online audio guide 8.1 opera

ONLINE AUDIO GUIDE 8.1

OPERA

title: La púrpura de la rosa (The Blood of the Rose) composer: Tomás de Torrejón y Velasco librettist: Pedro Calderón de la Barca language: Spanish performing forces: five female voices (Judith Malafronte as Venus); harp (Andrew Lawrence-King), theorbo, viola da gamba, violone form: free, with some repetition of material function: theatrical performance source: La Púrpura de la rosa (Deutsche Harmonia Mundi 05472 77355-2, 1999)

Listen for:

• speech-like passages• metered passages• timbres of accompanying instruments• plucked instruments (harp, theorbo) versus bowed instruments (viola da gamba, violone)• dialogue• chorus• changes in texture• syllabic setting

Note: The harp, which we’ve heard in many other kinds of Latin American music, is prominent in this opera and in this excerpt. Skilled harpists, such as the one featured in this recording, can imitate other plucked instruments, such as the guitar. In this excerpt, bowed instruments reinforce the cadences.

Timing Structure and text What happens

00:00

00: 09

Venus

Pues extremos que él vio o cajas que yo oí,ausentaron a Marte,

dejadme discurrir sin mí y conmigo a solas

el ameno país destos montes, en cuyo marañada confín

Venus sings at a brisk tempo, accompanying instruments play chords (harp, with theorbo on bass notes)

mood begins to change after the words “a solas” (alone)

tempo slows slightly, Venus lingers slightly over her thoughts

high note on “destos,” as Venus contemplates the mountains

instruments gradually less prominent

ritardando leading to . . . .

00:21

00:30

He de ver, ¡ay de mí!

si hallo el descanso donde le perdí.

Venus’s cry of anguish (“¡ay!”), the longest note so far

on “¡ay!” bowed instruments enter (viola da gamba prominent)

triple meter established

violin, viola da gamba prominent in low bass notes, reinforcing cadence on “perdí” (I lost)

00:41

00:49

00:53

00:57

1:04

1:12

Flora, Libia, Cintia, and Clori (Venus’s nymphs)

Flora: Considera . . .

Venus: No tienes, Flora, qué me decir.

Libia: Mira . . .

Venus: ¿Qué he de mirar?

Cintia: Advierte . . .

Venus: No he de oír . . .

Clori: ¿Tanto de una tristeza te dejas vencer?

Venus: Sí. Dejadme, pues, dejadme sola; todas os id.

Flora, Libia, Cintia, Clori:

A pesar del amor que nos lleva tras ti, te dejaremos.

plucked instruments return

Venus interrupts Flora

Venus interrupts Libia

Venus interrupts Cintia

Venus lets Clori finish and answers a direct question before bidding the nymphs to leave her alone

nymphs sing in four-part harmony plucked instruments accompany

1:21

1:26

1:35

Venus

Ya que las eche de aquí

he de ver, ¡ay de mí!

si hallo el descanso donde le perdí.

Venus alone onstage, her entrance overlapping with last note sung by the four nymphs

repeats “¡ay de mí!” and the ensuing phrase (see above 00: 21)

bowed instruments reinforce the cadence

English translation (© Louise K. Stein, liner notes La púrpura de la rosa) Venus

Since Mars has been drawn away either by the extremes he observed in me or the drums that I heard, let me discourse with myself beyond myself and with myself alone in the lovely countryside of these mountains, in whose dense thicket I have to see, alas, if I can find peace where I lost it.

Flora Consider . . .

Venus Flora, you need not speak to me.

Libia Look . . . .

Venus What do I have to look at?

Cintia Listen . . .

Venus I don’t have to hear

Clori You allow yourself to be overcome by this sorrow?

Venus. Yes. Leave me, leave me alone; all of you leave.

Nymphs In spite of the love that binds us to you we will leave you alone.

Venus Now that I have banished them from here I have to see, alas! If I can find peace here I lost it.

Consider:

• Listen to the excerpt again from beginning to end, noticing especially the passages at 00:21 to00:30 and at 1:21 to 1:35. Given that Venus has already expressed her despair and confusion, whatis the effect of this repetition?

