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Search references for RECITATIVE. Phrases containing RECITATIVE
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Ordinary speech-like singing in opera, cantata, mass or oratorio
Recitative (/ˌrɛsɪtəˈtiːv/, also known by its Italian name recitativo ([retʃitaˈtiːvo]), is a style of delivery (much used in operas, oratorios, and cantatas)
Recitative
1741 sacred oratorio by Handel
collection of individual numbers or "movements" which take the form of recitatives, arias and choruses. There are two instrumental numbers, the opening
Messiah_(Handel)
Style of church music formerly used in Mass
style is also known as liturgical recitative, though it differs in some important ways from other types of recitative. In the medieval church, the whole
Accentus
1727 sacred oratorio by Johann Sebastian Bach
tenor Evangelist in secco recitative accompanied only by continuo. Soloists sing the words of various characters, also in recitative; in addition to Jesus
St_Matthew_Passion
Expressionist vocal techniques between singing and speaking
used interchangeably, Sprechgesang is directly related to the operatic recitative manner of singing (in which pitches are sung, but the articulation is
Sprechgesang
Oratorio by Joseph Haydn
in mind." In the final form of the oratorio, the text is structured as recitative passages of the text of Genesis, often set to minimal accompaniment, interspersed
The_Creation_(Haydn)
Art form combining sung text and musical score in a theatrical setting
comique. In traditional number opera, singers employ two styles of singing: recitative, a speech-inflected style, and self-contained arias. The 19th century
Opera
Musical ode by George Frideric Handel
Lute, Lyrichord and other Instruments" HWV 294 for performance after the recitative Timotheus, plac'd on high in Part I; a concerto grosso in C major in 4
Alexander's_Feast_(Handel)
Oratorio by Mendelssohn
the Prophets) 8. Recitative & Chorus — Sie aber stürmten auf ihn ein; Steiniget ihn! (Then they ran upon him; Stone him!) 9. Recitative & Chorale — Und
St._Paul_(oratorio)
Category of classical solo vocal piece
usually occurring in an opera or oratorio, falling somewhere between recitative and aria in style. Literally, arioso means airy. The term arose in the
Arioso
1744 opera-oratorio by Handel
Telemann. Noteworthy in the score are the number and quality of accompanied recitatives (a characteristic it shares with Il Pompeo), and the sheer variety of
Semele_(Handel)
1883 opera by Léo Delibes
No. 5 – Recitative & Strophes: "Les fleurs me paraissent plus belles" (The flowers appear more beautiful to me) (Lakmé) No. 5b – Recitative: "Ah! Mallika
Lakmé
Oratorio by George Frideric Handel
recitative) Awful pleasing being, say (Alto aria) Joshua, I come commission'd (Tenor, Soprano recitative) Leader of Israel (Tenor, Soprano recitative)
Joshua_(Handel)
Church cantata by Johann Sebastian Bach
transformed the themes of the inner stanzas into a sequence of alternating recitatives and arias. Wie schön leuchtet der Morgenstern is the last chorale cantata
Wie schön leuchtet der Morgenstern, BWV 1
Wie_schön_leuchtet_der_Morgenstern,_BWV_1
Oratorio by Felix Mendelssohn
movements are simple oratorio forms such as recitative and aria, others explore hybrid combinations, such as recitative with choir, for dramatic effect. The
Elijah_(oratorio)
Chorale cantata by Johann Sebastian Bach
author supplied additional poetry for the inner movements as sequences of recitative and duet, based on the love poetry of the Song of Songs. Bach structured
Wachet auf, ruft uns die Stimme, BWV 140
Wachet_auf,_ruft_uns_die_Stimme,_BWV_140
