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A Singer’s Guide to Performing Two Baroque Cantatas: Barbara Strozzi’s L’Astratto, Op. 8, No. 4, and Elisabeth-Claude Jacquet de La Guerre’s Le Sommeil d’Ulisse

Kim, Youngmi
http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337265668

Abstract Details

2012, DMA, University of Cincinnati, College-Conservatory of Music: Voice.
The secular cantata was one of the most popular genres in vocal chamber music during the seventeenth and eighteenth centuries. Similar to opera in its musical style and dramatic narrative, the Baroque cantata developed in Italy during the seventeenth century, changing from a multi-sectional movement with quick alternations between recitative, arioso, and aria to a multi-movement piece with several pairs of recitatives and da capo arias by the 1680s. This study is a performer’s guide to Barbara Strozzi’s L’Astratto (1664), Op. 8, No. 4 and Elizabeth-Claude Jacquet de La Guerre’s Le Sommeil d’Ulisse (1715). A comparison of two cantatas by women composers, one from mid-seventeenth-century Italy and the other from early eighteenth century France, allows for a study of different forms, singing styles, ornamentation, instrumentation, and the relationship between text and music in the genre’s development over a half-century. This document aids singers in programming this genre and discovering the music of two of the cantata’s most gifted composers. Chapter 1 presents an overview of the two composers’ biographies in terms of family backgrounds and early careers, social backgrounds, and compositional outputs, providing a frame of reference for the detailed study of each cantata at follows. Chapter 2 focuses on Strozzi’s use of text and musical rhetoric, formal structure (one-movement form with several sections), and performance issues (e.g., ornamentation, vocal technique, and instrumentation). Chapter 3 deals with La Guerre’s use of mythologically based texts, overall formal structure (several movements alternate between r¿¿¿¿citatif and air), air form (e.g., through-composed, strophic variation, and da capo form), compositional style of r¿¿¿¿citatif, and performance issues (e.g., stylized dances and tempo, rhythmic performance practice [overdotting and notes in¿¿¿¿gales], ornamentation, pronunciation, and instrumentation). This study concludes with an assessment of Strozzi’s and La Guerre’s contributions to the history of the cantata.
bruce mcclung, PhD (Committee Chair)
Kenneth Shaw, MM (Committee Member)
Mary Stucky, MM (Committee Member)
138 p.
Music
Cantata; Baroque; Barbara Strozzi; Elisabeth-Claude Jacquet de la Guerre; L'Astratto; Le Sommeil d'Ulisse;

Recommended Citations

Citations

  • Kim, Y. (2012). A Singer’s Guide to Performing Two Baroque Cantatas: Barbara Strozzi’s L’Astratto, Op. 8, No. 4, and Elisabeth-Claude Jacquet de La Guerre’s Le Sommeil d’Ulisse [Doctoral dissertation, University of Cincinnati]. OhioLINK Electronic Theses and Dissertations Center. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337265668

    APA Style (7th edition)

  • Kim, Youngmi. A Singer’s Guide to Performing Two Baroque Cantatas: Barbara Strozzi’s L’Astratto, Op. 8, No. 4, and Elisabeth-Claude Jacquet de La Guerre’s Le Sommeil d’Ulisse. 2012. University of Cincinnati, Doctoral dissertation. OhioLINK Electronic Theses and Dissertations Center, http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337265668.

    MLA Style (8th edition)

  • Kim, Youngmi. "A Singer’s Guide to Performing Two Baroque Cantatas: Barbara Strozzi’s L’Astratto, Op. 8, No. 4, and Elisabeth-Claude Jacquet de La Guerre’s Le Sommeil d’Ulisse." Doctoral dissertation, University of Cincinnati, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337265668

    Chicago Manual of Style (17th edition)

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This open access ETD is published by University of Cincinnati and OhioLINK.