da capo aria造句

• Part of its satire of opera was that it had all of the words sung, including the recitatives and da capo arias ( Gillespie 128 ).
• Textual tinkering notwithstanding, " Joseph " is a substantial score, with da capo arias, accompanied recitatives and grand choruses as appealing as any in Handel's better-known works.
• The final " allegro " is an ingenious instrumental version of a da capo aria, with a middle section in the relative minor key, F sharp minor.
• By comparison with these, Handel's " Dolce mio ben " and " Nice, che fai, " with their alternating recitatives and da capo arias, seemed pictures of structural ambition.
• They are long, typically about four hours, and for listeners who find the works'streams of da capo arias repetitive rather than enlightening, they can seem longer than they are.
• We are given a few choruses and no vocal ensembles, instead a parade of da capo arias tied together with minimal recitative and, in this production, by Ms . Redgrave's helpful explanations.
• The lovers having sung, they scurry off, almost as if in a Baroque opera, to make way for the title character, who enters to sing a da capo aria of remorse and longing, the opera's centerpiece.
• Gives a broad musical description of the " Largo " as a movement with two voices in dialogue over a continuo bass combining aspects of three different musical forms : fugue, ritornello and da capo aria.
• In operas of the 18th century, da segno arias were a common alternative to da capo arias which began with an opening ritornello, which was then omitted in the repeat ( the sign being placed after the ritornello ).
• The da capo aria depicts humility in the first section, pride in the middle section, in rough rhythm both in the voice as in the obbligato, whereas the continuo plays the theme from the first section to unify the movement.
• He responds with a da capo aria, " I labor with each breath I draw, " the central section being a musically artful, onomatopoeic wheeze, similar in vividness to Handel's buzzing flies in the oratorio " Israel in Egypt ."
• Among his output are two Holy Week settings as Da Capo arias : " Deh sciogliete, o mesti lumi " for soprano, unison violins, bassoon, two trombones and organ and " Dio, qual sia " for soprano, trombone, bassoon and basso continuo.
• It is composed as a " da capo aria " ( bars 1 86 ) with a short middle section ( " ", bars 87 100 ) which has the tempo marking " Allegretto " and is in the parallel key of A minor.
• Both arias " Ben crudele " and " Se nube oscura " are examples of the da capo aria form . " Ben crudele " is in the key of C major, and " Se nube oscura " is in the key of B-flat major.
• Just as Haydn's instrumental music traced the evolution from static Baroque forms to the transitive, fluid values of sonata form, so " Armida " wrestles with ways of bringing the da capo aria into this new operatic world, where Mozart had become chief executive officer.
• Overall, there were only three full da capo arias provided for him, none in the last act; his only duet with the leading soprano was short and formally somewhat unusual; and he was not allowed to participate in the main ensemble number, the trio at the end of the first act.
• 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.
• Frantic to provide a new work for the 1724 season of his London opera company, Handel composed the basic draft of " Tamerlano " in just 20 days . In a less sensitive production, this opera, Handel's 18th, could seem a formulaic rush job : 27 da capo arias, 2 duets, 1 trio and a final quartet.
• Binary form arias were in two sections ( A B ); arias in ternary form ( A B A ) were known as " da capo arias " ( literally'from the head', i . e . with the opening section repeated, often in a highly rondeau " form ( ABACA ), ( a shape which is analogous to the instrumental rondo ).
• "Demetrio " ( 1766 version ) represents a transitional aesthetic, in which Perez combined a modified Baroque dramaturgy with a more up-to-date musical style : he eliminated 14 Metastasio aria texts, used eight accompanied recitatives and two duets for moments of personal reflection, and gave the da capo aria more musical and dramatic coherence . " Solimano " ( 1768 ) is his acknowledged masterpiece.