St Mark Passion
betreten Recitative (Evangelist, Jesus): Und nahm zu sich Petrus und Jakobus und Johannes Chorale: Was mein Gott will, das g'scheh allzeit Recitative (Evangelist
St Mark Passion (attributed to Keiser)
St_Mark_Passion_(attributed_to_Keiser)
Oratorio by George Handel and Charles Jennens
Handel composed for London, focused overwhelmingly on solo arias and recitatives for the star singers and contained very little else; they did not feature
Saul_(Handel)
Musical composition by J.S. Bach
reconstructions are attempted. However, since Bach's recitative is lost, most reconstructions use the recitatives composed for a Markus-Passion attributed to Reinhard
St_Mark_Passion,_BWV_247
Musical composition by Georg Philipp Telemann
Recitative Ich höre ... Aria-Round Song Glück zu Recitative Mit was für unverrhofften Chören Aria (Hammonia) Mit euch, ihr holden beiden Recitative Der
Admiralitätsmusik
Keyboard work by Johann Sebastian Bach
leading, and recitative-like writing. Its main sections include an opening passagework section, an arpeggiated and modulatory passage, a recitative, and a coda
Chromatic Fantasia and Fugue, BWV 903
Chromatic_Fantasia_and_Fugue,_BWV_903
Role of a singer
of the Four Evangelists of the Bible, translated by Martin Luther, in recitative secco. The part appears in the works St John Passion, St Matthew Passion
Evangelist_(Bach)
Oratorio by P. D. Q. Bach
"Tragedy" Recitative: "Well" II. Aria with chorus: "Howdy there" Recitative: "And it wasn't long" III. Duet with chorus: "My heart" Recitative: "But" IV
Oedipus_Tex
Chorale cantata by Johann Sebastian Bach
expanding the third by adding text for a recitative. He paraphrased the other stanzas for two arias and another recitative. Bach structured the cantata in six
Erhalt uns, Herr, bei deinem Wort, BWV 126
Erhalt_uns,_Herr,_bei_deinem_Wort,_BWV_126
Soprano aria from Mozart's opera "Le nozze di Figaro"
act, preceded by a recitative, "E Susanna non vien!" (Susanna's not come!). Alone on stage, the Countess regrets in the recitative that her husband, Count
Dove_sono
Opera by Nicola Porpora about the cyclops Polyphemus
for Galatea. Instead of a repetition of the first stanza, Rolli has a recitative between Galatea and Polifemo before commencing the second verse. Rolli
Polifemo_(opera)
Church cantata by Johann Sebastian Bach
librettist paraphrased the inner stanzas as recitatives and arias, quoting one stanza of the hymn within a recitative. Bach scored the cantata for four vocal
Schmücke dich, o liebe Seele, BWV 180
Schmücke_dich,_o_liebe_Seele,_BWV_180
Oratorio by George Frideric Handel
"Accompagnato" is a recitative accompanied by the orchestra, rather than by continuo instruments only, as in the passages marked "recitative".) Arrival of the
Solomon_(Handel)
1959 studio album by Carlo Maria Giulini
Lasciala, indegno! 2:07 1-5 Act 1, Scene 1: Recitative: Leporello, ove sei? 0:28 1-6 Act 1, Scene 1: Recitative: Ah del padre in periglio 2:36 1-7 Act 1
Don Giovanni (Giulini recording)
Don_Giovanni_(Giulini_recording)
1734 oratorio by Johann Sebastian Bach
to the recitatives, which knit together the oratorio into a coherent whole. In particular, Bach made particularly effective use of recitative when combining
Christmas_Oratorio
Church cantata by Johann Sebastian Bach
chorale. The first group features first an aria, then a recitative, the second first a recitative, then an aria. The third movement is the second stanza
Meine Seufzer, meine Tränen, BWV 13
Meine_Seufzer,_meine_Tränen,_BWV_13
Secular cantata by Johann Sebastian Bach
respectively. Bach set the words in eight movements consisting of alternating recitatives and arias, culminating in a choral finale. Most movements are duets of
