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Cantata

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Subject: Baroque music, Nicola Sala, Christmas cantata, Davide penitente, Inno delle nazioni
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Cantata

A cantata (literally "sung", past participle of the Italian verb "cantare") is a vocal composition with an instrumental accompaniment, typically in several movements, often involving a choir.

The meaning of the term changed over time, from the simple single voice madrigal of the early 17th century, to the multi-voice "cantata da camera" and the "cantata da chiesa" of the later part of that century, from the more substantial dramatic forms of the 18th century to the usually sacred-texted 19th-century cantata, which was effectively a type of short oratorio.[1] Cantatas for use in the liturgy of church services are called church cantata or sometimes sacred cantata, others sometimes secular cantata. Johann Sebastian Bach composed around 200 cantatas. Several cantatas were, and still are, written for special occasions, such as Christmas cantatas.

Contents

  • Historical context 1
  • Differences from other musical forms 2
  • Baroque 3
  • Classical and romantic period 4
  • Twentieth century and beyond 5
  • References 6
  • External links 7

Historical context

The term originated in the early 17th century simultaneously with opera and oratorio. Prior to that all "cultured" music was vocal. With the rise of instrumental music the term appeared, while the instrumental art became sufficiently developed to be embodied in sonatas. From the beginning of the 17th century until late in the 18th, the cantata for one or two solo voices with accompaniment of basso continuo (and perhaps a few solo instruments) was a principal form of Italian vocal chamber music.[2]

A cantata consisted first of a declamatory narrative or scene in motet Silete Venti, for soprano solo, shows the use of this form in church music.

Differences from other musical forms

A sacred cantata by Dieterich Buxtehude

From the cantata Herz und Mund und Tat und Leben, BWV 147 by Johann Sebastian Bach (Orchestra Gli Armonici. Courtesy of Musopen)

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The Italian solo cantata tended, when on a large scale, to become indistinguishable from a scene in an opera, in the same way the church cantata, solo or choral, is indistinguishable from a small oratorio or portion of an oratorio. This is equally evident whether we examine the unparalleled church cantatas of Bach, of which nearly 200 are extant (see List of Bach cantatas), or the Chandos Anthems of Handel. In Johann Sebastian Bach's case many of the larger cantatas are actually called oratorios; and the Christmas Oratorio is a collection of six church cantatas actually intended for performance on six different days, though together forming as complete an artistic whole as any classical oratorio.

Baroque

Cantatas were in great demand for the services of the parodied (in parts or completely) to sacred cantatas, for example in Bach's Christmas Oratorio.

Classical and romantic period

The term cantata came to be applied almost exclusively to choral works, as distinguished from solo vocal music. In early 19th-century cantatas the chorus is the vehicle for music more lyric and songlike than in oratorio, not excluding the possibility of a brilliant climax in a Gustav Mahler wrote his early Das klagende Lied on his own words, between 1878 and 1880, and Samuel Coleridge-Taylor created a successful trilogy of cantatas The Song of Hiawatha between 1898 and 1900.

Twentieth century and beyond

Cantatas, both of the chamber variety and on a grand scale, were composed after 1900 as well. In the early part of the century, secular cantatas once again became prominent, while the 19th-century tradition of sacred cantatas also continued. Ralph Vaughan Williams composed both kinds: "festival" cantatas such as Toward the Unknown Region (1907), Five Mystical Songs (1911), and Five Tudor Portraits (1936), and sacred cantatas including Sancta civitas (1926), Benedicite (1930), Dona nobis pacem (1936), and Hodie (1954). Joseph Ryelandt also composed secular and sacred cantatas, such as Le chant de la pauvreté op. 92 in 1928 and Veni creator op. 123 in 1938. Béla Bartók composed the secular Cantata Profana, subtitled "The Nine Splendid Stags" and based on a Romanian folk tale, in 1930. Although it began as a song cycle (as reflected also by its title), Arnold Schoenberg's Gurre-Lieder (1900–1903/1910–11) evolved into one of the century's largest secular cantatas. Paul Hindemith composed three works he designated as cantatas: Die Serenaden, op. 35, for soprano, oboe, viola, and cello (1924), Mahnung an die Jugend, sich der Musik zu befleissigen (from the Plöner Musiktage, 1932), and Ite angeli veloces for alto and tenor, mixed chorus, and orchestra, with audience participation (1953–55). Of Anton Webern's last three compositions, two are secular cantatas: Cantata No. 1, op. 29 (1938–39), and Cantata No. 2, op. 31 (1941–43), both setting texts by Hildegard Jone. Webern had begun sketching a Third Cantata by the time he was killed in 1945. Ernst Krenek also composed two examples: a "scenic cantata", Die Zwingburg, op. 14 (1922), and a Cantata for Wartime, op. 95, for women's voices and orchestra (1943). Sergei Prokofiev composed Semero ikh (1917–18; rev. 1933), and in 1939 premiered a cantata drawn from the film music for Alexander Nevsky. Among the most famous of all cantatas is Carl Orff's Carmina Burana, written 1935–36; the introductory and concluding movement, O Fortuna, has been used in countless films, and has become some of the most recognizable music ever written.

