CONCERT MUSIC ( ) GERALD ABRAHAM EDITED BY

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1 CONCERT MUSIC ( ) EDITED BY GERALD ABRAHAM OXFORD NEW YORK OXFORD UNIVERSITY PRESS 1986

2 ILLUSTRATIONS INTRODUCTION TO VOLUMES V AND VI XU xiii EDITOR'S NOTE I. ODE AND ORATORIO IN ENGLAND. (a) DIALOGUE AND ODE. By ROSAMOND MCGUINNESS, Senior Lecturer in Music, Royal Holloway College, University of London 1 The Problem of Nomenclature 1 The Biblical Dialogues 2 Court Odes 7 Texts of the Odes 8 Literary Origins 9 Charles II as Catalyst 10 The Earlier Restoration Odes 11 The Heyday of Blow and Purcell 15 Handel's Birthday Ode 21 (b) ORATORIO AND RELATED FORMS. By ANTHONY HICKS and GERALD ABRAHAM 23 The First English Oratorio 25 Text and Music of Esther 26 The Chapel Royal Connection 30 Gates's Performances 31 Oratorio, Ode, and Serenata: Oratorio at Covent Garden 34 Handel's Deborah 37 Athalia 40 // Parnasso in Festa 42 Variety of Forms: Alexander's Feast 47 // Trionfo Reworked 50 Saul 51 Israel in Egypt 54 The Cecilia Ode and L'Allegro 56 An Alternative Tradition 64 Greene's Deborah 65 Boyce's David's Lamentation 70 Greene's Jephtha 74 Boyce's Solomon 78 Messiah 82 xxi

3 The Oratorio Concept 84 Handel's Last Decade of Oratorio 88 Jephtha 92 Arne's Judith 92 II. SOLO SONG AND VOCAL DUET. (a) ITALY. By HANS JOACHIM MARX, Professor of Musicology, University of Hamburg 97 The Chamber Cantata 97 The Cantata in Rome 99 Venetian and Bolognese Composers 102 Alessandro Scarlatti 106 Handel's Italian Cantatas 110 Neapolitan Cantatas in the Early Eighteenth Century 114 The Chamber Duet 120 (b) GERMANY. By HANS JOACHIM MARX 124 Diffusion of the Italian Cantata 124 German Cantata Texts ^ 126 The German Secular Cantata 127 The German Continuo Song 130 (c) ENGLAND. By IAN SPINK, Professor of Music, Royal Holloway College, University of London 134 Declamatory and Tuneful Ayres 134 Purcell and his Contemporaries 139 Cantata and Ballad: (d) FRANCE. By DAVID TUNLEY, Professor of Music, University of Western A ustralia 154 The Seventeenth-Century French Air 154 Categories of Seventeenth-Century Song 159 Poetic Texts 160 Serious Songs 161 Dance Songs and Drinking Songs 167 Antecedents of the Cantate franqaise 172 New Influences on the Cantata 172 Stylistic Traits of the Cantate franqaise 173 Cantata Texts 180 Development of the Cantata 181 The Cantatille 183 III. MUSIC FOR INSTRUMENTAL ENSEMBLE: By WALTER KOLNEDER, Professor of Musicology, Hochschule fur Musik, Karlsruhe Variety of Instrumental Forms The Canzon in Italy The Canzon in the German Lands

4 The Sonata da chiesa 194 The Concerto grosso 206 Corelli's Concerti 210 Origins of the Contrast Principle 214 The Opera Overture 217 The French Overture 220 The Three-Movement Sinfonia. 225 The Suite 227 The Dominance of French Influence 230 IV. ORCHESTRAL MUSIC IN THE EARLY EIGHTEENTH CENTURY. By WALTER KOLNEDER 233 Conditions and Resources 233 Constitution of Orchestras 236 Output of Works 238 The Suite 239 JTelemann's Suites 242 The Charaktersuite 247 The Suite in Italy 248 The Suite in England 250 Bach's Orchestral Suites 250 The Opera Overture 256 The Orchestra in French Opera 257 The Non-Operatic Overture 259 The Concerto grosso 260 The Handelian 'Grand Concerto' Bach's Brandenburg Concertos 263 Other Masters of the Concerto grosso 268 The Concerto in England 272 The Concerto in France 274 The Concerto ripieno 276 The Orchestra in Church Music 284 Music of the Lutheran Church 286 From Sinfonia to Symphony. 290 The Sinfonia in Transition 292 The Change in Melodic Style 296 The Merging of Streams 300 V. THE SOLO CONCERTO. By WALTER KOLNEDER 302 Solo Concerto Movement and Solo Concerto in Vivaldi 303 Structure of the Ritornello 307 Recurrences of the Ritornello 315 Recapitulation 316 Solo in the Ritornello 318 The Solo Sections 320 Ritornello Motives in the Accompaniment 328 vii

