imitation of Alexandre-Étienne Choron, initiator of the renewal of the mastership from 1807 on, de Coussemaker wrote a Mass as well as different motets a cappella: Kyrie, Sanctus, O Salutaris and Agnus dei.
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In the new genre a complete story was told through characters, and in addition to choruses and ensembles, the vocal parts included recitative, aria and arioso. This was a development from various older forms of musical theatre that had existed since the earliest years of the Italian Renaissance; such forms included the maschera ("masque"), the ballo (a dance entertainment, often with sung passages), and particularly the intermedio or intermezzo, a short dramatic musical episode inserted as a prologue or entr'acte between the acts of straight plays. Another format in the later renaissance period was the torneo, or "tournament", a stylised dramatic spectacle in which the main singing was performed by a narrator. Sub-operatic forms of dramatic music continued to thrive as opera itself developed; the blurred boundaries that existed for many years between these forms and "opera" has led to debate about how to categorise some works.
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So pleased is he with Campbell that he decides to let go of Peter, abandoning him on stage to reprise "No Me In Tony." Once again in the spotlight, Tony recounts to the audience how the Conservative opposition was no competition, before a barbershop quartet of former Tory leaders - John Major, William Hague, Iain Duncan Smith and Michael Howard - shuffle on stage in boaters to sing their comic song in which they lament how they all fell foul of Mr. Blair. After this, Tony introduces George W. Bush with a recitative, who bounces on stage as a delinquent cowboy with a toy horse and screeches the bluesy song "George's Entrance." As with Campbell, Tony is taken with the gutsy George, though as the president leaves, Gordon once again enters to moodily remind Tony of their deal, and scold him for forgetting his own people.
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The sub-sections of the first movement are all constructed around compositional devices from the keyboard works of Régnier's contemporary, Girolamo Frescobaldi, organist of St. Peter's in Rome. Occasionally motifs are inverted, reversed, metrically distorted, superimposed as plainchant. In the central section in recitative style (accompanied by clarinet multiphonics, ‘cello harmonics, and various vibrato and glissando effects in harp and accordion), fragments from four of Frescobaldi’s Arie musicali of 1628–30 are fitted by the soprano to the last Ming emperor’s suicide speech of April 1644, which translates: > I am not the prince of a fallen kingdom, but ye are her subjects all. Though > I have not been ungenerous to thee, why then, now that we are come to such a > pass, is there not one of my ministers here to attend me? The symphony is named after the pioneering ‘Cabinet of Curiosities’ (Kunstkammer) assembled by another Roman contemporary, the German Jesuit Athanasius Kircher.
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It is possible that Denzio concealed the borrowings due to Caldara's position in the musical establishment of Holy Roman Emperor Charles VI in Vienna, which could have put Caldara in a position to retaliate for the unauthorized use of his music (Prague at that time was under the authority of Charles VI, who held the title King of Bohemia). From the texts preserved in surviving copies of the libretto, it has been possible to identify a few of the Caldara arias used in La pravità castigata (at least one other aria appears to have been borrowed from an opera by Antonio Vivaldi).One of the Caldara arias, "Piange è ver l'usignol," is transcribed and edited in Freeman, "Newly-Found Roots," 154-57. The recitative used in the production was likely composed by Matteo Luchini, a minor composer attached to the Denzio company who also appeared in the production as a singer, indeed as Don Giovanni in this production.
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The first exploits her low register and uses several glissandos in the air "J'ai triomphé d'un Monstre affreux" (act II). The second shows the lightness of her voice through the developed vocalizations of the air "Tout rit" and "Battez Tambours" from act I. On the men's side, Denis-François Tribou, whose Haute-contre voice is generally more lyrical than his predecessors Murayre, Jacques Cochereau and Pierre Chopelet, receives some heroic vocalizations in his recitative "Je goûtais le repos..." (act I) and the air "Fille du Dieu puissant..." (act IV). Claude Chassé also finds occasions to show his vocal extension and flexibility with vocalizations and ornaments in the air "Ô Vous que le Destin..." (prologue) and "Unissez vos voix" (act III). Lacoste also employs this more melodic and virtuoso compositional style in duets, like in the duet between Orion and Alphisa "Vole, Amour..." (act IV), remarkable for its attacks in the higher register and melodies in triplet.
