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cantata
A cantata (:kanˈtaːta) (literally "sung", past participle feminine singular of the Italian verb ''cantare'', "to sing") is a vocal composition with an instrumental accompaniment, typically in several movements, often involving a choir.
The meaning of the term changed over time, from the simple single voice madrigal of the early 17th century, to the multi-voice "cantata da camera" and the "cantata da chiesa" of the later part of that century, from the more substantial dramatic forms of the 18th century to the usually sacred-texted 19th-century cantata, which was effectively a type of short oratorio.〔Kennedy, Michael "Cantata", ''The Oxford Dictionary of Music'', second edition, revised (Oxford and New York: Oxford University Press, 2006) ISBN 0-19-861459-4.〕 Cantatas for use in the liturgy of church services are called church cantata or sometimes sacred cantata, others sometimes secular cantata. Johann Sebastian Bach composed around 200 cantatas. Several cantatas were, and still are, written for special occasions, such as Christmas cantatas.
==Historical context==
The term originated in the early 17th century simultaneously with opera and oratorio. Prior to that all "cultured" music was vocal. With the rise of instrumental music the term appeared, while the instrumental art became sufficiently developed to be embodied in sonatas. From the beginning of the 17th century until late in the 18th, the cantata for one or two solo voices with accompaniment of basso continuo (and perhaps a few solo instruments) was a principal form of Italian vocal chamber music.〔Timms, Colin, Nigel Fortune, Malcolm Boyd, Friedhelm Krummacher, David Tunley, James R. Goodall, and Juan José Carreras. 2001. "Cantata", §I. ''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.〕
A cantata consisted first of a declamatory narrative or scene in recitative, held together by a primitive aria repeated at intervals. Fine examples may be found in the church music of Giacomo Carissimi; and the English vocal solos of Henry Purcell (such as ''Mad Tom'' and ''Mad Bess'') show the utmost that can be made of this archaic form. With the rise of the da capo aria, the cantata became a group of two or three arias joined by recitative. George Frideric Handel's numerous Italian duets and trios are examples on a rather large scale. His Latin motet ''Silete Venti'', for soprano solo, shows the use of this form in church music.
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