Da Capo Aria
An aria that consists of two sections followed by a repeat of the first.

Fig 1: Scene from a 17th century opera engraved by M. Belloni (1661).

[Example 1: Alessandro Scarlatti, "Ingoiatelo, laceratelo" from the cantata Ariadne.]

A da capo aria is a solo vocal form with instrumental accompaniment, consisting of two sections followed by a repeat of the first, resulting in a three-part structure A B A. (The words "da capo" in Italian mean "from the beginning" -- literally "from the head," or "from the top.") Only the A and the B sections are written out. When the musicians reach the end of the B section, they go back to the beginning and repeat the A section. The da capo aria usually follows a passage of recitative and it offers a reflection on the actions that have just taken place.

Da capo aria form was used extensively in operas, oratorios, and cantatas from the middle of the 17th-century to the latter part of the 18th. Composers who favored it include Johann Sebastian Bach, Handel, Alessandro Scarlatti, and Vivaldi. Although the da capo aria was not popular in France, numerous examples can be found with Italian, German, and English texts.

"Devour him, rip him apart (Ingoiatelo, laceratelo)" from the cantata Ariadne by Scarlatti (c.1685) is a typical example from the 17th century. Its form is derived in part from the text. Individual words, phrases, and sentences are repeated often in a da capo aria. Being reflective in nature, and focused on a single emotional state, a da capo aria naturally "dwells" on a few words and phrases by reiterating them over and over. These repetitions make for a chronological length--typically four to six minutes--that is dramatically convincing, while at the same time allowing the qualities of the singer's voice to be displayed. In some cases a brief ritornello alternates with the text. Here is the first line of "Devour him, rip him apart":

Sung with repetitions as follows, this single line of text forms the basis of the A section. (Notice how the pulsating string instruments of the accompaniment mirror Ariadne's state -- she is shaking with rage!)

[Example 2: Alessandro Scarlatti, "Ingoiatelo, laceratelo" from Ariadne, A section, Christine Brandes, sop. The Arcadian Academy, Nicholas McGegen, dir.]

Paying attention to text repetition is one way to distinguish the sections of a da capo aria. The introduction of a new line of text indicates the beginning of the B section. And the return of the first line signals the da capo. The A and B sections are also contrasted musically, though their differences can sometimes be rather subtle. The contrast may lie in any of the aspects of the music: melody, rhythm, meter, tempo, instrumentation, mode, key, or dynamic level. Sections may also be separated by a pause or fermata. Compare the beginning of the A and B sections. The former begins with an abrupt falling cadence in the accompaniment and is distinguished by brief vocal phrases. The latter section is initiated by the voice and has longer phrases. The former is in the major mode whereas the latter is in minor.

A Section:

"Ingoiatelo, laceratelo..."

B Section:

"Sorgeti otempesti..."

[Example 3: Scarlatti, "Ingoiatelo, laceratelo": (a) beginning of A section; (b) beginning of the B section.]

Now here is the complete aria (along with part of the preceding recitative):

	Recitative	..."Teseo, Teseo, gridò, Teseo! Qual furia a me t'invola, E a qual Inferno m'abbandoni ingrato? Ah de l'infida antenna le vele abassa, E riedi, riedi a questa senza te misera sponda!" Ahi, ahi che segue il suo corso, E mi risponde Il sol fragor de l'onde!
		"Theseus, Theseus," she cried, "What fury has enticed you away from me? To what hell have you abandoned me, ungrateful one? Lower your sails, return to the shore which is desolate without you!" Alas he sails onward, and there is no answer save the roaring of the waves.
	A	Ingoiatelo, laceratelo, ondosi vortici, mostri del mar!
		Devour him, rip him apart, foaming billows, monsters of the deep!
	B	Sorgeti o tempeste, atroci e funeste le membra barbare a divorar!
		Arise, tempests, phantoms of dread horror, and devour the limbs of this pitiless one!
	A da capo	Ingoiatelo, laceratelo, ondosi vortici, mostri del mar!
		Devour him, rip him apart, foaming billows, monsters of the deep!

[Example 4: "Ingoiatelo, laceratelo."]

By the early 18th century the da capo aria was characterized by greater length and a more elaborate structure. This included a modulation to a new key midway through the A section, and a B section in a related key. It would usually begin with a fairly long ritornello played by the entire instrumental ensemble. This introduced musical material that was taken up by the voice. In abridged or modified form the ritornello then alternated with the sung sections. We can hear all of these traits in the following excerpts from "You are the heart of my heart (Tu sei il cor di questo core)" from Handel's opera Julius Caesar (1724):

	Recitative	Tu ferma il piede e pensa di non trovar pietade a ciò che chiedi, se pietade al mio amor pria non concedi.
		Stay where you are and do not think that your prayers will be heard unless you take pity on my love.
	A	| Ritornello| Tu sei il cor di questo core, sei il mio ben, non t'adirar....
		You are the heart of my heart, you are the treasure of my life, do not be stubborn.
	B	| Ritornello | Per amor io chiedo amore, più da te non vuo' bramar..
		In love I pray for love, and I desire no more from you.

[Example 5: Handel, "Tu sei il cor di questo core" from Julius Caesar, Act II. Furio Zanasi, bass. Concerto Köln, René Jacobs, cond. CD 2482, disc 2.]

The da capo aria of the 18th century was also distinguished by a vocal style that was more elaborate and ornamented than its 17th-century counterpart. By this time, the repeated A section was considered a showcase for vocal virtuosity. Composers and audiences expected singers to display their vocal prowess (and imagination) in the da capo repeat by adding a variety of ornaments spontaneously to the written notes. Perhaps taking a cue from the performer, composers would sometimes write them out or otherwise modify the repeated A section. Here again is the opening of the A section and its da capo repeat. (Ornaments are marked in bold type):

	A	Tu sei il cor di questo core, sei il mio ben, non t'adirar, non t'adirar.
	A da capo	Tu sei il cor di questo core, sei il mio ben, non t'adirar, non t'adirar.

[Example 6: "Tu sei il cor di questo core" (a) beginning of A Section; (b) beginning of da capo repeat of A section.]

The desire to showcase the voice is most evident in the cadenzas that often appear at the ends of sections. Here, for example, is the cadenza that concludes the da capo repeat of the A section:

sei il mio ben, non t'a----------dirar. | Ritornello |

[Example 7: Handel, Julius Caesar conclusion of repeated A section.]

The da capo pattern was not restricted to the aria. It was used as well for the vocal duet; and by the late Baroque era it can be found in choruses and instrumental music. Although the da capo aria fell out of fashion by the 1770s, its basic A B A design continued to be a standard form well into the following century. Examples can even be found in vocal and instrumental music of the 20th century.

 

Summary:

• A da capo aria is a vocal form that consists of two sections followed by a repeat of the first.
• It is the most common type of aria in music written between the mid-17th century and the latter part of the 18th.
• The da capo aria of the 18th century is usually longer, more elaborate, and distinguished by a more virtuoso vocal style than its 17th-century counterpart.

 

Copyright © Columbia University, 04 August 2000 Visual & Sound Materials from the Gabe M. Wiener Music & Arts Library of Columbia University
Da Capo Aria written by: Michael Von der Linn Recording & Mixing:	Narration:   Technology & Design: Maurice Matiz