preview

Dbq Italian Cantata

Better Essays

JOHANN SEBASTIAN BACH: CANTATA In the Seventeenth-century a new style of composition had its origin in Rome, Italy. This style is known as the cantata da camera or secular cantata. The study of the cantata shows that there were some problems which remained and could not be solved due to the huge numbers of compositions during the baroque era. Vocal chamber music performed in private for the wealthy at their houses, became the most common or popular social entertainment way of the moment. The performing group for this entertainment was cooperated by one, two or three voices accompanied by the basso continuo (which was rarely a pair of solo strings). Something that was crucial for the popularity of this entertainment was the popularity already …show more content…

Cantatas became famous, and those were spread from Italy many other countries of Europe. Cantatas became as famous as they were imitated by England, France and German composers. In Germany, the impact of the Italian cantata was limited at the beginning in those places where Italian musicians were employed, and where the Italian opera succeeded. Unlike Reinhard Keiser, a composer in Hamburg who wrote solo cantatas to both Italian and German texts, Bach just wrote two Italian solo cantatas. One of these two Italian solo cantatas is Non sa che sia dolore (BWV209) which has a stronger claim of authenticity due on stylistic grounds. Amore traditore (BWV203), unlike the other one is more doubtful in authenticity. Furtheremore, there are three solo cantatas which contain German words, being wedding cantatas two of them (BWV202 and BWV210), the other one (BWV204) shows that is better to be happy than to be …show more content…

the raise in the importance of the gospel settings, psalm settings and works based on chorales was given because of the textual division into verses such an important fact that supported the mixture of musical styles that was to become a hallmark of the cantata. Poetic texts became more frequent, and particularly important were those works which combined arias and Biblical texts to become the ‘concerto-aria’ cantata, which normally began and ended with a setting of a Biblical text, between verses of a hymn or other texts which were set for soloists or small

Get Access