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utorak, 24.09.2013.
The recitative and air
Musically recitative and aria were subjected to a radically different muzica nunta treatment. The recitative could be dry, that is supported only by the basso continuo harpsichord made by, or accompanied or orchestrated with the participation of the whole orchestra in agreements kept or scales and arpeggios between an intervention and the other voice. In the first part of the eighteenth century the use of accompanied recitative was limited to particularly significant moments of the text as, for example, the so-called shadow scenes, namely, those in which a god or a deceased appeared in a dream to a character, resulting in it a situation of particular emotional tension. In other cases, the recitative is accomplished with the orchestral accompaniment to draw attention to a key point of the story. Particularly significant is the example of the final Dido abandoned by Metastasio: virtually all known musical versions of this drama are using the accompanied recitative for this scene where he is the burning of the city of Carthage and Queen Dido, which flows between the flames.
The vocal part of the recitative, both dry and accompanied, was characterized by a melodic line that proceeded mainly for essential sounds clinched, stepwise or small jumps and with a strictly syllabic to facilitate the immediate understanding of the text, since, as we said, in the recitative was carried out the action, in the air, however, focused on greater effort in music processing. From the formal point of view, we find the use of strophic arias, but the structure that imposes itself permanently at the beginning of the century will certainly be the so-called da capo aria. It is a type of air in which is provided a musical section A corresponding to the first verse of the text and a section B corresponding to the second verse.
At the end of B in the musical score was an indication from the beginning, which included a repetition of the entire section A. Usually this repetition was not made by the singer in a totally identical to the first formulation, because the interpreter could insert various ornamentations, also called coloratura, at certain syllables, coloratura that the singer improvised and adapted to your skills and vocal characteristics.
This is obviously a broad pattern which could be susceptible to variations.
Sometimes the words from the head is replaced by the sign marked the beginning of the air but not that refers to a specific sign that was usually placed immediately after the introduction instrumental and then at the beginning of the vocal part real.
From the point of view of the harmonic structure of the air was, at least in the first half of the eighteenth century, extremely simple and predictable, with modulations to the tones neighbors to the dominant in the case of air in a major key, or the relative major, usually, in the case tunes in minor.
Oznake: repetition, section, orchestra, muzica nunta, instrume
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