Review by Choice Review
The mid-baroque was a period of relative stability for the Austrian empire, a time when the Habsburg nobility devoted considerable financial resources to music patronage. The Italian cantata became an important vehicle for Viennese court entertainment. In part 1, "The Cantata in Vienna, 1658-1700," Bennett (emer., Wabash College) considers the court environment, composers, repertoire, and sources, and the relationship between text and music. Part 2 focuses on the period from 1700 to 1711 and constitutes the bulk of the book. The author begins with the subjects he addressed in part 1, then adds chapters on form and style and one entitled "Melody, Harmony, and Rhythm." This focus on the early 18th century is in keeping with the influx of northern Italian musical talent into Habsburg court employ during those years. Composers such as Badia, Ziani, Ariosti, and the Bononcini brothers transformed the Habsburg court into one of the trendiest centers in Europe. In chapter 10, "Aspects of Form," Bennett explains how composers who relied on the da capo form did not get into a structural rut but instead considered it a vehicle of considerable variety and flexibility. By taking multiple analytical approaches, Bennett's establishes an overall understanding while also demonstrating how individual composers approached the genre. --Dane Heuchemer, Kenyon College
Copyright American Library Association, used with permission.
Review by Choice Review
