Übersetzung für 'da capo aria' von Englisch nach Deutsch

da capo aria

Da-capo-Arie {f}mus.

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da capo {adv} <D.C.> [from the beginning]

noch einmal von Anfang anmus.

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capo

Kapodaster {m}mus.

capo tasto

Kapodaster {m}mus.

capo (d'astro) [corruption of ital. "capo tasto"]

Kapodaster {m}mus.

aria

Arie {f}mus.

operatic aria

Opernarie {f}mus.

coloratura aria

Koloraturarie {f}mus.

Mozart aria

Mozart-Arie {f}mus.

Catalogue Aria

Registerarie {f} [Mozart: Don Giovanni]mus.F

concert aria

Konzertarie {f}mus.

catalogue aria

Katalogarie {f} [z. B. Mozart]mus.

mad aria

Wahnsinnsarie {f}mus.

alto aria

Alt-Arie {f}mus.

Altarie {f}mus.

tenor aria

Tenorarie {f}mus.

Tenor-Arie {f}mus.

soprano aria

Sopranarie {f}mus.

bass aria

Bassarie {f}mus.

Bass-Arie {f}mus.

entrance aria

Auftrittsarie {f}mus.

• " (He who sins is of the devil) is again a da capo aria, but shows elements of a four-part fugue for the voice, the violins in unison, the violas in unison and the continuo.
• The opera is notable for containing one of the first examples of a da capo aria, "Udite amanti", sung by Corinta.
• Most arias follow the form of a da capo aria, repeating the first part after a middle section.
• It is formally a da capo aria introduced by an eighteen-measure ritornello.
• "Music for a While" is a da capo aria for voice (usually soprano or tenor), harpsichord and bass viol by the English Baroque composer Henry Purcell.

• Prominent examples include the da capo aria "The trumpet shall sound" from Handel's "Messiah", Chopin's Prelude in D-Flat Major "Raindrop", (Op. ...
• "Orlando" shows a flexibility and diversity in its musical forms, moving away from the opera seria convention of one da capo aria after another.
• " (Highly praised Son of God), is a da capo aria for the alto, accompanied by an obbligato oboe da caccia, which was replaced by viola in later performances.
• A singer performing a da capo aria, for instance, would sing the melody relatively unornamented the first time and decorate it with additional flourishes and trills the second time.
• With the rise of the da capo aria, the cantata became a group of two or three arias joined by recitative.

• Compared to his Italian contemporaries, it is Fux's manipulation of the da capo aria that represents his exceptional sense of dramma per musica: his scoring, texture, and motivic-thematic integration allow an individual style to arise while the idealized passions of the Affektenlehre attain dramatic life.
• The second duet in F major BWV 803 is a fugue written in the form of a da capo aria, in the form ABA.
• "Opera seria" built upon the conventions of the High Baroque era by developing and exploiting the "da capo" aria, with its A–B–A form.
• 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.
• Fama is the last character to appear, singing in a bass da capo aria, " [...] " (Crown and trophy of royal ladies).

• The final "allegro" is an ingenious instrumental version of a da capo aria, with a middle section in the relative minor key, F [...] minor.
• He expands the reasoning in a da capo aria in B minor, " [...] " (Here, in My Father's place).
• It is composed as a "da capo aria" (bars 1–86) with a short middle section (" [...] ", bars 87–100) which has the tempo marking "Allegretto" and is in the parallel key of A minor.