Fairnelli Characteristics Of The Baroque Period

The Italian composer Chiara Margarita Cozzolani was one of the few women who could compose well known music during the Baroque Era. Religious wars were raging on across Europe, and many of Cozzolani’s musical pieces focus on religion and musical dialogues, which portrayed notable religious scenes from the bible (Forney, Dell'Antonio, & Machlis 111). One of Cozzolani’s pieces, Magnificat, was focused on in our textbook. After listening to the piece and reading some history about Cozzolani and her music, I felt like I could really understand what was happening during that time in history and how she wanted to make people feel with her music. Chiara Margarita Cozzolani’s music relates to the Baroque Era of music for several reasons. First of all,

An aria from Barbiere that incorporates many of the typical buffa elements is 'La calunnia é un venticello' from the first act. Often called the 'Calumny aria', La calunnia is the first aria sung by the unscrupulous music teacher, Don Basilio. He sings to Bartolo about defaming Almaviva through calumny, malicious lies. The aria opens slowly, softly in D major as Basilio describes his slander as a gentle breeze which begins to gather force. Rossini's orchestration embodies this concept, as a simple ascending scale in thirds begins in the strings. The pianissimo marking gives way to piano as the pattern moves to a phrase in b minor. The tune continues to meander through tonalities until it arrives back in D major. Basilio reiterates that his lies “gather

A woman of risk, controversy, perseverance, and ambition does not even begin to describe Barbara Strozzi. Being a woman composer in the Baroque Era was not a social norm and caused those who pursued this career suffering, disadvantage, and negative labels. However, as one of the top women composers and singers in the Baroque Era, Strozzi did not let negativity stop her. Strozzi, thrown into the music world by her, “father,” Giulio, excelled the best she could as a woman composer, developing her artistic skills, embracing publishing and print, and utilizing the opportunities she was given.

Even though he was a soprano, he also had an amazingly clear lower register, where a tenor would most likely be comfortable. Farinelli showed off all the sweetness of his voice wherever he traveled and was rewarded with roars of applause. During this period of time, he did no wrong. He was famous beyond belief, a formidable performer, and had honors upon honors. One of his most famous performances involved him having a duet with a trumpet that turned into a duel. Porpora, who was his teacher, spoke about the event:

Composer of Per La Gloria D’Adorarvi, Giovanni Battista Bononcini(1672-1748) was born into a family of composers. Both his father and brother were composers. Although he was orphaned at age 8, he still followed in his fathers footsteps, releasing instrumental music by age 15. Throughout his life, he moved around to many different European countries, but he was born and died in Italy. This shows through in his Italian baroque style, which he helped spread around Europe in his travels.

Also he had composed keyboard pieces, oratorios, symphonies, and operas. He performed his first major opera when he was fourteen it was staged in Milan in 1770 the style of the opera was opera seria, Mitriade.

Giovanni Gabrieli was an Italian composer born in 1554 and wrote many works in the ‘in between’ stage of Renaissance and Baroque. He was a composer and

The voice is considered as the most important element in the Italian Opera. On top of the polyphonic accompaniment for the orchestra, melody

Giovanni Gabrieli, the man who composed Canzon Septimi Toni a 8, was a well known Renaissance composer born in 1556. Not only that, but he was an organist and teacher who learned everything he knew from his uncle, Andrea Gabrieli, whom he has to thank for his musical upbringing. Gabrieli himself was highly regarded and praised for his contributions to instrumental music for church use as well as choral and instrumental motets. Gabrieli also made use of the San Marco church layout; the two separate choir lofts in the church allowed him to create salient spatial effects, which in turn heavily influenced his style of music. Unfortunately, his health began to suffer and

Rossini is probably the most popular composer of this era. His works are many and are extremely popular. Rossini was born in Pesaro in 1792 and on December15th, 1815 when he was only twenty-three years old, he signed a contract to write an opera for a theater in Rome (Weaver, 11). His childhood friend, Gertrude Righetti Giorgi, premiered as Rosina in Rossin’s Il barbiere di Siviglia, on opening night for the Nobile Teatro di Torre Argentina (Weaver, 19). Il barbiere di Siviglia went on to become one of the more famous operas of Rossini’s. This opera went through many struggles, however, because of the similar story

The first roots of modern opera first appeared in Italy in the 17th century from the Camerata (an academy of Florentine poets, musicians, and scholars). The Camerata, inspired by ancient Greek drama, sung dialogues and choruses which were accompanied by musical instruments. The Camerata developed the “stile recitative,” in order to integrate drama, action, dialogue and narration. In this “sung speech,” a singer delivered a recitative melody with an actor’s dramatic and oratorical skills, achieving the goal of providing

The Baroque Period (1600-1750) was mainly a period of newly discovered ideas. From major new innovations in science, to vivid changes in geography, people were exploring more of the world around them. The music of the baroque period was just as extreme as the new changes. Newly recognized composers such as Bach, Handel, Vivaldi, and Monteverdi were writing entirely new musical ideas and giving a chance for new voices to be heard that were normally not thought of sounds. Their musical legacy is still recognized today, and is a treasured discovery of outstanding compositions being reiterated with every performance of them.

Farinelli was born in Italy back in 1705. He was a member of a church-sponsored music school from when he was young. The leaders of this school were having trouble with the progression of music. The choirboys just couldn’t hit the higher notes, as Passarello states, “Mastering these complex new lines required years of training and a thoracic power that exceeded even the strongest and most gifted of choirboys. By the time they learned the proper technique for possessing the ecstatic

The initial six years of his examination brought about nothing more critical than a couple of presentations in residential areas and every one of them were without pay. Not long after a little knot created on Pavarotti's vocal harmonies which caused a show in ferrara italy which was known as a deplorable occasion. This made him abandon singing, however this mental breakdown Pavarotti's voice very quickly moved forward. He feels as though this was because of a mental discharge that happened to be associated with this choice. The irregularity at that point vanished bafflingly then he discharged his personal history "All that I had learned met up with my normal voice to make the sound I had been battling so difficult to accomplish."

The beginning of the seventeenth century marked the start of opera in Italy. The earliest opera manuscripts to survive are the two settings of Euridici by Peri and Caccini (Grout 43). Although Euridici is the first known opera, Peri and Caccini were both not considered the founder of opera, that honor was instead given to Monteverdi (Grout 51). The reason for this may be because Euridici is said to contain many imperfections including: “weakness of characterization, the limited range of emotions expressed, the lack of clear, consistent musical organization, and above all the monotony of the solo style” (Grout 49). Grout explains that Monteverdi’s opera Orfeo “represents the first attempt to apply the full resources of the art of music to opera” (53). La morte d’Orfeo was the first secular opera performed in Rome in 1619 (Grout 62). This marked the beginning of serious secular opera. Opera continued to