Part III 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

 Baracco (Portuguese)-pearl of irregular shape Time of flamboyant lifestyle

Louis XIV-Palace of Versailles

Baroque style fills the space Visual Art

Implies motion Busy

Architecture
Elaborate Experiment-based, not just observation Inventions and improvements result

Change in approach to science

Two giants of Baroque composition

Johann Sebastian Bach (period ends w/ Bachs death) George Frideric Handel Claudio Monteverdi Henry Purcell Arcangelo Corelli Antonio Vivaldi

Other noted composers

Period divided into three phases

Middle: 1640-1680 major & minor scales Late: 1680-1750 dominant chord to the tonic

Early: 1600-1640 favored homophonic texture

Characteristics of Baroque Music

Unity of Mood
Expresses one mood throughout piece

Rhythm

Rhythmic patterns are repeated throughout Provides compelling drive & energy

Melody
Opening melody heard again and again Continuous expanding of melodic sequence

Dynamics

Volumes are constant with abrupt changes terraced dynamics

Characteristics of Baroque Music

Texture
Late Baroque mostly polyphonic Extensive use of imitation

Chords and the Basso Continuo

Chords meshed with the melodic line Bass part served as foundation of the harmony Basso Continuo: accompaniment (minimum 2 players) L.H. -bass melody/doubled by bassoon, cello or bass R.H.-figured bass, symbols indicate chords similar to modern jazz & pop fake book notation

Words and Music

Word painting continues Words frequently emphasized by extension through many rapid notes (melisma)

The Baroque Orchestra

Included: Violin I-II Viola Cello Bass
Basso continuo

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

Composers specified instrumentation

Baroque Forms
Common basic forms:
Ternary
ABA

Binary
AB AA B ABB AA B B

Instrumental music frequently made up of movements

Movement: a piece that sounds complete in itself, but is part of a larger composition

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:

Music indicated affluence

Court Music Director

Good prestige, pay, and other benefits

Still considered a skilled servant

 Solo Concerto
For one solo instrument vs. orchestra (tutti) Multi-movement work Usually 3 movements
o o o

Fast (tonic key) Slow (different key) Fast (tonic key)

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

Brandenberg Concerto No. 5 in D major by Johann Sebastian Bach

For string orchestra and group of soloists

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)

Alto (dominant key) Tenor (tonic key) Bass (dominant 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

Compositional techniques employed

J. S. Bach Organ Fugue in G Minor AKA: The Little Fugue

 Drama sung to orchestral accompaniment Text in opera is called libretto

Music is written by a composer Libretto (little book) is written by a librettist

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

Used to make commentary on specific action during the opera

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

Toccata from Orfeo by Monteverdi (video) Tu se morta

 English composer (1659-1695)

Greatest English composer prior to 20th-century

Highly regarded, held court positions

Buried adjacent to the organ in Westminster Abbey Dido and Aeneas
Only full opera Basso ostinato (Ground Bass)
Repeated musical idea in bass Variation formmelodies above change Also called basso ostinato

Didos Lament from Dido and Aeneas by Purcell

Note: Recitative Thy hand Belinda followed by aria Didos Lament(makes use of ground bass)

 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

Violinist Violin teacher Only composed instrumental music

Concerto grosso Sonatas Double-stop Slow-fast-slow-fast

Developed violin techniques

Developed sonata format:

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)

Movements usually in binary formAABB

All movements in one key (tonic) Often began with a non-dance overture French overture2 sections
1st slow, dignified with dotted rhythms 2nd faster, often beginning as a fugue with imitation

Suite No. 3 in D Major (~1730)

by J. S. Bach
Mvt. I French Overture Mvt. III Gavotte Mvt. IV-V Bouret&Gigue

Lutheran church service was social event of the week

Lasted up to 4 hours with 1 hour sermon Music was major part of worship service Congregation participated in singing chorales

Chorale: hymn tune w/ German text Cantata

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.

Here is how the piece is laid out:

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:

No acting, scenery, staging or costumes Based upon narrative biblical stories

Not intended for religious services Commonly performed today in both churches and concert halls

Born in Germany

Not from musical family Father wanted him to be a lawyer

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

Worked as composer, performer, & impresario

Master of Italian operas and English oratorios

Messiah by G. F. Handel (1741)

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)