Die Zeit, die Tag und Jahre macht, BWV 134a
Die_Zeit,_die_Tag_und_Jahre_macht,_BWV_134a
Cantata by J.S. Bach
flutes, oboes and strings. Choral movements frame a series of alternating recitatives and arias. Bach led the first performance with the Collegium Musicum
Tönet, ihr Pauken! Erschallet, Trompeten! BWV 214
Tönet,_ihr_Pauken!_Erschallet,_Trompeten!_BWV_214
Oratorio by Georg Friedrich Händel
during — Good Friday and Easter Sunday, with the action carried forward in recitative, and exploration of character and delineation of mood taking place in
La_resurrezione
1750 oratorio/opera by Handel
"Accompagnato" is a recitative accompanied by the orchestra, rather than by continuo instruments only, as in the passages marked "recitative".) The 1996 production
Theodora_(Handel)
Oratorio by Ludwig van Beethoven
Adagio) in E♭ minor – Recitative „Jehova, du, mein Vater!“ – Aria (Allegro) „Meine Seele ist erschüttert!“ in c minor 2. Recitative „Erzittre, Erde, Jehovahs
Christ on the Mount of Olives (Beethoven)
Christ_on_the_Mount_of_Olives_(Beethoven)
1913 song by Frederic Weatherly
with a spoken recitative, before singing the two verses. He repeated the second half of the first verse the second time around. The recitative goes: The Time
Danny_Boy
Church cantata by Johann Sebastian Bach
librettist paraphrased the content of ten inner stanzas to alternating recitatives and arias. Bach scored the cantata for a chamber ensemble of four vocal
Es ist das Heil uns kommen her, BWV 9
Es_ist_das_Heil_uns_kommen_her,_BWV_9
between the phrases of the chorale, the cello plays recitative-like passages, which resemble the recitative of the Fantasia in the Chromatic Fantasia and Fugue
Cello Sonata No. 2 (Mendelssohn)
Cello_Sonata_No._2_(Mendelssohn)
Church cantata by J.S. Bach
voyage. Bach structured it in five movements, alternating arias and recitatives for a bass soloist, and closing with a four-part chorale. He scored the
Ich will den Kreuzstab gerne tragen, BWV 56
Ich_will_den_Kreuzstab_gerne_tragen,_BWV_56
Church cantata by Johann Sebastian Bach
chorale fantasia, is followed by a succession of arias alternating with recitatives, leading to a four-part closing chorale. The cantata is scored for three
Christ unser Herr zum Jordan kam, BWV 7
Christ_unser_Herr_zum_Jordan_kam,_BWV_7
Cantata by Johann Sebastian Bach
Jesus from the Gospel of Luke, interspersed with reflective texts for recitatives and arias, and stanzas from Lutheran hymns. The cantata is structured
Jauchzet, frohlocket! Auf, preiset die Tage, BWV 248 I
Jauchzet,_frohlocket!_Auf,_preiset_die_Tage,_BWV_248_I
Motet for solo voice by Antonio Vivaldi
surrounding a central recitative. One (RV 638) has a central aria flanked by two recitatives; another (RV 640) has just two movements – recitative then aria – and
Vivaldi's_introduzioni
Musical or opera with little or no spoken dialogue
the story. The story is told through a combination of aria, arioso and recitative. Early versions of this include the Italian genre of opera buffa, a light-hearted
Sung-through
Sacred motet by Antonio Vivaldi
(Aria; Recitative; Aria), followed by a concluding Alleluia. Scholar and Vivaldi expert Michael Talbot wrote that it has "a ravishing central recitative."
Nulla_in_mundo_pax_sincera
Second cantata of Johann Sebastian Bach's Christmas Oratorio
annunciation to the shepherds. An unknown librettist added text for reflective recitatives and arias and included stanzas from Lutheran hymns. Bach structured the
Und es waren Hirten in derselben Gegend, BWV 248 II
Und_es_waren_Hirten_in_derselben_Gegend,_BWV_248_II
Form of song
