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雅思阅读
2016-08-29 10:21
来源：新东方整理
作者：上海新东方
Revision: Arias and Recitatives
(Baroque) opera is a part of the general syllabus.
Arias
Generally a small quantity of text used. Frequent use of melismas, repetition, sequences and any other musical devices as appropriate to the setting of the text. Full accompaniment (usually, although Purcell's Dido and Aeneas has most of its arias accompanied by continuo only). Have a da capo structure (ABA) where the return of the A section is ornamented. I recommend you listen to an aria from Handel's Messiah as it will give you a good impression. Usually they focus on important parts of the text; in baroque musical theory the affect experienced by each character is made evident in each aria.
Recitatives
The idea of them is to get through a lot of plot. Therefore they are predominantly syllabic (one note per syllable) and occasionally pneumatic (a few notes per syllable). Much less 'melodic' i.e. imitates speech in music rather than following techniques of melodic construction. Often have wilder key changes than in aria; used as a form of word painting. No repetition, and no structure; they are through-composed.
Secco - the only accompaniment is from the continuo (keyboard instrument like organ/harpsichord, and a bass instrument like cello or bassoon). It consists of just plink plonk chords played every now and again.
Accompagnato - pretty much full accompaniment.
Fuller, richer texture than secco
Other stuff like in JS Bach's St Matthew's Passion, whenever Christ speaks there is a 'halo' of strings to give divine connotations. Or in the Messiah, when the angels are speaking there are semiquaver arpeggios from the strings to represent the flapping of the angels' wings. Within actual opera, 'Alma del Gran Pompeo', from Handel's Giulio Cesare, is a famous accompagnato recitative within baroque opera seria.
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