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They however rejected the work because of its frivolous nature, its relatively few extended arias and its long passages of recitative. (The latter objections are not particularly true, however. The opera has relatively few ensemble pieces but is replete with gorgeous arias.) The opera manager Owen Swiney opined that the project was uncommercial; in a letter of 1726 he wrote: > [The libretto] is the very worst book (excepting one) that I ever read in my > whole life. Signor Stampiglia [...] endeavours to be both humorous and witty > in it: if he succeeded in his attempt on any stage in Italy, 't was merely > from a depravity of taste in the audience; for I am very sure it will be > received with contempt in England'cited in English National Opera programme, > Parthenope, 12 The King's Theatre, London, where Partenope had its first performance The opera was presented during the 1730 season at the King's Theatre when Handel was working in partnership with the director John James Heidegger.
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19th century Ermione was first performed at the Teatro di San Carlo, Naples, on 27 March 1819. For reasons that are as yet unclear, the opera was withdrawn on 19 April after only seven performances, and was not seen again until over a hundred years after Rossini's death. One possible explanation for its failure might be Rossini's choice to renounce the use of secco recitative in favour of accompanied declamation and to connect each closed number to the next in a manner reminiscent of Gluck's French operas and of Spontini (the latter was also to have a huge influence on Weber's Euryanthe, four years later)Both Stendhal and Ferdinand Hiller made remarks on the overall French flavour of the opera. See Gossett & Bauer (2006) Despite the opera's failure, Rossini seemed to be quite fond of this work and kept its manuscript, along with a few other from his Neapolitan years, until his death.
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One of the more notable compilations of English madrigals was The Triumphs of Oriana, a collection of madrigals compiled by Thomas Morley, which contained 25 different madrigals by 23 different composers. Published in 1601 as a tribute to Elizabeth I of England, each madrigal contains a reference to Oriana, a name used to reference the Queen. Madrigals continued to be composed in England through the 1620s, but the air and "recitative music" rendered the style obsolete; somewhat belatedly, characteristics of the Baroque style finally appeared in England. While the music of the English Madrigal School is of generally high quality and has endured in popularity, it is useful to remember that the total output of the composers was relatively small: Luca Marenzio in Italy alone published more books of madrigals than the entire sum of madrigal publications in England, and Philippe de Monte wrote more madrigals (over 1100) than were written in England during the entire period.
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The great achievements generally ascribed to Carissimi are the further development of the recitative, introduced by Monteverdi, which is highly important to the history of dramatic music; the further development of the chamber cantata, by which Carissimi superseded the concertato madrigals which had themselves replaced the madrigals of the late Renaissance; and the development of the oratorio, of which he was the first significant composer. Carissimi's position in the history of church, vocal and chamber music is somewhat similar to that of Francesco Cavalli in the history of opera. While Luigi Rossi was his predecessor in developing the chamber cantata, Carissimi was the composer who first made this form the vehicle for the most intellectual style of chamber music, a function which it continued to perform until the death of Alessandro Scarlatti, Emanuele d'Astorga and Benedetto Marcello. Carissimi is also noted as one of the first composers of oratorios, with Jephte as probably his best known work, along with Jonas.