Patriotic cantatas celebrating anniversaries of events in the Revolution or extolling state leaders were frequently commissioned in the Soviet Union between 1930 and the middle of the century, though these occasional works were seldom among their composers' best. Examples include Dmitri Shostakovich's Poem of the Motherland, op. 47 (1947) and The Sun Shines over Our Motherland, op. 90 (1952), and thee works by Prokofiev, Zdravitsa! [Hail to Stalin] (1939), along with two festival cantatas, the Cantata for the Twentieth Anniversary of the October Revolution, op. 74, and Flourish, Mighty Homeland, op. 114, for the thirtieth anniversary of the same event. Dmitry Kabalevsky also composed four such cantatas, The Great Homeland, op. 35 (1941–42), The Song of Morning, Spring and Peace, op. 57 (1957–58), Leninists, op. 63 (1959), and About Our Native Land, op. 82 (1965).

In 1940, the Brazilian composer Heitor Villa-Lobos created a secular cantata titled Mandu çarará, based on an Indian legend collected by Barbosa Rodrigues. Igor Stravinsky composed a work titled simply Cantata in 1951–52, which used stanzas from the 15th-century "Lyke-wake Dirge" as a narrative frame for other anonymous English lyrics, and later designated A Sermon, a Narrative and a Prayer (1961) as "a cantata for alto and tenor soli, speaker, chorus, and orchestra". Luigi Nono wrote Il canto sospeso in 1955–56. Hans Werner Henze composed a Cantata della fiaba estrema and Novae de infinito laudes (both in 1963), as well as a number of other works that might be regarded as cantatas, such as Kammermusik (1958, rev. 1963), Muzen Siziliens (1966), and El Cimarrón (1969–70). Momente (1962–64/1969), one of the most important works of Karlheinz Stockhausen, is often described as a cantata. Benjamin Britten composed at least six works he designated as cantatas: The Company of Heaven (1937), Rejoice in the Lamb, op. 30 (1943), Saint Nicolas, op. 42 (1949), the Cantata academica, op. 62 (1959), the Cantata Misericordium, op. 69 (1963), and Phaedra, op. 93 (1975). Alberto Ginastera also composed three works in this form: the Cantata para América Mágica, op. 27 (1960), Bomarzo, op. 32 (1964), and Milena, op. 37 (1971), and Gottfried von Einem composed in 1973 An die Nachgeborenen based on diverse texts, the title taken from a poem of Bertolt Brecht. Mikis Theodorakis composed the cantatas According to the Sadducees and Canto Olympico. Herbert Blendinger's Media in vita was premiered in 1980, his Mich ruft zuweilen eine Stille (Sometimes a silence calls me) in (1992), and Allein den Betern kann es noch gelingen (It can only be achieved by those who pray) in 1995. Iván Erőd wrote in 1988/89) Vox Lucis (Voice of the Light), op. 56. Ivan Moody wrote in 1995 Revelation. Cantatas were also composed by Mark Alburger, Erik Bergman, Carlos Chávez, Osvald Chlubna, Peter Maxwell Davies, Norman Dello Joio, Lukas Foss, Roy Harris, Arthur Honegger, Alan Hovhaness, Dmitry Kabalevsky, Libby Larsen, Peter Mennin, Dimitri Nicolau, Krzysztof Penderecki, Daniel Pinkham, Earl Robinson, Ned Rorem, William Schuman (A Free Song), Roger Sessions, Siegfried Strohbach, Michael Tippett, and Kurt Weill.

References

  1. ^ Kennedy, Michael "Cantata", The Oxford Dictionary of Music, second edition, revised (Oxford and New York: Oxford University Press, 2006) ISBN 0-19-861459-4.
  2. ^ Timms, Colin, Nigel Fortune, Malcolm Boyd, Friedhelm Krummacher, David Tunley, James R. Goodall, and Juan José Carreras. 2001. "Cantata", §I. The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.

External links

  • Dolmetsch music dictionary: C–Car
  • Multimedia Dictionary: Cantata at Virginia Tech
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