The Baroque Period 1600-1750: 2011 © Mcgraw-Hill Higher Education
The Baroque Period 1600-1750: 2011 © Mcgraw-Hill Higher Education
The Baroque Period 1600-1750: 2011 © Mcgraw-Hill Higher Education
Time Line
Shakespeare: Hamlet-1600 Cervantes: Don Quixote-1605 Jamestown founded-1607 Galileo: Earth orbits Sun-1610 King James Bible-1611 Newton: Principia Mathematica-1687 Witchcraft trials in Salem, Mass.-1692 Defoe: Robinson Crusoe-1719 Swift: Gullivers Travels-1726
Architecture
Elaborate Experiment-based, not just observation Inventions and improvements result
Johann Sebastian Bach (period ends w/ Bachs death) George Frideric Handel Claudio Monteverdi Henry Purcell Arcangelo Corelli Antonio Vivaldi
Rhythm
Rhythmic patterns are repeated throughout Provides compelling drive & energy
Melody
Opening melody heard again and again Continuous expanding of melodic sequence
Dynamics
Woodwinds, brass, & percussion added for color, but based on availability
Tone color was subordinate to melody, rhythm, & harmony Composers obtained beautiful effects from specific tone colors
Baroque Forms
Common basic forms:
Ternary
ABA
Binary
AB AA B ABB AA B B
Movements often contrast with each other Unity of mood within individual movements Performed with pause between movements
Music written to order New music, not old-fashioned, was desired Courts:
Solo Concerto
For one solo instrument vs. orchestra (tutti) Multi-movement work Usually 3 movements
o o o
Concerto Grosso
For small group of soloists (concertino) vs. orchestra (tutti) Multi-movement work Usually 3 movements
o o o Fast (tonic key) Slow (different key) Fast (tonic key)
Ritornello
Frequently used in 1st & last movements of concerto grosso Theme repeatedly presented in fragments often modulating Contrast between solo sections and tutti; musical conversation
Concertino:
flute violin harpsichord
Cornerstone form of Baroque music Polyphonic composition based on one main theme-subject Originally for pipe organ Exposition Subject presented initially in imitation, one voice at a time
Soprano (tonic key)
Episode
Transitional material between statements of the subject Inversion-turning subject upside down Retrograde-presenting subject backwards Augmentation-lengthening note values Diminution-shortening note values Pedal point-sustained low tone on organ pedal, harmony moves above Stretto-rapid form of imitation
Aria: expresses emotion of charactersusually a show-off vehicle for the singer Requires large numbers of additional cast members (extras) Recitative:
Vocal line imitating speech Helps to present opera plot Chorus: groups of actors playing crowd parts
The orchestra pit sunken area in front of stage Prelude or overture - instrumentals that open opera acts
Result of musical discussions of the Camerata (Ital. For society or club) in Florence 1st known opera: Euridice (Peri-1600) Orfeo (Monteverdi-1607)
1st large scale (great) opera
Opera composed for court ceremonies Display of magnificence and grandeur Patrons compared to ancient heroes
1st public opera house 1637 in Venice Rise of virtuoso singerchief was castrato Recitative
Secco (only basso continuo) Accompanied (with orch.)
Italian, early Baroque composer Wrote first great operatic work, Orfeo (1607) Worked last 30 years at St. Marks in Venice Composed both sacred music and secular music for the aristocracy Only 3 of his 12 operas still exist
Multi-movement piece for one to eight instruments Sonata da chiesachurch sonata (dignified) Sonata du camerachamber sonata (more dancelike, intended for court performance) Trio sonata
Three melodic lines
2 upper melodies (violin, oboe, flute, trumpet) 1 bass melody basso continuo
Arcangelo Corelli
Listen
Trio Sonata in A Minor for 2 violins and basso continuo Note: Polyphonic texture Multi movement work Contrast of tempos/styles between movements
Late Baroque Italian composer Famous as a virtuoso violinist & composer Also studied for priesthood Nick name: Il prete rosso (the red priest) Taught music at girls orphanage in Venice Wrote sacred and secular vocal and instrumental music
masses nearly 600 concerti operas
La Primavera (Spring), Op. 8, No. 1, from The Four Seasons (1725) by Vivaldi
Concerto in E-major for violin and string orchestra Note: Polyphonic texture & ritornello form Baroque program music Descriptive effects (trills for bird songs, string tremolos for thunder)
La Primavera (Spring), Op. 8, No. 1, from The Four Seasons (1725) by Vivaldi
Mvt. I-Allegro Spring has come, and joyfully, The birds greet it with a happy song, And the streams, fanned by gentle breezes, Flow along with a sweet murmur. Thunder and lightening come to announce the season. When these have quieted down, the little birds Return to their enchanting song. Mvt. II-Largo e pianissimo sempre And then, on a pleasant meadow, covered with flowers, Lulled by the soft murmuring of leaves and branches, The goat-herd sleeps, his faithful dog at his side. Mvt. III-Allegro (Danza pastorale) To the sounds of country bagpipes, Dance nymphs and shepherds in their beloved fields, When spring appears in all its brilliance.