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Brünnhilde throws herself on Siegfried's funeral pyre in Wagner's Götterdämmerung Wagner was one of the most revolutionary and controversial composers in musical history. Starting under the influence of Weber and Meyerbeer, he gradually evolved a new concept of opera as a Gesamtkunstwerk (a "complete work of art"), a fusion of music, poetry and painting. He greatly increased the role and power of the orchestra, creating scores with a complex web of leitmotifs, recurring themes often associated with the characters and concepts of the drama, of which prototypes can be heard in his earlier operas such as Der fliegende Holländer, Tannhäuser and Lohengrin; and he was prepared to violate accepted musical conventions, such as tonality, in his quest for greater expressivity. In his mature music dramas, Tristan und Isolde, Die Meistersinger von Nürnberg, Der Ring des Nibelungen and Parsifal, he abolished the distinction between aria and recitative in favour of a seamless flow of "endless melody".
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In describing the changes made to the original opera, Budden observes that the revised version has far greater strengths than those acknowledged by many Italian and English writers and that "the diffuse drama which Solera had distilled from an epic poem is replaced by a far tauter, more concentrated plot which not only makes fewer demands on our credulity than I Lombardi but also avoids the problem of a second tenor who needs to be weightier and more heroic than the first."Budden, p. 343 He continues by acknowledging that the newly composed numbers and the repositioning of the original ones were: :soldered together by linking passages of far greater significance than the string-accompanied recitative which they replace. The entire opera, as befits one designed for the French stage, is more 'through-composed' than its parent work; and only a sentimentalist could regret the omission of all that was most embarrassingly naïf in the original score.
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La Flora was performed on 14 October 1628, three days after the wedding of Margherita de' Medici and Odoardo Farnese, and was the last major spectacle to be staged in the Teatro Mediceo. The lavish production was designed by Alfonso Parigi, who also produced engravings of the major scenes from the opera to illustrate the libretto which was published in the same year as a festival book. Marin Mersenne writing in L'Harmonie universelle (1637) described the reactions of those who attended: > The spectatators declared that they had never heard nor seen anything like > it, either for the beauty of the recitative that each actor gave in reciting > and singing on the stage, or for the majesty of the poetry, or for the > richness, and the machines that represented the thunders and lightenings, > and other storms with such perfection that the spectators remained astounded > and ravished.Marin Marsenne, "Notice for the Maîtres Who Teach Singing, In > Which Italian Airs Are Discussed" in MacClintock (1979) p.
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Anil Krishna Biswas (7 July 1914 – 31 May 2003) was an noted Indian film music director and playback singer from 1935 to 1965, who apart from being one of pioneers of playback singing, is also credited for the first Indian orchestra of twelve pieces and introducing orchestral music and full-blooded choral effects, into Indian cinema. A master in western symphonic music was known for the Indian classical or folk elements, especially Baul and Bhatiyali in his music.Anil Biswas Britannica.com. Out of his over 90 films, most memorable were, Roti (1942), Kismet (1943), Anokha Pyaar (1948), Taraana (1951), Waaris (1954), Pardesi (1957) and Char Dil Char Rahen (1959). He was also the pioneer in using the counter melody in film scores, employing technique of western music, ‘cantala’, where one line overlaps the other in contra-melody, recitative prose songs as in Roti (1942), besides he was the first one to start extensively using the Ragmala.
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Mussorgsky's career as a civil servant was by no means stable or secure: though he was assigned to various posts and even received a promotion in these early years, in 1867 he was declared 'supernumerary' – remaining 'in service', but receiving no wages. Decisive developments were occurring in his artistic life, however. Although it was in 1867 that Stasov first referred to the 'kuchka' ('The Five') of Russian composers loosely grouped around Balakirev, Mussorgsky was by then ceasing to seek Balakirev's approval and was moving closer to the older Alexander Dargomyzhsky. Ivan Melnikov as the title character in Boris Godunov, 1874 Since 1866 Dargomyzhsky had been working on his opera The Stone Guest, a version of the Don Juan story with a Pushkin text that he declared would be set "just as it stands, so that the inner truth of the text should not be distorted", and in a manner that abolished the 'unrealistic' division between aria and recitative in favour of a continuous mode of syllabic but lyrically heightened declamation somewhere between the two.
