Recitative

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shows the simple accompaniment for a recitative; much of the time, the basso continuo (the lower staff in bass clef) play half notes and whole notes underneath the vocalist's recitative part.
A recitative from
Cantata 140, "Wachet auf, ruft uns die Stimme"

Recitative (/ˌrɛsɪtəˈtv/, also known by its Italian name recitativo ([retʃitaˈtiːvo]) is a style of delivery (much used in operas, oratorios, and cantatas) in which a singer is allowed to adopt the rhythms and delivery of ordinary speech. Recitative does not repeat lines as formally composed songs do. It resembles sung ordinary speech more than a formal musical composition.

Recitative can be distinguished on a continuum from more speech-like to more musically sung, with more sustained melodic lines. The mostly syllabic recitativo secco[A] ("dry", accompanied only by continuo, typically cello and harpsichord) is at one end of the spectrum, through recitativo accompagnato (using orchestra), the more melismatic arioso, and finally the full-blown aria or ensemble, where the pulse is entirely governed by the music. Secco recitatives can be more improvisatory and free for the singer, since the accompaniment is so sparse; in contrast, when recitative is accompanied by orchestra, the singer must perform in a more structured way.

The term recitative (or occasionally liturgical recitative) is also applied to the simpler formulas of Gregorian chant, such as the tones used for the epistle, gospel, preface and collects; see accentus.

Origins

The first use of recitative in opera was preceded by the monodies of the Florentine Camerata in which Vincenzo Galilei, father of the astronomer Galileo Galilei, played an important role. The elder Galilei, influenced by his correspondence with Girolamo Mei on the writings of the ancient Greeks and with Erycius Puteanus on the writings of Hucbald[1] and wishing to recreate the old manner of storytelling and drama, pioneered the use of a single melodic line to tell the story, accompanied by simple chords from a harpsichord or lute.

In the

Eric Satie and Francis Poulenc[3]
).

Secco

Secco recitatives, popularized in Florence though the proto-opera music dramas of

. They also influenced areas of music outside opera.

In the early operas and cantatas of the Florentine school, secco recitatives were accompanied by a variety of instruments, mostly plucked fretted strings including the

violoncello. When the harpsichord was gradually phased out over the late 18th century, and mostly disappeared in the early 19th century, many opera-houses did not replace it with the fortepiano
, a hammered-string keyboard invented in 1700.

Instead the violoncello was left to carry on alone, or with reinforcement from a

Mozart's Don Giovanni at the London Royal Opera House, the instrument being supplied by Arnold Dolmetsch), but it was not until the 1950s that the 18th-century method was consistently observed once more. In the 2010s, the early music revival movement has led to the re-introduction of harpsichord in some Baroque
performances.

Accompagnato (or obbligato)

Accompanied recitative, known as accompagnato or stromentato, employs the orchestra as an accompanying body. The composer writes an arrangement for the orchestra musicians. As a result, it is less improvisational and declamatory than recitativo secco, and more song-like. This form is often employed where the orchestra can underscore a particularly dramatic text, as in "Thus saith the Lord" from Händel's Messiah; Joseph Haydn and Wolfgang Amadeus Mozart were also fond of it. A more inward intensification calls for an arioso; the opening of "Comfort ye" from the same work is a famous example, while the ending of it ("The voice of him that crieth in the wilderness") is secco.

Sometimes a distinction is made between the more dramatic, expressive, or interjecting 'orchestral recitative' (recitativo obbligato or stromentato) and a more passive and sustained 'accompanied recitative' (recitativo accompagnato).[4]

Post-Wagner uses

Later operas, under the influence of

through-composition
, where recitatives, arias, choruses and other elements were seamlessly interwoven into a whole. Many of Wagner's operas employ sections which are analogous to accompanied recitative.

Recitative is also occasionally used in

musicals, being put to ironic use in the finale of Kurt Weill's The Threepenny Opera. It also appears in Carousel and Of Thee I Sing
.

George Gershwin used it in his opera Porgy and Bess, though sometimes the recitative in that work is changed to spoken dialogue. Porgy and Bess has also been staged as a musical rather than as an opera.

Instrumental recitative

Recitative has also sometimes been used to refer to parts of purely instrumental works which resemble vocal recitatives, in terms of their musical style. In an instrumental recitative, one instrument (or group of instruments) are given the melody line (akin to the role of the singer) and another instrument (or group of instruments) are given the accompaniment role. One of the earliest examples is found in the slow movement of

Esterhazy Palace and soon after composed his Symphony No. 7 ("Le Midi") in concertante style (i.e. with soloists). In the second movement of that work, the violinist is the soloist in an instrumental recitative.[citation needed
]

Ludwig van Beethoven used the instrumental recitative in at least three works, including Piano Sonata No. 17 (The Tempest), Piano Sonata No. 31, and in the opening section of the Finale of his Ninth Symphony. Here, Beethoven inscribed on the score (in French) "In the manner of a recitative, but in tempo." Leon Plantinga argues that the second movement of Beethoven's Fourth Piano Concerto is also an instrumental recitative,[5] although Owen Jander interprets it as a dialogue.[6]

Other Romantic music era composers to employ instrumental recitative include Nikolai Rimsky-Korsakov (who composed a lyrical, virtuosic recitative for solo violin with harp accompaniment to represent the title character in his orchestral Scheherazade) and Hector Berlioz (whose choral symphony Roméo et Juliette contains a trombone recitative as part of its Introduction).[citation needed]

12 New Etudes for Piano (1977–86).[citation needed
]

The tropes of recitative

There are certain conventions, or tropes, which standardize recitative; so that, in practice, recitative is a rigid musical form. The following are standard tropes of recitative:

See also

References

Notes
  1. ^ plural: recitativi secchi
Citations
  1. ^ Hope 1894, p. ??
  2. ^ Gossett 2006, p. 249
  3. ^ J. S. Lessner: '"Gounod: Ear for Melody" in Opera News, May 2021
  4. ]
  5. ^ Plantinga 1996, p. 186
  6. ^ Jander 1985, pp. 195–212
Bibliography

External links