Baroque Secular Music in 17th-Century Spain and England

Baroque Secular Music (17th Century)

Spain

Secular music in 17th-century Spain incorporated innovations from the new theatrical school of Lope de Vega and Gongora. New poetic genres emerged, such as the *romance*, which was much more varied than its 15th-century predecessor, featuring changes in metrics. The *letrilla* also appeared, with a greater measure than its predecessor. The *carol*, and most significantly, the *streak*, showcased diverse and constantly changing rhythms.

Musically, composers sought to reflect these rhythmic changes in their settings of the text. The traditional vocal quartet (soprano, alto, tenor, and bass) was often reduced by eliminating the tenor or bass. Composers emphasized the rhythmic syncopation characteristic of Spanish music, shifting the emphasis from the first beat to the second or subsequent beats.

Spain did not develop a tradition of *opera* in the Italian sense. However, the plays of Lope de Vega incorporated sung sections, with the characters themselves singing. A solo vocal piece for a secular character was called a "tono humano," while a religious solo was a "tono sacro." The music always remained subservient to the rhythm of the verse, aiming to enhance the text rather than create a separate operatic form.

England

In England, a popular form of entertainment was the *masque*, which heavily featured dance. All the characters participated in dances at the beginning, middle, and end, interspersed with songs and scenes. Masques were known for their elaborate scenery and luxurious presentation.

Similar to Spain, England did not have a strong opera tradition. Instead, *semi-operas* emerged, blending spoken dialogue with arias. During the early 17th century, England experienced a period of Puritanism, leading to the closure of theaters. Masques were only supported sporadically.

The only notable opera from this period is Dido and Aeneas by Henry Purcell. This work, lasting about an hour and comprising three acts, is known for its concise and dramatic action. Purcell composed it for a girls' boarding school, modifying the original story to emphasize the character of Dido. The opera features an overture followed by three acts (unlike the five-act structure common in France and Italy) and is written in English.

Purcell incorporated the *basso ostinato* (a repeating melodic bass line) throughout the piece, particularly in Dido's famous lament, to create a sense of foreboding and enhance the dramatic impact. The chorus functions both as commentators on the action and as characters within the drama, such as witches. Purcell's recitative is highly melodic, sometimes approaching the Italian style where the text takes precedence, occasionally employing madrigalisms.