• What dramatic impact is created by allowing the nymphs only a few words in the conversationbetween them and Venus? How closely do these overlapping responses resemble ordinaryconversation?

© 2018 Carol A. Hess


CHARACTER PIECE title: Le Printemps (Spring) composer: Teresa Carreño performing forces: solo piano (Clara Rodríguez) form: multisectional, some repetition of material function: many uses, but good candidate for a concert encore source: Clara Rodríguez: Music of Teresa Carreño (Nimbus NI6103, 2009) Listen for:

• triple (waltz) meter • free, multisectional form • coda • symmetrical phrase structure • homophonic texture • changes of tonal center • abundance of melodies • showcases pianistic technique: wide leaps, fortissimo chords with many notes, octaves, rolled

chords, rapid passagework Note that uppercase letters stand for longer sections and lowercase letters for subsections.

Timing

Structure What happens

00:00

Introduction wide leaps chords consisting of many notes consecutive octaves big half cadence concludes introduction

00:21 00:35 00:49 1:04

A (a) repeat of (a) (b) repeat of (b)

strong triple meter (ONE-two-three, ONE-two-three accompaniment) homophonic texture harmonic movement toward dominant gradual movement back to tonic

1:19 1:36 1:50 2:05

B (c) (c) (d) repeat of (d)

ornaments (rapid notes, akin to strumming) in right hand melody change in dynamics (softer) another change in tonal center octaves in right hand, ornamented melody marked “with grace”

2:21 2:34 2: 48 3:03

C (e) (e1) (f) (f)

another change of tonal center wide leaps in left hand marked ff (very loud), also “brilliant and elegant” singing melody in right hand, starts softly (p) and builds to f

3: 19 3:33 3:50 4:03

D (g) (g) (h) (h)

drop in dynamics to piano (p), then louder rolled chords (harp-like) change in texture, singing melody in upper fingers of right hand rapid passagework

4:17

A (a)

4:38

(b)

4:48 5:10

Coda

consecutive octaves fortissimo chords (ff), followed by triple forte (fff) acceleration of tempo

Consider:

• Just as an actor will seek deliberately to project a certain mood to an audience through timing, tone of voice, volume, or intensity, musicians can convey changes of mood through similar means. Such decisions are, however, matters of interpretation. How many changes of mood do you find in Le Printemps?

• Might the piece be just as satisfying if the larger formal sections (A,B,C,D) were arranged in a different order?



SYMPHONY title: Sinfonía India (Indian Symphony) composer: Carlos Chávez performing forces: London Symphony Orchestra, Chávez calls for indigenous instruments when available (Eduardo Mata, conductor) form: multisectional, with brief introduction and coda function: for performance by a symphony orchestra source: Carlos Chávez: The Complete Symphonies (Vox CDX 5061, 1992) Listen for:

• variety of timbre • changes in tempo within a single movement • indigenous instruments, including teponaztli, huehuetl, deer hooves, water gourd, tenebari • native themes • some repetition of material

Timing


00:00

Introduction

piccolo becomes prominent

00:07 00:29 00:34 00:40 00:55 1:05

Section 1 Theme 1 Transition Theme 2

trumpet announces theme, with tritonic fragment (see chapter 3) answered with related material in strings, trumpet returns percussion dominates, with drums, rattles (tenebari if available) native melody (Cora Indians), first announced in oboe, trumpets, first violins busy, energetic accompanying parts shrieks in piccolo maraca prominent related themes, and motives swapped back and forth among strings and trumpets themes repeated and reshaped

1:24

gradual slowing down leads to . . .

2:20 2:37 2:48 3:04 3:18 3:46 4:12 5:10 7:12 7:26

Section 2 Theme 3 Theme 4 strings in unison

native melody (Seri Indians) first by the E-flat clarinet, one of the smaller members of clarinet family slower tempo Seri theme in flute Seri theme in E-flat clarinet, rasping stick prominent and other percussion Seri theme in bassoon and trumpet, flute weaves around accompaniment Seri theme in solo violin percussion begins to intensify (quicker note values) Seri theme played by full ensemble theme 4 announced in flute and French horn harp accompanies Theme 4 begins to build in intensity as additional instruments join countermelody in trumpet, later taken up by other instruments percussion increasingly prominent gradual accelerando leading to . . .

