Discuss the compositional techniques used in Dido and Aeneas and why it as been widely
recognized as one of the most outstanding examples of English Baroque Opera of its time.
In his opera “Dido and Aeneas”, Purcell used a wide range of compositional techniques from
all elements of music, which reflect the compositional techniques used by his contemporary,
Baroque composers and make his opera one of the only real English Baroque operas.
Typically for Baroque music Purcell used mainly dominant, subdominant and tonic harmony
(e.g. pg 83, b1 – C-minor tonic chord (see figure 1) and the following bars). Additionally he
uses chromaticism, for example in the ground bass of Dido’s lament, which is also typical for
the Baroque era, as is the ground bass itself. Particularly Purcell’s ground bass is a very
effective example of this Baroque compositional technique. By setting it out of
synchronization with the melody, which can be seen especially in the cadences used (page
177, bar 22), he creates tension and release. The intervals he uses in his ground bass are also
typical for the Baroque era, as can be seen when compared to the ground bass in Pachabel’s
canon. Perfect 4ths, minor 2nds and major 2nds are commonly used (e.g. fig 2, page 90
rehearsal mark 3). His ground bass is also an example of his use of perfect cadences, which is
typical for the Baroque era (figure 2). Additionally Purcell used affectation of the key (e.g.
Dido – G-minor) to reflect the text and characters. This, along with his extensive use of minor
keys (e.g. overture in c-minor, Dido’s lament in g-minor) is typical for the Baroque era.
Figure 1: Cadence point in all voices summarized in the treble clef from page 83, bar 1.
Like other Baroque composers, Purcell used a continuous melodic line (e.g. page 102,
rehearsal mark 9), often in combination with word painting (“shake”, page 87, bar 3). He
makes use of sequences and imitation (pg. 84, bar 13 and following), like for example Bach in
his Brandenburg concertos and repeats phrases (“Remember me”, Dido’s lament).
Figure 2: Ground bass from Dido’s Lament.
His rhythm is also very similar to that of other Baroque composers, especially in his use of
dotted rhythm (pg. 87, bar 1 and following), leading to a drive notable in most Baroque
music. In his dances (e.g. page 115, bar 52) similar rhythms, as for example in Lully’s dances
– minuets and gavottes – can be found.
Like in other Baroque pieces volume changes are largely created through terraced dynamics
(page 102) and volume changes are evident (page 84, bar 13). There are no tempo changes
within the different pieces.
The texture is homophonic (pg. 179) and polyphonic (overture, page 179) and fuge-like (page
102). The instrumentation is typical for Baroque instrumentation, consisting of strings,
harpsichord and singers.
The form is typical of a Baroque opera, with arias (“Ah Belinda”) and recitatives, both
accompagnato and secco (before Dido’s lament). Also there are dances after most acts, like in
French opera and English Masque Theater.
Further points I was going to make:
 Dynamics:
o Ornamentation mainly not in score but possibly added by singer
o Ornamentation might be oriented at girls school standards
 Context:
o Myths in Baroque operas and in Dido and Aeneas
o More on Lully
 Form
o AB and da capo form in arias (in Baroque mostly ABA, Purcell also uses AB
(see Dido’s lament).
o Ritornello Form