Frederic’s “Handle” on Artistic Phrasing (word coloring/Ternary form)

Ermatinger 1
Matthew Ermatinger 6987
Dr Debora DeWitt
MUS 112
Frederic’s “Handle” on Artistic Phrasing
Lascia Ch’io Pa’anga is a baroque period piece composed by Frederic Handel.
Paraphrased from, Almirena is abducted from the love of her life, Rinaldo, and
morns her predicament. Because of ternary form and the strong use of word painting, Lascia
Ch’io Pa’anga composition, amazingly, fully supports its tragic narrative.
Ternary form is best summarized as statement, contrast, and restatement. The first
example of his form is in measure 15-22. Where the same phrase from measure 1-8 is repeated
after the “contrasting statement” was just introduced in measure 9-14. Also, the same phrase is
repeated at the end of the piece because of the “Da Capo al Fine” marking located on measure
42. The importance Ternary form is derived from the familiarity and structure given to the
listener. In this case, it also adhears to the dynamic that our damsel can’t escape her captivity
therefore as listeners we two can’t escape.
Word painting is use of musicality to portray the lyrics or theme of a song. Using
dynamics, phasing and/or melody to emphasize emotion or action. For example, in measure 1-8
our melody is underlined with repeated notes and long pauses hinting at the feeling of being
trapped or stationary. Also, throughout the piece there is little to no circle progression movement
similarly implying a lack of resole or forward progression.
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