7:40 9:05

Section 3 Theme 2 returns Theme 3 returns (slow part)

woodwinds, strings, and percussion prominent now in oboe (new timbre), then clarinet,

9:43 10:14

Theme 1 returns

Theme 3, full orchestra piccolo and trumpet prominent, as in opening

10:44

Coda prominent percussion, especially güiro, xylophone, rattle emphasis on one or just a few notes throughout and constant repetition of motives increasing intensity

Consider:

• What is the effect of the gigantic build-up starting at 5:10 and that ultimately takes us back to the themes heard in the first section? Which instruments play more prominent roles here?

• Does it surprise you that the themes introduced in the first part of the piece return in a different order in the latter part?

• Compare the relentless energy of the first part, the gentle melody of the slow section, and the return of the opening material. Would you say that Chávez achieves a degree of balance in his manipulation of form?

• How convincing is the notion that indigenous music can be transferred to the concert hall?



CHAMBER MUSIC title: Aria, from Bachianas brasileiras no. 5 performing forces: soprano (Kiri Te Kanawa), eight cellos composer: Heitor Villa-Lobos text: Ruth Valladares Correa language: Portuguese form: ABA1 form function: chamber music performance source: Kiri Te Kanawa: Canteloube, Songs of the Auvergne/Villa-Lobos, Bachianas brasileiras no. 5 (Decca 411-730 1DH, 1995) Listen for:

• minor key • vocalise • wide range for soprano voice • technical challenge of singing very high notes softly • sequences • syncopation • pizzicato versus arco • imitation of guitar

Timing

Structure and text What happens

00:00

Introduction sequence (common in baroque music) two cellos plays arco descending line four cellos imitate ponteio style with pizzicato repeats

00:13 00:27 00:50 1:16 1:27 to 1:43

A vocal entry (“Ah” for over three minutes)

two cellos plays the melody line, arco, with the soprano one of many instances of syncopation (two of the cellos) soprano begins a melody, cello finishes soprano appears to be cadencing but then continues on one of many sequences in vocal part

1:49

cello finishes soprano’s melody

2:12 3:12

Instrumental interlude

singer’s main melody in cello, arco ponteio/pizzicato accompaniment gentle ritard begins

3:24 4:02 4:14

B Tarde, uma nuvem rósea lenta e transparente, Sobre o espaço, sonhadora e bela! Surge no infinito a lua docemente, Enfeitando a tarde, qual meiga donzela Que se apresta e alinda sonhadoramente, Em anseios d’alma para ficar bela, Grita ao céo e a terra, toda a Natureza! Cala a passarada aos sues tristes queixumes, E reflete o mar toda a sua riqueza Suave a luz da lua desperta agora, A cruel saudade que ri e chora! Tarde, uma nuvem rósea lenta e transparente, Sobre o espaço, sonhadora e bela!

voice reenters repeated notes in vocal line syllabic setting cellos play sustained notes, arco, throughout B section repeated notes, now a step lower

repeated notes, another step lower repeated notes, another step lower repeated notes, another step lower repeated notes, yet another step lower midpoint of B section, interrupts downward direction and stepwise motion repeated-notes of 3:24, now slightly elaborated repeated-note melody of 4:14, a step lower repeated-note melody, a step lower repeated-note melody, a step lower new repeated-note melody, yet another step lower, phrase is extended, singer takes a breath leading to . . . hummed transition back to A

5:14

A1 (shorter than A) singer now hums throughout essentially same melodic material as A final high note, sung pianissimo (pp)

English translation

Evening, a cloud grows rosy, slow and transparent, above the space, dreamy and beautiful! The moon rises into the infinite, softly, decorating the evening, like a delicate maiden who dreamily gets ready and adorns herself, her soul eager to become beautiful, shouting to the sky and the earth, and all Nature! The birds quiet at her sad plaints and the sea reflects all her richness . . . Gently the moonlight now awakens the cruel longing that laughs and cries! Evening, a cloud grows rosy, slow and transparent, above the space, dreamy and beautiful! Translation by Harvey Officer (see J. Peter Burkholder and Claude V. Palisca, Norton Anthology of Western Music, 7th ed. New York: W. W. Norton, 2014), 438.

