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• W1518418924 abstract "AS YOUNG STUDENTS OF BAROQUE PERFORMANCE PRACTICES, we found it all too easy to come away from class with a mental list of thou shall nots. The smaller list of thou shalts included the shoulds. Unfortunately, such a detailed correctness, zealously taught and studied, tended to engender artistic constraint. While a thorough study of Baroque performance practices is necessary for the serious musician, it must not limit itself to a generic list of directives; rather, it must foster the performer's creativity and imagination, qualities that are integral to the Baroque ideal. The goal of the study undertaken here is to inform and free the singer by using clues found in the music and the text, the primary sources of instruction. Three Baroque cantatas are compared and contrasted. Each of them is distinctively Baroque, but their differences are more instructive than their commonalities. They offer unique fusions of music and text that are finely detailed in the scores and that require markedly different approaches in performance. It is clear that the drama suggested by them can be actualized only through the freedoms of a creative and imaginative singer. The cantatas, all for alto voice, are the following: Alla caccia dell'alme e de' cori, RV 670, by A. Vivaldi; Vergnugte Ruh,' BWV 170, by J. S. Bach; and O Numi eterni (La Lucrezia), by G. F. Handel. The study presented here is a much condensed version of this writer's doctoral dissertation, which can be located in the University Microfilm Internationals Dissertation Abstracts, #3073495, Vol. 63, Issue #12.1 Although the Vivaldi and Handel chamber cantatas are both secular by nature, they are vastly different. Vivaldi's is a simple and charming portrayal of Arcadian love, while Handel's is a wildly passionate portrayal of betrayal, rage, and abandonment. Bach's cantata is profoundly sacred, coming out of the Protestant tradition. In all three, the synergism between music and text drives the drama; however, how the composers do this defies any standardization of form, rhythm, melody, or harmony. Programming these three cantatas together makes for a very interesting, instructive, and varied recital. They exemplify how unique and unpredictable elements can define a work more so than a norm. (One might be tempted to label those extraordinary elements as abnormal, but in Baroque music the abnormal is perfectly normal!) Commonalities of underlying structure, musical language, and general performance practices give rise to the concept of a norm. While generalizations can be drawn from an entire genre or period, the reality to be reckoned with in performance is found in the specificity of each cantata, not a generalization or norm. The infinite possibilities for Baroque cantata performance, mentioned in the title of this article, can manifest themselves only if the singer uses the composer's fusion of music and text as a road map for the cantata's performance. The score itself will inspire the singer and liberate the performance. To be inspired and liberated is the gist of a poignant story in Zen and the Art of Motorcycle Maintenance by Robert Pirsig. Students were given a 500 word writing assignment, the subject of which was to be a country, state, city, or building of their choice. A young woman, devoid of any apparent inspiration, returned empty-handed; she simply had nothing to say. The professor, with some impatience, told her that she wasn't looking, and suggested she try writing about just one brick. The girl came back with a 5000 word essay! She had been liberated because nothing had been written about that brick, nothing had been told to her about it-she had to do some original and direct seeing.2 If singers look directly into their music, they too will have something original to say. If they gaze deeply enough, they not only will learn something about it, they will know something about it. While the singer cannot be expected to undertake an extensive study for every piece of music she sings, the process of peeling back the layers of a single composition or group of compositions cultivates a thought process and awareness that sheds light on all other compositions. …" @default.
• W1518418924 created "2016-06-24" @default.
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• W1518418924 date "2007-01-01" @default.
• W1518418924 modified "2023-09-23" @default.
• W1518418924 title "The Baroque Solo Cantata: Infinite Possibilities, Part II" @default.
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