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The cantorial style of the Spanish and Portuguese Jews adheres to the general Sephardi principle that every word is sung out loud and that most of the ritual is performed communally rather than solistically (although nowadays in the New York community, the Pesukei dezimra (zemirot) throughout the year, Hallél on festivals or the new moon, and several of the selichot during Yom Kippur are chanted in a manner more similar to the Ashkenazi practice of reading only the first and last few verses of each paragraph aloud). The hazzan's rôle is typically one of guiding the congregation rather than being a soloist. Thus, there is traditionally a much stronger emphasis on correct diction and knowledge of the musical minhág than on the solistic voice quality.Traditionally, an auditioning cantor in an Ashkenazi synagogue is asked to sing Kol Nidre, a solo piece demanding great vocal dexterity, range and emotional expression, while in a Sephardi synagogue he is asked to sing Bammeh madlikin, a plainsong recitative which demands accuracy more than anything else.
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By 1819, musical and theatrical taste had changed and audiences wanted more from opera than one solo aria after the other, so the libretto was adapted by Lodovico Piossasco Feys to include duets and ensembles, a lengthy finale to the first act with ensembles and chorus, as demanded by the taste of the time, and the many passages of dialogue in recitative were shortened. Although a success at its first performance in Turin, the opera was only given there three times. In 1820 the libretto was further revised by Gaetano Rossi, with musical revisions by the composer, and was given under the title Semiriamide riconosciuta in Bologna, with the same star, Carolina Bassi, in the title role, with great success. The story of this opera is not the same as the story of Rossini's 1823 opera Semiramide with a libretto by Rossi based on a play by Voltaire, but shows the Babylonian queen (known in English as 'Semiramis') at an early part of her life, rather than at the end of it, as in the Rossini opera.
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Reconstructions of Bach's vocal music are often based on surviving lyrics, such as librettos, which show similarities with those of extant music, so that the variant text can be combined with the known music. In vocal music, recitatives are often a particularly difficult challenge for reconstruction: when Bach parodied his own vocal music, he reused music of arias, duets and choruses for the new work, but recitatives with different lyrics were less suitable for such transcriptions. For example, when he adapted Vereinigte Zwietracht der wechselnden Saiten, BWV 207, one of his secular cantatas, into Auf, schmetternde Töne der muntern Trompeten, BWV 207a, for a different occasion, he reused the music of all movements except the music of the recitative movements 2, 4 and 6: he composed new music for the recitatives of the later work. An exception appears to have been when he parodied the Michaelmas cantata BWV 248a, recitatives and all, into the sixth part of his Christmas Oratorio: how exactly he proceeded with this adaptation can however not be ascertained while the text of the BWV 248a cantata went lost.
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The soprano soloist (vocal range: D4 to F6) performs with an orchestra consisting of pairs of oboes, bassoons, horns, and strings. The three parts of the Queen's discourse are set as musically separate items, each marked by a change in key: # Recitative (B-flat major) – continues the Allegro maestoso tempo marking of the entrance music, but often performed in free tempo # First part of the aria (G minor) – Andante # Second part of the aria (back to B-flat major) – Allegro moderato It is in the third part that the music reaches a high level of virtuosity for the soloist, including the following very difficult coloratura: 500px It can be seen that Mozart aligned the text (dann) to give the singer the most sonorous and singable vowel "a" for most of the passage. The highest note, F6 in scientific pitch notation, is claimed by a posthumous witness to have been mentioned by Mozart on his deathbed; the composer was (if the story is true) imagining his sister-in- law's performance. See Death of Mozart.
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Many scholars who have studied the Albanian iso-polyphony and in general the polyphonic music of the Balkans consider it an old tradition that dates back to the Thraco-Illyrian era. There is a lack of historical documentation of the Albanian polyphonic traditional music. However, since it is considered the product of oral transmission down many generations, scholars came to their conclusions by analyzing this musical tradition that continues to be performed in modern days. There are found many specific features of the Albanian polyphonic tradition that indicate its ancient origin: the pentatonic modal/tonal structure, which is widely thought by scholars to represent an early beginning to the musical culture of a people; the presence of recitative vocals, because when the melody of the vocals is not developed, the tradition is thought to be in a more primitive phase; the presence of calls and shouts, which indicates a primitive phase of development in the musical culture of a people; the a cappella singing style, which suggests an old age of a musical tradition since it lacks of instrumental accompaniment.
