The Venetian School.—Venice naturally became the centre of an important development of the opera. Of the numerous composers forming the Venetian school, Francesco Cavalli (1600-1676) and Marco Cesti (1620-1669) are second only in importance to Monteverde. The first was Monteverde’s pupil, and had much of his broad dramatic style modified by the influences of which we have just spoken. Cesti came to Venice from Rome, where he had been the pupil of Carissimi, and brought with him the smoothness and melodic flow of his master, albeit lacking in essential power. Other names of a later date are Giovanni Legrenzi (1625-1690), especially noted for spirit and vivacity, and Antonio Lotti (1667-1740), his pupil, known by one or two charming airs which still survive.
Carissimi and the Oratorio.—Giovanni Carissimi (1604-1674), though he never wrote for the stage, was the strongest musical influence of his day. He was an ardent admirer of the new school, and adapted it in the form of oratorios and cantatas to the Church. In such works the necessity for form as regards definite tonality, distinct rhythm and melodic sequence is naturally much greater than in the Opera where music is used to illustrate the dramatic situation, and is furthermore elucidated by the action of the play. When the ear alone is obliged to pass judgment there must be evidence of design in these particulars, else the effect is confused and bewildering. Carissimi’s musical instinct grasped this truth. His oratorios and cantatas show a logical arrangement of choruses and ensembles, recitatives and arias combined with a unity of effect and a clearness of characterization heretofore unknown. The choruses in particular are strongly rhythmic and far more dramatic than those which were commonly heard on the stage.
From “Jephtha” by Carissimi.
Secularization of Church Music.—This introduction of the new style into the Church marked the passing of the old school and strongly affected methods of dramatic composition. The public had never been in sympathy with the austere standards of the Florentine school and welcomed the appearance of intelligible melody and the spirited rhythms to which Carissimi gave the first direct impulse. Not only this; he fixed the form that the music of the Church was to bear for a century to come. This secularization of church music had its good and bad sides; good by reason of the greater freedom and variety of expression thus gained; bad because of the bold and mechanical imitation of Carissimi’s purely formal details by his successors, which in the end led to a tiresome monotony of style.
Characteristics of the Venetian School.—Thus was taken the first step toward the complete reversal of the conditions under which the early Opera had arisen. Instead of the music’s being subordinate to the drama, the drama was soon to serve merely as an excuse for the music; the opera was destined to sink to the level of a concert sung in costume; the dramatic action reduced to a minimum. The Venetian school marks the turning-point in this direction. The high ideals of Monteverde and his predecessors were gradually thrust into the background; the singer began to assume precedence over the actor; truth of expression yielded to the fascinations of time and tune, which even the musically uncultivated could enjoy without bothering their heads as to real dramatic fitness. Closely connected with these tendencies was the establishment of a school of singing which, if we may believe contemporary accounts, surpassed in technical facility and brilliancy any vocal art heard either before or since that time. The result was that singers finally regarded the opera only as a field for the display of their dazzling accomplishments and in this they were willingly supported by a public eager to be entertained and amused.
- References.
- Apthorp.—The Opera, Past and Present.
- Elson.—The History of Opera.
- Grove.—Dictionary of Music and Musicians, article on Opera.
Questions and Suggestions.
Who wrote the first oratorio? In what respects did an opera and an oratorio differ?