Cantata

Cantata

A cantata (derived from the Italian word 'cantare' meaning 'to sing') is a vocal composition with an instrumental accompaniment and often containing more than one movement.

Historical context

The term did not exist prior to the 16th century, when all "cultured" music was vocal. It originated in the early 17th century simultaneously with opera and oratorio. With the rise of instrumental music during this period the term emerged as the instrumental art became sufficiently developed to be embodied in sonatas. From the middle of the 17th until late in the 18th century a favorite form of Italian chamber music was the cantata for one or two solo voices, with accompaniment of harpsichord and perhaps a few other solo instruments. It consisted at 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. His Latin motet "Silete Venti", for soprano solo, shows the use of this form in church music.

Differences between other musical forms

The Italian solo cantata tended, when on a large scale, to become indistinguishable from a scene in an opera, in the same way the church cantata, solo or choral, is indistinguishable from a small oratorio or portion of an oratorio. This is equally evident whether we examine the unparalleled church cantatas of Bach, of which nearly 200 are extant (see list of cantatas by Johann Sebastian Bach), or the Chandos Anthems of Handel. In Johann Sebastian Bach's case many of the larger cantatas are actually called oratorios; and the "Christmas Oratorio" is a collection of six church cantatas actually intended for performance on six different days, though together forming as complete an artistic whole as any classical oratorio.

The essential point, however, in Bach's church cantatas is that they formed part of a church service. Many of Bach's greatest cantatas begin with an elaborate chorus followed by a couple of arias and recitatives, and end with a plain chorale. This has often been commented upon as an example of Bach's indifference to artistic climax in the work as a whole. But no one will maintain this who realizes the place which the church cantata occupied in the Lutheran church service. The text was carefully based upon the gospel or lessons for the day; unless the cantata was short the sermon probably took place after the first chorus or one of the arias, and the congregation joined in the final chorale. Thus the unity of the service was the unity of the music; and, in the cases where all the movements of the cantata were founded on one and the same chorale-tune, this unity has never been equalled, except by those 16th-century masses and motets which are founded upon the Gregorian tones of the festival for which they are written.

In modern times the term cantata is applied almost exclusively to choral, as distinguished from solo vocal music. It is just possible to recognize as a distinct artistic type that kind of early 19th-century cantata in which the chorus is the vehicle for music more lyric and songlike than the oratorio style, though at the same time not excluding the possibility of a brilliant climax in the shape of a light order of fugue. Ludwig van Beethoven's "Glorreiche Augenblick" is a brilliant pot-boiler in this style; Carl Maria von Weber's "Jubel Cantata" is a typical specimen, and Felix Mendelssohn's "Die erste Walpurgisnacht" is the classic. Mendelssohn's Symphony Cantata, the "Lobgesang", is a hybrid work, partly in the oratorio style. It is preceded by three symphonic movements, a device avowedly suggested by Beethoven's ninth symphony; but the analogy is not accurate, as Beethoven's work is a symphony of which the fourth movement is a choral finale of essentially single design, whereas Mendelssohn's "Symphony Cantata" is a cantata with three symphonic preludes. The full lyric possibilities of a string of choral songs were realized by Johannes Brahms in his "Rinaldo", that- like the "Walpurgisnacht"- was set to a text by Johann Wolfgang von Goethe. The remaining types of cantata (beginning with Beethoven's "Meeres-stille", and including most of those by Brahms's and many notable small English choral works) demonstrate the many ways a poem may be set to choral music.

Media

References

ee also

*Motet
*Oratorio
*Sonata

External links

* [http://www.dolmetsch.com/musictheorydefs.htm Definitions of musical terms]
* [http://www.music.vt.edu/musicdictionary/ Dictionary of musical terminology, with audio pronunciation of the many foreign terms]


Wikimedia Foundation. 2010.

Игры ⚽ Поможем написать курсовую

Look at other dictionaries:

  • cantată — CANTÁTĂ, cantate, s.f. Compoziţie muzicală ocazională, cu caracter solemn sau liric, pentru voci, solo, cor şi orchestră. ♢ (În compusul) Cantată oratoriu = compoziţie vocal instrumentală pe un libret cu temă dramatică. – Din it. cantata. Trimis… …   Dicționar Român

  • Cantata — Saltar a navegación, búsqueda Literalmente, la «cantata» es una pieza que se canta y se distingue de la pieza para ser tocada o «sonada» en acontecimientos católicos (la «sonata»). Desde la época barroca, la cantata es una composición para una o… …   Wikipedia Español

  • Cantata++ — ist ein Programm, um Modultests an Software auszuführen. Es wird vom Unternehmen Ipl hergestellt. Inhaltsverzeichnis 1 Target Sprachen 2 Host Betriebssysteme 3 Funktionsweise 4 Lizen …   Deutsch Wikipedia

  • cantata — sustantivo femenino 1. Área: música Composición lírica musical para coro y orquesta destinada a música de cámara, música religiosa o concierto, en la que alternan los recitativos con las arias: las cantatas barrocas. Literalmente, sonata… …   Diccionario Salamanca de la Lengua Española

  • cantata — (Del it. cantata). f. Composición poética de alguna extensión, escrita para que se le ponga música y se cante …   Diccionario de la lengua española

  • cantata — ► NOUN ▪ a medium length narrative or descriptive piece of music with vocal solos and normally a chorus and orchestra. ORIGIN from Italian cantata aria sung air …   English terms dictionary

  • Cantata — Can*ta ta, n. [It., fr. cantare to sing, fr. L. cantare intens of canere to sing.] (Mus.) A poem set to music; a musical composition comprising choruses, solos, interludes, etc., arranged in a somewhat dramatic manner; originally, a composition… …   The Collaborative International Dictionary of English

  • Cantāta — (ital.), Gesangstück, s. Kantate …   Meyers Großes Konversations-Lexikon

  • cantata — s.f. [part. pass. femm. di cantare2]. 1. [canto prolungato] ▶◀ canto. ‖ aria, canzone, serenata. 2. (mus.) [ampia composizione musicale per voci e strumenti, sacra o profana, nata e diffusasi soprattutto nei sec. 17° e 18°] ▶◀ ‖ Lied, romanza.… …   Enciclopedia Italiana

  • cantata — ит. [канта/та], англ. [кэнта/тэ] cantate фр. [канта/т] кантата ◊ cantatila ит. [кантати/лла] небольшая кантата …   Словарь иностранных музыкальных терминов

  • cantata — 1724, from It., lit. that which is sung, pp. of cantare to sing (see CHANT (Cf. chant)) …   Etymology dictionary

Share the article and excerpts

Direct link
Do a right-click on the link above
and select “Copy Link”