liturgical recitative in Gregorian chant Problems playing this file? See media help. Gregorian chants fall into two broad categories of melody: recitatives and
Gregorian_chant
Style of rhythm and blues music
vocals, and often featuring, in the bridge, a melodramatically heartfelt recitative addressed to the beloved. Harmonic singing of nonsense syllables (such
Doo-wop
German composer
lebendig" Recitative: "Du hast gesiegt" Aria: "Soll ich vor dir, Herr" Duet: "So sind wir nun mit ihm begraben" Aria: "Geerbte Schuld" Recitative: "Nimm
Johann_Ludwig_Bach
Opera by P. D. Q. Bach
Introduction: "Found a peanut!" 5. Recitative: "Ah, dear husband" Aria: "Stay with me" 6. Recitative: "Suzanna" 7. Recitative: "Dog!" Aria: "Perfidy,
The_Abduction_of_Figaro
1971 compilation album by P.D.Q. Bach
across the flaming sky" Recitative: "And lo, she found herself within a market" Ground: "Dying, and yet in death alive" Recitative: "And in a vision, Iphigenia
The_Wurst_of_P._D._Q._Bach
Musical piece for a single voice as part of a larger work
melodic, and structured aria differed from the speech-like (parlando) recitative – the latter tending to carry the story-line, the former used to convey
Aria
1771 oratorio by W. A. Mozart
continuo. First part Overtura Recitative: Popoli di Betulia (Ozia) Aria #1: D'ogni colpa la colpa maggiore (Ozia) Recitative: E in che sperar? (Cabri, Amital)
Betulia_liberata
Secular cantata by Johann Sebastian Bach
Movement Title Characters Synopsis 1 Recitative: Schweigt stille Narrator The narrator tells the audience to quiet down and pay attention, before introducing
Schweigt stille, plaudert nicht, BWV 211
Schweigt_stille,_plaudert_nicht,_BWV_211
Opera by P. D. Q. Bach
Donna Ribalda break character in the middle of a recitative to hold a conversation (still in recitative) about their singing careers. At a subsequent point
The_Stoned_Guest
Italian castrato singer (1705–1782)
ringraziamento La partenza Orfeo – with Riccardo Broschi Recitative: Ogni di piu molesto dunque Recitative: Invan ti chiamo Aria: Io sperai del porto in seno
Farinelli
1959 American musical film
with his wife Dorothy. The film's screenplay, which turned the operatic recitatives into spoken dialogue, was very closely based on the opera and was written
Porgy_and_Bess_(film)
Oratorio by Johann Sebastian Bach (1729)
Apostles. The bible narration is compiled from multiple sources: the first recitative of the Evangelist (movement 2) is from Luke 24 (Luke 24:50–51), the second
Lobet Gott in seinen Reichen, BWV 11
Lobet_Gott_in_seinen_Reichen,_BWV_11
Church cantata by Johann Sebastian Bach
Sermon on the Mount. He set it in five movements, alternating arias and recitatives. A small Baroque ensemble features oboe d'amore and an obbligato organ
Vergnügte Ruh, beliebte Seelenlust, BWV 170
Vergnügte_Ruh,_beliebte_Seelenlust,_BWV_170
1728 oratorio by J. S. Bach
followed Jesus (soprano and alto). The middle movements are alternating recitatives in conversation, and arias of contemplation. The final movement is a
Easter_Oratorio
1791 opera by Wolfgang Amadeus Mozart
Tamino that Pamina will be his wife if he rescues her from Sarastro (Recitative: "O zittre nicht, mein lieber Sohn" / Oh, tremble not, my dear son! –
The_Magic_Flute
Italian opera term
expressive than speech, but not as melodious as song. It is a dramatic recitative style of the early Baroque era in which melodies move freely over a foundation
Stile_rappresentativo
1762 opera by Christoph Willibald Gluck
to the genre of French opera, particularly in its use of accompanied recitative and a general absence of vocal virtuosity. Indeed, twelve years after
Orfeo_ed_Euridice
Style of Italian opera
