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{{short description|Baroque musical form}}
The '''da capo aria''' was a musical form prevalent in the ] era. It was sung by a soloist with the accompaniment of instruments, often a small ]. The da capo aria was common in the musical genres of ] and ].
The '''da capo aria''' ({{IPA|it|da (k)ˈkaːpo ˈaːrja}}) is a ] for ]s that was prevalent in the ]. It is sung by a soloist with the accompaniment of instruments, often a small orchestra. The da capo aria is very common in the musical genres of ] and ]. According to Randel, a number of Baroque composers (he lists ], ], ], ], ], and ]) composed more than a thousand da capo arias during their careers.<ref name="Randel54">Randel (2003:54)</ref>


==Form==
A da capo aria consists of three sections. The first section is a complete musical entity, ending in the ] key, and could in principle be sung alone. The second section contrasts with the first in its musical texture, mood, and sometimes also tempo. The third section was usually not written out by the composer, who rather simply specified the direction "da capo" (Italian for "from the beginning"), which meant that the first section should be repeated in full. A da capo aria is in ], meaning it is composed of three sections. The first section is a complete song with accompaniment, ending in the ] key, and could in principle be sung by itself. The second section contrasts with the first in its musical key, texture, mood,<ref name="Randel54"/> and sometimes also tempo. The third section was usually not written out by the composer, who would instead simply note the instruction "]" (Italian for "from the head") - meaning from the beginning, i.e., the first section is to be repeated.


The text for a da capo aria was typically a poem or other verse sequence written in two ]s, the first for the A section (hence repeated later) and the second for B. Each ] consisted of from three to six lines, and terminated in a line containing a ], that is a line ending in a stressed syllable.
⚫ The da capo aria depended for its success on the ability of the singer to improvise ]s and ]s during the third section, to keep it from being a mere repetition of the first. This was especially so for da capo arias written in slower tempos, where the opportunity to improvise, as well as the risk of dullness, were greater. The ability to improvise variations and ornaments was a skill learned by, and expected of, all solo singers. The decline in this ability following the Baroque era is perhaps the reason why the da capo aria ultimately acquired a reputation as a musically dull form. The ], starting in the mid twentieth century, restored improvisation to the performance of da capo arias, although the practice has yet to become universal even among authentic performance artists.


==Improvisation==
⚫ ]'s oratorio ] (1742) includes two well-known da capo arias, "He Was Despised" (for alto soloist) and "The Trumpet Shall Sound" (for bass). Conductors who lack soloists who can ornament, or who are unattuned to Baroque esthetics, have frequently omitted the second and third sections of these arias in performance.
⚫ The singer was often expected to improvise ] and ]s during the third section, to keep it from being a mere repetition of the first.<ref name="Randel54"/> This was especially so for da capo arias written in slower tempos, where the opportunity to improvise, as well as the risk of dullness, were greater. The ability to improvise variations and ornaments was a skill learned by, and expected of, all solo singers. The decline in this ability following the Baroque era is perhaps the reason why the da capo aria ultimately acquired a reputation as a musically dull form. The ] movement, starting in the mid twentieth century, restored ] to the performance of da capo arias, although the practice has yet to become universal even among authentic performance artists.
]'s famous cantata "Jauchzet Gott in allen Landen" (BWV 51, 1730) begins with a flamboyant da capo aria for soprano, trumpet soloist, and strings.


==Famous examples==
For detailed information on the da capo aria, consult the entries on Aria and Ornamentation at www.grovemusic.com.
⚫ ]'s oratorio '']'' (1742) includes two well-known da capo arias, "He Was Despised" (for alto voice) and "The Trumpet Shall Sound" (for bass). ]'s cantata '']'' (1730) begins with a flamboyant da capo aria for soprano, trumpet soloist, and strings.

==Notes==
<references/>

==References==
*Benward & Saker (2003). ''Music: In Theory and Practice, Vol. I''. Seventh Edition. McGraw-Hill Higher Education. {{ISBN|978-0-07-294262-0}}.
*Randel, Don Michael, ed. (2003) "Aria," in ''The Harvard Dictionary of Music''. Cambridge, MA: Harvard University Press. (Author: "CG".)

==Further reading==
*Jack Westrup, et al. "Aria." Grove Music Online. Oxford Music Online. Oxford University Press, accessed July 13, 2016, http://www.oxfordmusiconline.com/subscriber/article/grove/music/43315.

==External links==
*
*, a play by ]

{{Opera terms}}

{{DEFAULTSORT:Da Capo Aria}}
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Latest revision as of 15:26, 15 August 2024

Baroque musical form

The da capo aria (Italian pronunciation: [da (k)ˈkaːpo ˈaːrja]) is a musical form for arias that was prevalent in the Baroque era. It is sung by a soloist with the accompaniment of instruments, often a small orchestra. The da capo aria is very common in the musical genres of opera and oratorio. According to Randel, a number of Baroque composers (he lists Scarlatti, Hasse, Handel, Porpora, Leo, and Vinci) composed more than a thousand da capo arias during their careers.

Form

A da capo aria is in ternary form, meaning it is composed of three sections. The first section is a complete song with accompaniment, ending in the tonic key, and could in principle be sung by itself. The second section contrasts with the first in its musical key, texture, mood, and sometimes also tempo. The third section was usually not written out by the composer, who would instead simply note the instruction "da capo" (Italian for "from the head") - meaning from the beginning, i.e., the first section is to be repeated.

The text for a da capo aria was typically a poem or other verse sequence written in two strophes, the first for the A section (hence repeated later) and the second for B. Each strophe consisted of from three to six lines, and terminated in a line containing a masculine ending, that is a line ending in a stressed syllable.

Improvisation

The singer was often expected to improvise variations and ornaments during the third section, to keep it from being a mere repetition of the first. This was especially so for da capo arias written in slower tempos, where the opportunity to improvise, as well as the risk of dullness, were greater. The ability to improvise variations and ornaments was a skill learned by, and expected of, all solo singers. The decline in this ability following the Baroque era is perhaps the reason why the da capo aria ultimately acquired a reputation as a musically dull form. The authentic performance movement, starting in the mid twentieth century, restored improvisation to the performance of da capo arias, although the practice has yet to become universal even among authentic performance artists.

Famous examples

Handel's oratorio Messiah (1742) includes two well-known da capo arias, "He Was Despised" (for alto voice) and "The Trumpet Shall Sound" (for bass). J. S. Bach's cantata Jauchzet Gott in allen Landen, BWV 51 (1730) begins with a flamboyant da capo aria for soprano, trumpet soloist, and strings.

Notes

  1. ^ Randel (2003:54)

References

  • Benward & Saker (2003). Music: In Theory and Practice, Vol. I. Seventh Edition. McGraw-Hill Higher Education. ISBN 978-0-07-294262-0.
  • Randel, Don Michael, ed. (2003) "Aria," in The Harvard Dictionary of Music. Cambridge, MA: Harvard University Press. (Author: "CG".)

Further reading

External links

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