Consider:

• This movement is just over six and a half minutes long. What portion contains actual words? What is the effect of these long stretches of vocalise? Do you think the extended “ahs” in any way “comment” on the nature imagery in the B section?

• Identify some passages in which the voice and the cellos seem to blend. Identify other passages in which contrast is paramount.

• Villa-Lobos, who composed many long, sprawling works, was often criticized for his sometimes lackadaisical approach to form. How, specifically, does this piece counter that critique? What are some instances of formal balance in the music?



CONCERTO title: Epilogue, movement 4 of Canciones de Jara. Concerto for Viola and Orchestra Inspired by Songs of Víctor Jara performing forces: viola soloist (Roberto Díaz); Symphony in C (directed by Stillian Kirov), with acoustic guitar and harp, and enhanced percussion with four groups of percussion instruments composer: Ricardo Lorenz form: free, unfolding in three sections with introduction function: to pay homage to Víctor Jara and showcase the viola source: recording courtesy of Ricardo Lorenz. This is selection 8.5a. Listen for:

• musical quotation • variety of timbres, especially percussion • variety of timbres possible on the viola itself • sliding in soloist for expressive purposes • blending of timbres • freedom of musical structure • dissonance • use of megaphone

Timing


00:00 00:22

Introduction score is marked “suspended, motionless” in score

static harmonies crotales, vibraphone, crystal goblets prominent quicker note values in percussion, focus on bells clarinet enters, gradually emerging from the sustained sonorities

00:31 00:32 00:44

viola solo enters written so as to sound free and unmetered, speech like viola sometimes slides from one pitch to the next bells reply sustained note in clarinet viola gradually gains in intensity

1:00 1:24 1:30 1:40

quicker note values in viola part viola plays with faster vibrato timbre of viola offset by sustained strings clarinet again prominent percussion join to end section

1:57 2:02

2:41 3:47

“Canción del Minero” section

viola enters

strings enter, along with some woodwinds

musical quotation of the introduction to Jara’s song through riff (pattern) on acoustic guitar guitarist slaps strings, megaphone ensures sound will carry

viola plays expansive melody, portions of which recall “Canción del Minero”

strings and winds reinforce melody of Jara’s song quick vibrato in strings guitar continues for several more seconds, varying range and sometimes reinforced by strings guitar part of “Canción del Minero” gradually fades long, sustained note in the solo viola fades to pianissimo (pp) percussion punctuates cadence

3:58 4:17

strings reenter shifts in texture (now very dense) and dynamics (from pp to fff) some motives, climax builds ascending melody in strings, enhanced by brass percussion enters (prominent timpani)

4:21 4:33

score marked “with stoic calm amid looming darkness”

viola “hangs on” from the loud climax and plays a few notes alone suspended cymbal lower strings play without vibrato special effects in percussion long, sustained note in viola dies away

Consider:

• Listen to Jara’s “Canción del Minero” several times (selection 8.5b) to get it in your ear. Then revisit this movement and determine how closely Lorenz adheres to his source material or how much he departs from it.

• “Epilogue” is far less dissonant than the other movements of Canciones de Jara. Why might a less-dissonant conclusion be a gratifying to an otherwise dissonant work?

• How, exactly, does Lorenz achieve the “stoic calm” desired? Be sure to specify musical features in addition to your emotional or psychological reaction.

• What are some risks a composer takes in quoting preexisting songs or pieces? What are some advantages?



ELECTROACOUSTIC MUSIC title: Nic Quetza Tohuenhueuh (I Erect My Drum) performing forces: solo tenor (Tucker Fischer), solo soprano (Alice Del Simone), electronics, chorus (University of California, Davis Early Music Ensemble, directed by Will Cooper) composer: Gabriel Bolaños text: attributed to Nezahualcóyotl (1402-1472) language: Nahuatl form: free, multisectional function: for performance source: recording courtesy of Gabriel Bolaños and the University of California, Davis Early Music Ensemble Listen for:

• interactions among the soloists (tenor and soprano), electronics, and the full choir • whispering, speaking, shouting, and singing • rapidly repeated gestures that create dense, unusual textures • electronic sounds versus traditional musical utterances • vocal glissandi • ending on a traditional chord