termed a sinfonia in the period. Following that would then be a series of recitatives in verso sciolto (freely alternating unrhymed seven- and eleven-syllable
Opera_seria
Church cantata by J. S. Bach
both parts with chorale stanzas. The inner movements are alternating recitatives and arias. The chorales are the only movements which were certainly newly
Höchsterwünschtes Freudenfest, BWV 194
Höchsterwünschtes_Freudenfest,_BWV_194
Aria from the opera "Aida" by Giuseppe Verdi
Sung by Enrico Caruso Recitative and aria With orchestra Aria With piano accompaniment Problems playing these files? See media help. "Celeste Aida" ("Heavenly
Celeste_Aida
Church cantata by Johann Sebastian Bach
movements, beginning with an aria for tenor, followed by two pairs of recitatives and arias, one for bass and the other for the duet of soprano and alto
Nur_jedem_das_Seine,_BWV_163
Secular cantata by Johann Sebastian Bach
major) Duet recitative: Nu, Mieke, gib dein Guschel immer her (A major) Aria (soprano): Ach, es schmeckt doch gar zu gut (A major) Recitative (bass): Der
Mer hahn en neue Oberkeet, BWV 212
Mer_hahn_en_neue_Oberkeet,_BWV_212
1737 Bach cantata
ist unsre Zuversicht Recitative (bass): Gott ist und bleibt der beste Sorger Aria (alto): Schläfert allen Sorgenkummer Recitative (bass): Drum folget Gott
Gott ist unsre Zuversicht, BWV 197
Gott_ist_unsre_Zuversicht,_BWV_197
1970 studio album by P.D.Q. Bach
I'm lost" Recitative: "Boy!" Aria: "Now is the season" Recitative: "Gesundheit!" Duet: "Woe" Recitative: "Hark!" Aria: "Look at me" Recitative: "That's
The_Stoned_Guest_(album)
Cantatas (lost) by J. S. Bach for council elections
BWV 1139.1 libretto, published it in 1729, however without the second recitative, and with a minor adjustment in the text of the third movement. A variant
Lost council election cantatas by Johann Sebastian Bach
Lost_council_election_cantatas_by_Johann_Sebastian_Bach
Musical work by Edward Elgar
first movement is in ternary form with an introduction. It opens with a recitative for the solo cello, immediately followed by a short answer from the clarinets
Cello_Concerto_(Elgar)
Church cantata by Johann Sebastian Bach
arias, are parodied from the secular work. Bach recomposed the five recitatives, and added a chorale as conclusion of the first half of the cantata.
Freue dich, erlöste Schar, BWV 30
Freue_dich,_erlöste_Schar,_BWV_30
Russian musician (born 1972)
SFSR, Soviet Union Genres Turbo chanson Rock Russian chanson Rap Experimental music Electronic music Recitative Intelligent dance music Performance art
Stanislav_Baretsky
by the different forms that are used for musical expression (arias, recitatives and choruses). Bach's large choral composition was written to present
St_Matthew_Passion_structure
Church cantata by Johann Sebastian Bach
himself. Bach structured the work in five movements, alternating arias and recitatives, and a closing chorale. The scoring requires only a small ensemble of
Ich bin vergnügt mit meinem Glücke, BWV 84
Ich_bin_vergnügt_mit_meinem_Glücke,_BWV_84
German operatic soprano (born 1938)
"Popoli di Tessaglia!", K. 316, recitative and aria for soprano and orchestra "Crudele? – Non mi dir, bell idol mio", recitative and aria for Donna Anna from
Edda_Moser
1746 oratorio by George Frideric Handel
ye afflicted children Soprano, Alto, Tenor, Bass Largo 4/4 C minor 1 3 Recitative Well may your sorrows Israelitish man (Tenor) 4/4 1 4 Duet From this dread
Judas_Maccabaeus_(Handel)
1779 concert aria by W. A. Mozart
"Popoli di Tessaglia! – Io non chiedo, eterni Dei" (K. 316/300b) is a recitative and aria for soprano and orchestra that Wolfgang Amadeus Mozart wrote
Popoli_di_Tessaglia!
