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Discuss Purcell’s treatment of baroque compositional techniques in Dido and Aeneas.

Discuss Purcell’s treatment of baroque compositional techniques in Dido and Aeneas. . Heidi Kobor and Marie Ladwig. Overview of Baroque. Harmony Melody Texture Dynamics Form Opera. Harmony . Quick harmonic pace Regular pulse, continuous energetic harmonic motion (basso continuo)

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Discuss Purcell’s treatment of baroque compositional techniques in Dido and Aeneas.

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  1. Discuss Purcell’s treatment of baroque compositional techniques in Dido and Aeneas. Heidi Kobor and Marie Ladwig

  2. Overview of Baroque • Harmony • Melody • Texture • Dynamics • Form • Opera

  3. Harmony • Quick harmonic pace • Regular pulse, continuous energetic harmonic motion (basso continuo) • Rich harmonies • Bold chromatic harmony • Rich dissonances • Great use of the minor keys

  4. Melody • Continuous melodic line • Obvious cadences • Building on motivic and sequential repetition • Compact pattern repeated in a self-perpetuating manner • No regular periodic structures • Melodic extensions • Irregular or dovetailed cadence points

  5. Texture • Complex and subtle • Counterpoint • Homophonic • Harpsichord • Strings • Woodwind

  6. Dynamics • Limited use of dynamic contrast • Sudden contrast from f to p • Terraced dynamics • Excessive Ornamentation • No tempo changes

  7. Form - Opera • Recitative • Recitativosecco and accompagnato • Aria • Solo vocal operatic fom • Accompanied by continuo and instruments • Clear form (da capo) • Reflective moment • Only proper and substantial opera from the Baroque era is Dido and Aeneas, 1689 • Lully • No flexibility in tempo and rhythm • High level detail • Overture

  8. Form - Dance • Dances flourish • Allemande, Courante, Sarabande, Gigue (English), Minuet, Gavotte, Bourree, Polonaise • Own tempo, meter and rhythmic characteristics

  9. DIDO AND AENEAS

  10. Harmony • Regular pulse, continuous energetic harmonic motion (basso continuo) – ground bass (see below) • Rich harmonies: e.g. page 179, rehearsal mark 39 • Chromaticism: see below • Dissonance: see page 177, bar 7 • Minor keys: C-minor, D minor, E minor, F minor, G minor vs. 3 major keys • Based on Dominant, Tonic, Subdominant: Page 176-177, bar 7-10

  11. Melody • Continuous melodic line: “When I am laid…” • Obvious cadences: page 177, bar 11 • Building on motivic and sequential repetition: • “Remember me” • Page 156 • No regular periodic structures: Dido’s lament • Irregular or dovetailed cadence points • Page 176, bar 6 • Page 177, bar 17

  12. Texture • Complex and subtle: Ah Belinda • Ritornello: Act II, Scene II page 138 • Counterpoint: Page 102 • Homophonic: Page 97 • Polyphonic: Page 102 • Instruments: • Harpsichord • Strings • Voices

  13. Dynamics • Limited use of dynamic contrast: Overture • Sudden contrast from f to p: Pag 91, bar 40 • Terraced dynamics: Page 84, bar 13-16 • Excessive Ornamentation, Page 96, bar 17 • No tempo changes

  14. Form: Opera • Recitative • Recitativosecco – Page • Recitativoaccompagnato – Page 176 • Aria • Dido’s lament • Ah Belinda! • Accompanied by continuo and strings • Clear form, yet not always da capo • Da capo: “Fear no danger to ensue” • Not da capo, but AB: “Ah Belinda”; “Dido’s lament” • Reflective • Expressive • Overture • No flexibility in tempo and rhythm

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