German, late Baroque composer Organist and violinist Expert on organ construction/design Deeply religious (Lutheran) Worked in sacred and secular positions
Weimar/Cothen/Leipzig
Known during lifetime as keyboardist Wrote in every form except opera Recognized for technical mastery Highpoint of polyphony combined w/ harmony
He is the model students study for learning to write music in the Baroque style
Instrumental, multi-movement work Written for listening, but based upon stylized dances:
allemande (German) sarabande (Spanish) courante (French) gavotte (French) gigue (English/Irish)
Lasted up to 4 hours with 1 hour sermon Music was major part of worship service Congregation participated in singing chorales
Established in Italy Vernacular religious text Lutheran cantatas became multi-movement church work for chorus, soloists (SATB), and orchestra Resembled opera in its use of choruses, recitatives, arias, and duets
Written for Sunday one week prior to beginning of advent Chorale tune Wachet auf composed in 1599 by Phillip Nikolai Seven mvt. work of art created by Bach for this one Sunday in 1731 The Gospel of St. Matthew Chapter 25: 1-13
"Then shall the kingdom of heaven be likened unto ten virgins who took their lamps and went out to meet the bridegroom. Five of them were foolish and five were wise. The foolish ones took their lamps, but brought no oil with them, but the wise brought flasks of oil with their lamps. Since the bridegroom was long delayed, they all became drowsy and fell asleep. At midnight, there was a cry, 'Behold, the bridegroom! Come out to meet him!' Then all those virgins got up and trimmed their lamps. The foolish ones said to the wise, 'Give us of your oil, for our lamps are gone out.' But the wise ones replied, 'Not so, lest there be not enough for us and you. Go, ye instead to the merchants and buy some for yourselves.' While they went off to buy it, the bridegroom came and those who were ready went into the wedding feast with him. Then the door was locked. Afterwards the other virgins came and said, 'Lord, Lord, open the door for us!' But he said in reply, 'Amen, I say to you, I do not know you.' Therefore, stay awake, for you know neither the day nor the hour wherein the Son of Man cometh.
Mvt. I -Chorus and orch.-text from original chorale, stanza 1, polyphonic, divided by phrases Mvt. II-Solo tenor, recitative, text written by anonymous-inviting daughters of Zion to the wedding Mvt. III-Aria for soprano (faithful) and bass (Christ), text written by anonymous Mvt. IV-Tenor chorus and orch., text from original chorale, stanza 2, polyphonic, divided by phrases Mvt. V-Recitative for bass, text written by anonymous-Christ invites the anguished soul to take comfort in his love Mvt. VI-Aria for soprano and bass, text written by anonymous-Christ and the soul sing of their mutual love for each other Features a ritornello played by the oboe Mvt. VII- Chorus and orch., text from original chorale, stanza 3, homophonic, divided by phrases,orch. doubles voice parts
Like opera:
Large-scale work for chorus, vocal soloists, and orchestra Contains arias, recitatives, ensembles
Unlike opera:
Not intended for religious services Commonly performed today in both churches and concert halls
Born in Germany
Studied music in Germany, then traveled to Italy to study opera, finally England to work for nearly fifty years Became Englands most important composer Wrote many operas in London Had own opera company
Composed in 24 days Fifty-three separate movements Written for Baroque orchestra, vocal soloists, chorus Based on Old and New Testament stories compiled by Charles Jennens, literary scholar and editor of Shakespeares plays Three main parts: I. Christmas portion:
a) b) c) d) e) the prophecy of Salvation the prophecy of the coming of Messiah the prophecy of the Virgin Birth the appearance of the Angels to the Shepherds Christ's redemptive miracles on earth
II.
a) b) c) d) e) f) g) a) b) c) d)
Easter portion:
the redemptive sacrifice, the scourging and the agony on the cross Christ sacrificial death, passage through Hell and resurrection His Ascension God discloses his identity in Heaven Whitsun, the gift of tongues, the beginning of evangelism the world and its rulers reject the Gospel God's triumph the promise of bodily resurrection and redemption from Adam's fall the Day of Judgement and general Resurrection the victory over death and sin the glorification of the Messianic victim
III. Redemption:
Sinfonia (French Overture)-Orchestral Introduction Comfort Ye-Arioso for solo tenor Evry Valley Shall Be Exalted-Aria for solo tenor Hallelujah (Chorus)