1964 film by Jacques Demy
Cherbourg, separated by circumstance. The film's dialogue is entirely sung as recitative, including casual conversation, and is sung-through like some operas and
The_Umbrellas_of_Cherbourg
Oratorio by Georg Friedrich Händel
religious identity unless they rebel, as Zebul tells them (Accompanied recitative: It must be so). Zebul advises them to recall his half-brother Jephtha
Jephtha_(Handel)
Cantata by Johann Sebastian Bach
laßt uns wachen Recitative (alto): Und wo? Wo ist die rechte Bahn Aria (soprano): Schlafe, mein Liebster, und pflege der Ruh Duet recitative (soprano, tenor):
Laßt uns sorgen, laßt uns wachen, BWV 213
Laßt_uns_sorgen,_laßt_uns_wachen,_BWV_213
Songwriter who writes lyrics
the librettist is responsible for all text, whether spoken or sung in recitative or aria.[citation needed] Singer-songwriter Robert Hunter (lyricist) "Why
Lyricist
Gänsemarkt to a mixed German-Italian libretto by Barthold Feind [de]; recitative's are in German and arias are sung in German and Italian, with French-style
Antiochus_und_Stratonica
Bach cantata, BWV 201
Mercury). Each aria is preceded and followed by a recitative, which gives a total of seven recitatives. In the opening and closing movements all six voices
Geschwinde, geschwinde, ihr wirbelnden Winde, BWV 201
Geschwinde,_geschwinde,_ihr_wirbelnden_Winde,_BWV_201
Cantata by Felix Mendelssohn
(soprano): Meine Seele dürstet nach Gott (For my soul thirsteth for God) Recitative and aria (soprano): Meine Tränen sind meine Speise (My tears have been
Psalm_42_(Mendelssohn)
Pasticcio Passion oratorio
Passion texts: the Passion's story isn't told by an Evangelist role in recitatives, nor in direct speech by any of its characters such as a vox Christi
Wer ist der, so von Edom kömmt
Wer_ist_der,_so_von_Edom_kömmt
American poet (1894–1976)
best known for his long work, Testimony: The United States (1885–1915), Recitative (1934–1979). The term Objectivist was coined for him.[citation needed]
Charles_Reznikoff
Church cantata by Johann Sebastian Bach
Gott, dich loben wir" (Lord God, we praise you). The following pair of recitative and aria deal with thanks for past gifts, while a further pair deals with
Herr Gott, dich loben wir, BWV 16
Herr_Gott,_dich_loben_wir,_BWV_16
Cantata by Johann Sebastian Bach
bass arioso, repeats the ascending scalar motif of the chorus. The tenor recitative is accompanied by sustained chordal strings and concludes on a major harmony
Gottlob! nun geht das Jahr zu Ende, BWV 28
Gottlob!_nun_geht_das_Jahr_zu_Ende,_BWV_28
Aria from Henry Purcell's opera Dido and Aeneas
lament before stabbing herself as Aeneas sails on. The opening secco recitative, "Thy hand, Belinda", is accompanied by continuo only. Word painting is
Dido's_Lament
Cantata composed by Ludwig van Beethoven
steht!" Recitative "O seht sie nah' und näher treten!" Aria with chorus "O Himmel, welch' Entzücken!" Recitative "Das Auge schaut" Recitative and quartet
Der_glorreiche_Augenblick
Solo church cantata by J. S. Bach
general topic of redemption. The librettist wrote a series of alternating recitatives and arias, and included as the sixth movement (of eight) the third stanza
Mein Herze schwimmt im Blut, BWV 199
Mein_Herze_schwimmt_im_Blut,_BWV_199
Chorale cantata by J.S. Bach
Gottes" (Only consider, child of God) as a secco recitative ending in an arioso, the typical style of recitatives during the Weimar period. It adopts canonic
Ein feste Burg ist unser Gott, BWV 80
Ein_feste_Burg_ist_unser_Gott,_BWV_80
Paranormal phenomenon involving unnatural foreign language ability
alleged instances of xenoglossy. Two types of xenoglossy are distinguished. Recitative xenoglossy is the use of an unacquired language incomprehensibly, while
Xenoglossy
Jewish musical style
musical style or tradition of a community, particularly the chant used for recitative prayers such as the Amidah. This is distinct from textual nusach, the
Nusach_(Jewish_music)
Chorale cantata by Johann Sebastian Bach
unchanged, while the other stanzas were paraphrased into alternating recitatives and arias by an unknown librettist. The cantata is festively scored for
Herr Gott, dich loben alle wir, BWV 130
Herr_Gott,_dich_loben_alle_wir,_BWV_130
Church cantata by Johann Sebastian Bach
from the New Testament, and ends with a closing chorale. Symmetrical recitatives and arias form the other movements. Bach set the opening as a chorus
Es wartet alles auf dich, BWV 187
Es_wartet_alles_auf_dich,_BWV_187
Opera by Antonio Vivaldi
Act Scene Recitative/Aria Characters Act 1 Scene 1 Recitative: Prence Lo so: vi devo Bajazet, Andronico Aria: Del destin non dee lagnarsi Bajazet Scene
Bajazet_(Vivaldi_opera)
1737 opera by Jean-Philippe Rameau
tomb with a Chorus of Spartans singing "Que tout gemisse", followed by a recitative between Telaire and Phoebe in which the former is grieving the loss of
Castor_et_Pollux
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