Page:A Dictionary of Music and Musicians vol 2.djvu/522

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510

��OPERA.

��OPERA.

��great variety of treatment. As a general rule, it was less pathetic than the Aria Cantabile, and less dignified than the Aria di portamento, but capable of expressing greater depths of passion than either. Its pace was generally, though not necessarily, Andante ; the second part being sung a little faster than the first, with a return to the original time at the Da Capo. Its Ac- companiment was rich and varied, including at least the full Stringed Band, with the frequent introduction of Oboes and other Wind Instru- ments. Some of Handel's most celebrated Songs belong to this class, the style of which is well exemplified in the subjoined Air from 'Teseo,' sung in 1713 by Margherita de 1'Epine.

��Vie - ni tor - na I - do - lo mi - - o.

��m

���nj

� �f\i N

� �p

� �tor - na,

�etc.

��I 3 J

4. The Ariaparlante was of a more declamatory character, and therefore better adapted for the expression of deep passion, or violent emotion of any kind. Its Accompaniments were sometimes very elaborate, and exhibited great variety of In- strumentation, which the best Masters carefully accommodated to the sense of the Verses they desired to illustrate. Different forms of the Air were sometimes distinguished by special names : for instance, quiet Melodies, in which one note was accorded to each several syllable, were called Arie di nota e parola ; while the terms Aria agitata, Aria di strepilo,&nd. even Aria infuriata, were applied to Movements exhibiting a greater or less amount of dramatic power. The following example, from Handel's ' Sosanne,' was sung in J 73 2 by Signora Bagnolesi, to an obbligato Violin Accompaniment played by Castrucci.

��m

��Cuor di ma-dre E cuor di mog -

i J frl 4

��!i&EE

��^

��m

���5. The Aria di bravura, or d'agilita, was generally an Allegro, filled with brilliant ' divi- sions ' or passages of rapid fioritura calculated to display the utmost powers of the Singer for whom the Movement was intended. Some of the passages written for Elizabetta Pilotti Schia- vonetti, Cuzzoni, Faustina, Nicolini, Farinelli, and other great Singers of the period, were so amazingly difficult, that few Artists of the present day would care to attack them without a con- siderable amount of preparatory study, though it is certain that the Vocalists for whom they were originally composed overcame them with ease. Among such volate we may class the following, sung in ' Ricardo Primo/ by the celebrated Sopranist, Senesino.

��Allegro

���Violinl

a

��I"" al ri - gor d'a-ver-se stelle ~ -* "I*"*

��" f ' ^

�� �� �