Timing

Structure and text What happens

00:00 00:13 00:23 00:32

Introduction Nic quetza tohuehueuh niquin nechicohua To—Aya!—cnihuanon in melelquiza, niquin cuicatia.

tenor soloist begins the piece with a long, sustained note (D) followed by speech and accompanied by an abstract, crackling electronic sound representing the drum choir joins in, whispering “nechicohua” (“my friends”) very quickly, ad lib tenor soloists long note returns (on the syllable “to”) choir immediately interrupts by screaming “Aya!” and cutting off some of the whispering and the electronics tenor soloist speaks again, this time followed by a wind-like, airy sound in the choir, an orchestrated silence

00:46

Section 1 . . . cuicatia

tenor soloist repeats previous phrase

00:49 1:01 1:08 1:18 1:24 1:32

--tia, --tia, repeated in chorus Tiyazque ye (yuhcan) Xi . . . quilnamiquican. Xi ya mocuiltonocan. Aya! in tochihuan

(“I make them sing”) women’s voices in the choir begin singing, at first coordinated women’s voices then begin repeating very quickly, ad lib, creating a dense, overlapping texture tenor soloist sings over the dense texture, music becomes increasingly chaotic tenor soloist continues singing over chorus tenor holds the syllable “xi” chaos of previous passage subsides tenor speaks shout in chorus tenor sings long note (on the syllable “in”) before saying “tochnihuan” (“my friends”)

1:38 1:48 1:49 1:55

Section 2 tochnihuan

choir joins in, whispering “my friends” whispers gradually grow louder and more chaotic, almost to the point of screaming the near-screaming is suddenly interrupted, revealing the electronic sounds in the background shouting resumes, is again interrupted to reveal electronic sounds choir whispers “tohuehueuh” (“my drum”), now silencing the electronics

2:00

Section 3 Ohuaya, ohuaya!

tenor soloist speaks “Ohuaya, ohuaya” soprano solo begins singing on a D,

2:05 2:18 2:22 2:43 2:52

In cuix oc no ihuiyan, canon ye yuhcan? Cuix ox no ihuiyan canon ximohuayan? Ohuaya ohuaya! Ma tihuiyacan. Yece ye nican in xochinahuatilo.

the same note as the tenor’s long, sustained note at the beginning tenor whispers only the consonants of the text, together with the soprano soprano does a vocal glissando on “Aya!” choir begins quietly whispering in the background soprano continues singing, higher pitches low voices in the choir electronics return tenor sings a melody similar to that of the soprano

3:09 3:27 3:40 4:16

section 4 xochinahuatilo, xochinahuatilo yece ye nican in cuicanahuatilo Ehuaya! Xi mocuiltonocan xi moquimilocan a in tocnihuan. Ohuaya, ohuaya!

choir whispers, repeating “xochinauhuatilo” (the law of the flower) whispering repeated very fast, ad lib, while tenor sings over dense texture electronics return soprano and tenor sing full choir sings as whispering continues quietly in the background ending on a D-major chord

English translation I erect my drum, I assemble my friends. Aya! Here they find recreation, I make them sing. Thus we must go over There. Remember this: be happy. Aya! Oh, my friends! Ohuaya, ohuaya!

Perhaps now with calm, and thus it must be over there? Aya! Perhaps there is also calm there in the bodyless place? Aya! Ohuaya, ohyuaya! Let us go. But here the law of the flowers governs, here the law of the song governs, here on Earth. Ehuaya! Be happy, dress in finery, oh friends. Ohuaya, ohuaya! Consider:

• Who was Nezahualcóyotl? How do you interpret the poem?

• Does the composer use word-painting, a concept we discussed in relation to music of the seventeenth century? How, more generally, does the music convey the text?

• What role do the electronics play in the piece? Are the sounds always noticeably electronic or modern-sounding?

• What do you think is the significance in combining speech, whispering, shouting, and singing? The author thanks Gabriel Bolaños for contributing this online audio guide.

© 2018 Gabriel Bolaños and Carol A. Hess

online audio guide 8.1 opera

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