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A view of Rhodes, designed by Inigo Jones' pupil John Webb, to be painted on a backdrop for the first performance of Davenant's opera The Siege of Rhodes "in recitative music" in 1656. In the early 17th century, moveable "scenes"—painted wings and backdrops—and technical "machines" or "devices" for flying and other special effects were used in the masques produced for and by the court of Charles I. In William Davenant's Salmacida Spolia (1640), for instance, the last of the court masques before the Civil War, Queen Henrietta Maria (pregnant at the time) makes her entrance "descending by a theatrical device from a cloud." As early as 1639, Davenant had obtained a royal patent authorising construction of a large new public theatre with technology that would allow such effects and accommodate music, scenery, and dancing. Such an invasion of court-drama technique in the public theatre met opposition from "legitimate" dramatists, and before the opposition could be overcome, the war had closed down the theatres in 1642.
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The surviving source is a copy by Penzel, identified on the title page as being for the Purification (the Lutheran feast Mariae Reinigung), which was celebrated on 2 February, but with an alternate designation for Easter Tuesday in the parts. Bach composed several cantatas for the Purification and the texts are related to Simeon's canticle Nunc dimittis, part of the prescribed readings.Erfreute Zeit im neuen Bunde, BWV 83, 1724; Mit Fried und Freud ich fahr dahin, BWV 125, 1725 (on Luther's hymn after Nunc dimittis); Ich habe genug, BWV 82, 1727 Because of the references to the "Nunc dimittis" in Der Friede sei mit dir and because of the alternate title page designation, it is widely assumed that at least the two central movements were originally part of a longer cantata for the Purification, with a different introductory recitative not evoking Christ's Easter reappearance to the disciples. The obbligato writing in the aria, which appears better suited to flute than the "violino" specified in Penzel's copy, is cited in support of the hypothesis that it was originally written for a different occasion.
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Structurally, it consists of three purely orchestral movements followed by 10Felix Mendelssohn-Bartholdy, Lobgesang: eine Symphonie-Cantate nach Worten der heiligen Schrift; op. 52, p. 198-223. movements for chorus and/or soloists and orchestra, and lasts approximately 65–70 minutes in total. The English titles of the movements are: # Sinfonia: ## Maestoso con moto - Allegro ## Allegretto un poco agitato ## Adagio religioso # All men, all things, all that have life and breath (Chorus) # Praise thou the Lord, O ye Spirit (Soprano Solo and Semi-Chorus) # Sing ye Praise (Tenor Recitative and Aria) # All ye that cried unto the Lord (Chorus) # I waited for the Lord (Soprano Duet and Chorus) # The sorrows of Death (Tenor Aria) # The Night is Departing (Chorus) # Let all men praise the Lord (Chorale of Now Thank We All Our God) # My song shall be always Thy Mercy (Soprano and Tenor Duet) # Ye nations, offer to the Lord (Chorus) The now-standard harmonisation of Now Thank We All Our God was devised by Felix Mendelssohn in 1840 when he adopted the hymn, sung in the now-standard key of F major and with its original German lyrics, as the chorale to Lobgesang.
