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(10) Dramatic music for Lent: Carissimi, Handel, and the oratorio= pg. 338-339
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| Music in convents | Was mostly unheard by public= Very private and kept to the church |
| Lucrezia Vizzana | (1590-1662) Entered Santa Cristina della Fondazza in Bologna as a child and was trained= She wrote "COMPONIMENTI MUSICALI" (Musical Compositions), published in 1623, that contains 20 motets, most for 1 or 2 soprano voices with basso continuo= Include elements of theatrical monody (including vocal ornamentation, declamatory phrases, and expressive use of unprepared or unresolved dissonance) |
| Santa Radegonda in Milan | Was a convent where the public coudl attend services in the public half of the church= Believed that the angelic voices of nuns could have a crucial role in the salvation and spiritual edification of the communities that surrounded and supported the convents |
| Margarita Cozzolani | (1602-ca. 1677) Entered the Santa Radegonda on Milan in 1619 and took the name Chiara= Published 4 collections (between 1650-50) of sacred concertos, including an extended dialogue on Mary Magdalene at Jesus' tomb and a large-scale Vespers that alternates polychoral antiphony with solos and duets in up-to-date aria and declamatory styles= Her settings are marked by variety in style and scoring, by reordings of liturgical texts, and by frequent use of refrains, sequences, repeating bass lines, and other structural devices |
| Oratorios | (from the Italian word "oratorio", or prayer hall, where lay societies met to contemplate, hear sermons, and sing laudas and other devotional songs) Name for the 17th century new Roman genre of religious dramatic music that emerged, which combined narrative, dialogue, and commentary |
| Oratorio vs. Opera | Like operas, oratorios used recitatives, arias, duets, and instrumental preludes and ritornellos= However, oratorios differed in many ways: their subject matter was religious; were hardly ever staged; action was described/suggested rather than played out; was often a narrator; the chorus (usually an ensemble of several voices singing one to a part) could take various roles, from participating in the drama to narrating or meditating on events= Oratorio librettos were in Latin or Italian |
| Giacomo Carissimi | (1605-1674) Leading composer of Latin oratorios= Wrote "JEPHTE" (ca. 1648), which exemplifies the midcentury oratorio |
| Jephte | (1648; by Carissimi) Exemplifies the midcentury oratorio (SEE PG. 339) |
| pg. 339 | pg. 339 |
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