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The da capo aria (Italian pronunciation: [da ˈkaːpo ˈaːrja]) is a musical form for arias that was prevalent in the Baroque era. It is sung by a soloist with the accompaniment of instruments, often a small orchestra. The da capo aria is very common in the musical genres of opera and oratorio. According to Randel, a number of Baroque composers (he lists Hasse, Handel, Porpora, Leo, and Vinci) composed more than a thousand da capo arias during their careers.^[1]

Form[edit]

A da capo aria is in ternary form, meaning it is composed of three sections. The first section is a complete musical entity, ending in the tonic key, and could in principle be sung alone. The second section contrasts with the first in its musical key, texture, mood,^[1] and sometimes also tempo. The third section was usually not written out by the composer, who rather simply specified the direction 'da capo' (Italian for 'from the head') - meaning from the beginning, which meant that the first section should be repeated in full.

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.

Improvisation[edit]

The singer was often expected to improvise variations and ornaments during the third section, to keep it from being a mere repetition of the first.^[1] This was especially so for da capo arias written in slower tempos, where the opportunity to improvise, as well as the risk of dullness, were greater. The ability to improvise variations and ornaments was a skill learned by, and expected of, all solo singers. The decline in this ability following the Baroque era is perhaps the reason why the da capo aria ultimately acquired a reputation as a musically dull form. The authentic performance movement, starting in the mid twentieth century, restored improvisation to the performance of da capo arias, although the practice has yet to become universal even among authentic performance artists.

Famous examples[edit]

Handel's oratorio Messiah (1742) includes two well-known da capo arias, 'He Was Despised' (for alto voice) and 'The Trumpet Shall Sound' (for bass). J. S. Bach's cantata Jauchzet Gott in allen Landen, BWV 51 (1730) begins with a flamboyant da capo aria for soprano, trumpet soloist, and strings.

Notes[edit]

References[edit]

• Benward & Saker (2003). Music: In Theory and Practice, Vol. I. Seventh Edition. McGraw-Hill Higher Education. ISBN978-0-07-294262-0.
• Randel, Don Michael, ed. (2003) 'Aria,' in The Harvard Dictionary of Music. Cambridge, MA: Harvard University Press. (Author: 'CG'.)

Further reading[edit]

• Jack Westrup, et al. 'Aria.' Grove Music Online. Oxford Music Online. Oxford University Press, accessed July 13, 2016, http://www.oxfordmusiconline.com/subscriber/article/grove/music/43315.

External links[edit]

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Assorted References

• characteristics of aria
  • In aria

    …by a reliance on the da capo aria, in which the initial melody and text were repeated after an intervening melody and text had been sung (i.e., ABA). Often the inner B section was set in duple time (e.g., ²/₄), the outer A sections in triple time (e.g., ³/₄).

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• development of vocal music
  • In vocal music: The 17th–20th centuries

    Most characteristic is the da capo plan, consisting of two contrasting sections of music: after the second section, the performers repeat the first, this time with more elaborate embellishments improvised by the singer. Another plan, popular in the later 18th century, is the composite design, consisting of several different…

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• influence on Bach
  • In Johann Sebastian Bach: The Weimar period

    …based on refrain (ritornello) or da capo schemes in which wholesale repetition—literal or with modifications—of entire sections of a piece permitted him to create coherent musical forms with much larger dimensions than had hitherto been possible. These newly acquired techniques henceforth governed a host of Bach’s arias and concerto movements,…

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Aria Da Capo Play

role in

Da Capo Aria Music

• musical variations
  • In musical variation

    …of the late Baroque, the da capo aria, has a first section, a second section contrasting in melody and sometimes key and tempo, then an exact repetition of the first section, which provided a showcase for the singer’s ability to elaborate. Jazz is another style that emphasizes performance variation. The…

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• Neapolitan opera
  • In opera: Development of operatic styles in other Italian cities

    The da capo aria was a large-scale form in three sections (ABA), with the third repeating the first “from the capo, or head”—that is, from the beginning. The form consisted of a pithy, rhymed poem, the main idea of which was captured by one or two…

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