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In Cusick's view Monteverdi "creat[ed] the lament as a recognizable genre of vocal chamber music and as a standard scene in opera ... that would become crucial, almost genre-defining, to the full-scale public operas of 17th- century Venice" and she concludes by noting that the women of Mantua would have recognised the transformations enacted in the lament as representative of their own life stories. Monteverdi, she believes, sought to represent in music the eventual triumph of female piety over promiscuity: "Arianna's gradual loss of her passionate self in the lament constitutes a public musical chastening of this incautious woman who dared to choose her own mate". In her study The Recitative Soliloquy, Margaret Murata records that laments of this kind became a staple feature of operas until about 1650, "thereafter more rarely until the total triumph of the aria around 1670". Mark Ringer, in his analysis of Monteverdi's musical drama, suggests that the lament defines Monteverdi's innovative creativity in a manner similar to that in which, two-and-a-half centuries later, the "Prelude" and the "Liebestod" in Tristan und Isolde announced Wagner's discovery of new expressive frontiers.
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The Stabat Mater is scored for four vocal soloists (soprano, mezzo-soprano, tenor, and bass), mixed chorus, and an orchestra of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. Rossini divided the poem's twenty 3-line verses into ten movements and used various combinations of forces for each movement: # Stabat Mater dolorosa (verse 1) – Chorus and all four soloists # Cujus animam (verses 2–4) – Tenor # Quis est homo (verses 5–6) – Soprano and mezzo-soprano # Pro peccatis (verses 7–8) – Bass # Eja, Mater (verses 9–10) – Bass recitative and chorus # Sancta Mater (verses 11–15) – All four soloists # Fac ut portem (verses 16–17) – Mezzo- soprano # Inflammatus (verses 18–19) – Soprano and chorus # Quando corpus morietur (verse 20) – Chorus and all four soloists # In sempiterna saecula. Amen (not part of the standard text) – Chorus Written in 1841 for tenor solo, the andantino maestoso section "Cuius animam", with its rollicking and memorable tune, is often performed apart from the work's other movements as a demonstration of the singer's bravura technique. The first theme in "Cujus animam" was also quoted note-for-note in the 1941 Woody Herman jazz number, "Blues on Parade".
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In the early 17th century, Claudio Monteverdi (1567–1643) was the most influential madrigalist. (Bernardo Strozzi, 1640) In the transition from Renaissance music (1400–1600) to Baroque music (1580–1750), Claudio Monteverdi usually is credited as the principal madrigalist whose nine books of madrigals showed the stylistic, technical transitions from the polyphony of the late 16th century to the styles of monody and of the concertato accompanied by basso continuo, of the early Baroque period. As an expressive composer, Monteverdi avoided the stylistic extremes of Gesualdo’s chromaticism, and concentrated upon the drama inherent to the madrigal musical form. His fifth and sixth books include polyphonic madrigals for equal voices (in late-16th-century style) and madrigals with solo-voice parts accompanied by basso continuo, which feature unprepared dissonances and recitative passages — foreshadowing the compositional integration of the solo madrigal to the aria. In the fifth book of madrigals, using the term seconda pratica (second practice) Monteverdi said that the lyrics must be “the mistress of the harmony” of a madrigal, which was his progressive response to Giovanni Artusi (1540–1613) who negatively defended the limitations of dissonance and equal voice parts of the old-style polyphonic madrigal against the concertato madrigal.
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In its original form it contained three concertos: a concerto in B flat major in 3 movements for "Harp, Lute, Lyrichord and other Instruments" HWV 294 for performance after the recitative Timotheus, plac'd on high in Part I; a concerto grosso in C major in 4 movements for oboes, bassoon and strings, now known as the "Concerto in Alexander's Feast" HWV 318, performed between Parts I and II; and an organ concerto HWV 289 in G minor and major in 4 movements for chamber organ, oboes, bassoon and strings performed after the chorus Let old Timotheus yield the prize in Part II. The organ concerto and harp concerto were published in 1738 by John Walsh as the first and last of the Handel organ concertos Op.4. Handel revised the music for performances in 1739, 1742 and 1751. Donald Burrows has discussed Handel's revisions to the score. The work describes a banquet held by Alexander the Great and his mistress Thaïs in the captured Persian city of Persepolis, during which the musician Timotheus sings and plays his lyre, arousing various moods in Alexander until he is finally incited to burn the city down in revenge for his dead Greek soldiers.
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