5 The Solo Cadenza The Middle Movement Early History of the Solo Concerto Torelli's Concerti Musicali Torelli in Germany Albinoni Jacchini's Cello Concertos Torelli's Later Works The Solo Concerto in Germany Bach and the Italian Style Bach and the Concerto Form The Keyboard Concerto Other Means of Contrast Quantz on the Concerto The Solo Concerto in France The Keyboard Concerto in England The Italian Solo Concerto after Vivaldi Tartini and his School VI. CONCERTED CHAMBER MUSIC. By ERNST H. MEYER, Professor Emeritus, Humboldt University, Berlin Music for the Individual Listener The Forms and Styles of 'Abstract' Music Methods of Unification The Fugal Element Melodic and Harmonic Style Italy Venice Bologna Modena Corelli's Trio Sonatas Changes in Terminology Austria Bohemia and Moravia Instrumental Music in Poland Germany The North German School Central and South German Composers Switzerland and Scandinavia The Netherlands France England Foreign Influences Purcell and the Basso continuo The Climate of the New Century Aesthetic Characteristics

6 New Emotionalism Cosmopolitan Tendencies New National Consciousness Three Stages of Development The New Textures Instruments Varied Combinations The Trio Sonata The String Quartet Classical Sonata Form CONTENTS VII. THE SOLO SONATA. By CHARLES W. HUGHES, Professor Emeritus, Herbert H. Lehman College, University of the City of New York Variations on a Bass The Canzon Elaboration of the Bass The Sonata da camera Solo Music for Viols Early Italian Masters of the Violin Sonata Corelli and his Influence Vivaldi Dall'Abaco Veracini Tartini Locatelli The Violin in England Geminiani Other Sonata Composers in England Popular Violin Music Violin Music in France The Situation in Germany French Influence in Germany Biber J. J. Walther Handel and Bach Bach's Contemporaries VIII. KEYBOARD MUSIC: By JOHN CALDWELL, Lecturer in Music, University of Oxford Instrumental Idioms Secular Forms and Styles The Liturgical Background Tonality Frescobaldi Frescobaldi's Contemporaries

7 Southern Italians Italian Organ Music Bernardo Pasquini Pasquini's Variations and Toccatas Alessandro Scarlatti Spain and Portugal Juan Cabanilles French Keyboard Music Chambonnieres and Louis Couperin Lebegue and D'Anglebert French Liturgical Music for Organ Austria and Southern Germany Froberger's Music Froberger's Contemporaries and Successors Northern and Central Germany: Treatment of the Chorale Chorale Fantasia and Free Forms Secular German Keyboard Music The European Periphery The Netherlands England The Suite in England Purcell, Blow, and Croft English Organ Music IX. HARPSICHORD MUSIC: By PHILIP RADCLIFFE, Fellow of King's College, Cambridge Introductory Francois Couperin Rameau Italy Scarlatti Handel Handel's Contemporaries Suite and Sonata Bach's Variations Bach's Miscellaneous Works The Partitas The English Suites The French Suites and Inventions Das wohltemperirte Clavier Musicalisches Opfer and Die Kunst der Fuge X. ORGAN MUSIC: By WALTER EMERY The Instrument Changes of Style Italy

8 Spain 656 France 657 England 663 Catholic Germany 665 Bohemia 667 Protestant Germany 668 Bohm 668 J. G. Walther 672 Bach 675 Chorale Preludes 676 Trio Sonatas 683 Preludes, Fantasias, and Toccatas 683 Fugues 685 Types of Prelude 687 Bach's Pupils 691 Conclusion 693 BIBLIOGRAPHY 695 INDEX 763 xi