/keuhn tah"teuh/, n.
1. a choral composition, either sacred and resembling a short oratorio or secular, as a lyric drama set to music but not to be acted.
2. a metrical narrative set to recitative or alternate recitative and air, usually for a single voice accompanied by one or more instruments.
[1715-25; < It, equiv. to cant(are) to sing (see CANT1) + -ata -ATE1]

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Work for voice or voices and instruments of the Baroque era.

From its beginnings in early 17th-century Italy, both secular and religious cantatas were written. The earliest cantatas were generally for solo voice and minimal instrumental accompaniment. Cantatas soon developed a dramatic character and alternating sections of recitative and aria, paralleling the simultaneous development of opera, and they came to resemble unstaged operatic scenes or acts. In Germany the Lutheran cantata developed more directly out of the expanding choral motet, and almost always involved a chorus. A single chorale (hymn) often served as the basis for an entire cantata, which might have up to 10 diverse numbers, including duets, recitatives, and choral fugues. The most celebrated are the approximately 200 written by Johann Sebastian Bach. After с 1750 the cantata gradually declined.

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      (from Italian cantare, “to sing”), originally, a musical composition intended to be sung, as opposed to a sonata, a composition played instrumentally; now, loosely, any work for voices and instruments.

      The word cantata first appeared in the Italian composer Alessandro Grandi's (Grandi, Alessandro) Cantade et arie a voce sola (Cantatas and Arias for Solo Voice; published 1620–29). There were precursors of the cantata in earlier strophic arias (in which the melody for each strophe, or stanza, was varied over a constant bass) and such earlier vocal works of chamber proportion as the late madrigals of Claudio Monteverdi.

      The early cantatas after Grandi were written by Italian composers, most in secular style (cantata da camera, “chamber cantata”), but some in sacred manner (cantata da chiesa, “church cantata”) and all in the vernacular language, Italian. The precise nature of the two styles varied, both finally taking on characteristics of the recitative-aria combination of contemporary opera. Luigi Rossi, Pietro Antonio Cesti, and especially Giacomo Carissimi (Carissimi, Giacomo) were prominent 17th-century cantata composers. A second generation of cantata writers standardized the form into a chain of recitatives and da capo arias (ABA, the A section usually varied on its repetition) for one or occasionally two voices. Such composers as Alessandro Stradella (Stradella, Alessandro), Mario Savioni, Giovanni Legrenzi, and their students made the cantata a regular feature of aristocratic musical life in the courts of Rome and elsewhere in Europe. Alessandro Scarlatti (Scarlatti, Alessandro) was the major figure of the last main group of Italian cantata composers.

      Johann Hasse (Hasse, Johann Adolph), a German pupil of Scarlatti, took the chamber cantata to Dresden; and George Frideric Handel, among others, wrote cantatas in the Italian manner. The early 18th century saw a similar trend in French music, notably in the works of Louis Clérambault, Jean-Baptiste Morin, and Jean-Philippe Rameau. The French cantatas were usually to French texts, and in Germany, where the cantata lost its aristocratic connotations, they were in German.

      Lutheran ministers, notably Erdmann Neumeister, encouraged the absorption of secular music into the church service. They provided German Protestant composers with cycles of texts for sacred cantatas based on the operatic aria form. Previously, Lutheran church music (liturgical music) had been based largely on 12th-century music with biblical texts. With the influx of Neumeister's more secularized form, the church music was transformed by Italian operatic style. Georg Philipp Telemann (Telemann, Georg Philipp), with his 12 cycles of cantatas for each Sunday and holiday, represents this trend.

      The word cantata is best known to many through the works of J.S. Bach (Bach, Johann Sebastian), although he called them by such older terms as motetto, concerto, or ode (the name cantata was applied by 19th-century editors) and rejected the superficial style that often characterized the form. From 1714 Bach integrated da capo arias into his church works. During his early Leipzig years (1723–25) he developed the so-called chorale cantata, which begins with an elaborate choral fantasy on the first stanza of a hymn and closes with a simple harmonization of the last stanza in which the congregation presumably joined. The intermediate stanzas are paraphrased in the texts of recitatives and arias for one or more vocal soloists, and the various movements were interwoven with the liturgical service.

      Secular cantatas were also common in Bach's day (e.g., his Coffee and Peasant cantatas) and afterward. The great Viennese composers wrote cantatas, usually for a particular event—e.g., Mozart's Die Maurerfreude (Masonic Joy)—but the form gradually declined.

      From about 1800 the style of the cantata became increasingly free, and the term was often applied to any fairly large work for solo voice or voices, chorus, and orchestra, from Beethoven's Der glorreiche Augenblick (The Glorious Moment) onward. Mendelssohn (Mendelssohn, Felix) even combined the cantata with the symphony in the so-called symphony-cantata Lobgesang (1840; Hymn of Praise), whereas the 20th-century English composer Benjamin Britten (Britten, Benjamin) gave the title Spring Symphony (1949) to a work that is actually a cantata.

      Cultivation of the cantata in the 20th century has been fostered by composers such as Britten who are interested in older forms of music. Generally, however, the chamber cantata as originally defined now appears as an occasional by-product of the inclination of many modern composers toward song cycles and the setting of poetry in general.

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Universalium. 2010.

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