Album insights
In 1789, the traveler and historian Charles Burney noted in his General History of Music that in Italy, lengthy cantatas accompanied by numerous musicians were typically performed at grand events. These occasions included reconciliations between princes after long feuds or the arrival of dignitaries in a state's capital. These performances, resembling operas in length, differed significantly from the usual concept of a cantata or monologue meant for a single voice. These occasions featured multiple singers performing occasion-specific compositions, resembling oratories without scene changes or stage action.
Although not explicitly mentioned by Burney, the most common descriptor for this dramatic genre in the previous century was "serenata." Contrary to some misconceptions, the term "serenata" is not related to "sera" (evening) but derived from the Italian word "sereno," indicating clear skies, particularly at night. Serenatas were intended to carry the spirit of a performance illuminated artificially under an open sky.
Mozart's use of a serenade in Don Giovanni for the romantic couple and the purely instrumental serenade, like the Serenata notturna, may share the same title, but they lack the generic identity of a dramatic cantata of the same name. Burney's claims about serenades being as long as operas seem exaggerated. The lengths vary, with some having 25 distinct sections and others only one. Structurally, they resemble contemporary Italian oratories divided into two parts. Serenades lacked stage action, scenery, or costumes, and multiple singers performed from their scores.
By not requiring singers to act or memorize their parts, serenades allowed for intricate and individualized character portrayals, especially in recitatives. While the overall style of serenades did not stray far from contemporary opera due to orchestral accompaniment, their dialogical format made role stratification and aria distribution challenging. Serenades evolved into a genre distinct from opera and solo cantatas, blending elements from both forms.
Burney listed occasions necessitating serenade performances. However, more common than those mentioned were birthdays, name days, weddings, and births. The etiquette dictated that the "sponsor" of a serenade could not be the same person honored by the performance. Often, the sponsor and the honoree were connected by family, friendship, or politics. Some occasions, like birthdays and name days, could be planned leisurely, while others required quick action, leading librettists and composers to repurpose existing material. To save time, serenade patrons often involved local talents, offering opportunities to smaller artists and amateurs, particularly in provincial centers.
The early 17th century saw the emergence of serenades, with the earliest known from Venice in 1665. Venice's settings were ideal for such compositions, allowing innovative audience seating arrangements contrasting with musician placements. Despite lacking grand setups like in Rome, Venice's unique social structure was complemented by foreign envoys who filled the void left by the absence of a court. The French stylistic influence in Vivaldi's La Senna festeggiante showcases Venice's artistic adaptability and social complexities.
Vivaldi's engagement with serenades began early, and his compositions, including the marriage serenade RV 687, exemplify his skilled musical storytelling. The context and intricate structures of Vivaldi's serenades reflect both his compositional prowess and his adeptness at weaving narratives through music. The intricate relationships between text and music further enriched the serenade tradition, making Vivaldi's works notable examples of this genre.