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The Baroque
- 2. The Baroque Era: Overview
Time Period (1600-1750)
The period between the Renaissance and the
Classical Era
“Baroque” (irregular pearl)--extravagant and bizarre
qualities of the music--harmonies, textures, and
forms more free and unpredictable than those of
either the Renaissance or Classical Eras
Music had energy and motion, ornamentation and
extremes.
Expression of feelings (affect) became important;
one feeling per movement = doctrine of affections
Represented passions through music
Architecture--very ornate
Listen to This 3-2
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 3. The Baroque Era: Overview
National pride was illustrated in cultural, political, and
economic terms. Finest music = highest power
Rulers/aristocracy proved their value by elaborate
festivals, music, art, architecture.
King George I of England
Louis XIV of France
Churches also illustrated their importance with elaborate
music and architecture.
Many of the compositions of this period were written for
the churches--both Catholic and Protestant.
Height of church music-80% is religious
Music conveyed spiritual teachings, as did sacred
architecture.
Listen to This 3-3
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 4. Baroque Music: General
Whereas in the Renaissance, most
church music was performed without
accompaniment (i.e., a cappella), in the
Baroque, many instruments were used to
accompany liturgical music.
Gabrieli pioneered the use of different
instruments in various parts of the
church--called “antiphonal” style
Listen to This 3-4
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 5. Historical Events that
Influenced Baroque Period
Gutenberg’s movable type (1453) led to
printed music (1501) Ottaviano Petrucci
Printed music allowed musical
compositions to be performed by many
different individuals and ensembles in a
variety of places.
Printed music allows us to know much
more about music after this time.
Listen to This 3-5
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 6. Characteristics of
Baroque Style Music
General: heavy, grand, expansive
Performance Media: chamber orchestra,
chorus plus chamber orchestra, chamber
ensembles (vocal and instrumental), organ,
harpsichord
Rhythm: steady beats, running bass, regular
meters of 2, 3, 4, and 6 beats, tempo of
piece stays same throughout except for
slowing near end
Listen to This 3-6
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 7. Characteristics of
Baroque Style Music
Melody: using major and minor scales, ornamentation,
sequences, and imitation, first real use of chromaticism,
continuous, fortspinnung, repetition elaborate and
ornamental, rapidious notes
Harmony: strong harmonic movement; sequences of
harmony and recurring cadences; major and minor
harmonies used
Dynamic Expression: contrasting (sudden drops and
increases: called “terraced dynamics”); echo imitation
used; no gradual increases or decreases in loudness
(crescendo or diminuendo), lack of detail in scores-
composers under pressure to produce a lot of music in
a short amount of time
Listen to This 3-7
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 8. Characteristics of
Baroque Style Music:
Overview
Texture: mainly polyphonic; thick texture with 1 or more
melodies in high parts and contrapuntal melodies in lower
parts; continuous bass line; occasional contrasting
homophonic sections to add interest
Unity of mood: One piece captures one mood, only
exception is vocal music, (changes of text change the
mood of the music)
Primary Forms: concerto, concerto grosso, suite,
oratorio, cantata, opera; trio sonata and other sonatas for
instruments; keyboard prelude, fugue, and toccata
Listen to This 3-8
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 9. Louis XIV’s Palace at
Versailles
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 10. The Baroque Era: Overview
Operas were first performed in private theaters in the courts of the
nobility and royalty.
Public opera houses started in Venice, Italy, in 1637; by 1700 the
public craved opera, and it was big business.
Oratorios--operas without costumes and staging; created for
performance in church or in an opera house during LENT--a
penitential season.
This was the beginning of the importance of virtuoso performers--
singers and instrumentalists of extremely high technical and musical
skill.
Castrati--men who were castrated as boys so that their voices
would not change; they sounded like women with voices that had
a great deal of power.
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 11. Example of Baroque Era
Painting--A Musical Interlude
By the Dutch painter
Jan Verkolje (~1674)
Depicts a passionate
musician reaching for
his female
companion, who is
holding a viol.
Listen to This 3-11
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 12. Instruments
Instruments of all
types continue to
improve
Amati-Guarneri
Stradivarius-makes
ultimate violin
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 13. New Musical Ideas
Stile antico Stile moderno
First Second practice
Practice(Renaissance Text dominates music
Ideal) Involves wider range
Music dominates text of emotion expressed
and greater intensity
Style differ for specific
occasions:
Church, chamber, theater
Listen to This 3-13
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 14. The Doctrine of Affections
Devised by the philosophies of several theorists
A musical means to express generic states of the
soul
Grief, rage, excitement, grandeur, etc.
Vocabulary of motives devised which relate to
rhetorical speech
To excite “the affections”
Listen to This 3-14
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 15. Characteristics of the Baroque
Period
Main instrument-Harpsichord
Tuning-based on the
Pythagorean comma
Equal Temperament-on
keyboard instruments
System of intervals tuned off-
key to keep distance between
half-steps equal, still used
today
Listen to This 3-15
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 16. The Basso Continuo
Chords and the Basso Continuo
Chords became more important, by-products of the motion of
melodic lines
Many composed melody to fit particular chord progression
Gave more prominence to bass line-foundation of harmony
Result-most characteristic feature-basso continuo
Played usually by two instruments-harpsichord or organ and
low instrument like cello or bassoon
Figured bass-bass part written with numbers indicated chord
structure, musical shorthand, saved time & paper
Performers needed improvisational skills
Continuo provided continual flow of notes
Listen to This 3-16
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 17. The Circle of Fifths
Listen to This 3-17
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 18. Characteristics of the Baroque
Period
Words & Music
Word painting still
used
Emphasizing words
by writing rapid notes
for one syllable, also
to display singers’
virtuosity
Individual words and
phrases repeated
Listen to This 3-18
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 19. Chapter 9: Claudio
Monteverdi--Orpheus (Act II)
Opera--a drama sung from beginning to
end
Based on a mythological story (in this era)
Costumes, staging, lighting--all the
dramatic aspects of theater combined with
music
One character = one voice
Listen to This 3-19
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 20. Baroque Opera-Forerunners
Dramatic madrigals &
Medieval liturgical
madrigal cycles-content of
dramas, Mystery &
epic & pastoral poems
miracle plays
with two types of text
Renaissance Intermedi : setting: narrative for plot
of pastoral or mythological development(recitative),
character, performed reflective for emotional
between acts of plays, outpouring(aria)
consist of solo & The Pastoral-poems
ensemble madrigals
about shepherds and
other rural subjects;
amorous, light
Listen to This 3-20
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 21. The Florentine Camarata
A group of composers who met to share musical
ideas and techniques
Wrote treatises on composing
Jacopo Peri-L’Euridice, first opera(1600)
Written for wedding of King Henri IV & Marie
de’Medici
First to use stile recitative(solo over simple
chords or continuo) for clarity of text
Listen to This 3-21
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 22. Baroque Opera: General
Information
One of most important musical
innovations of this period
Monteverdi’s Orfeo made opera more
popular with public, outside the courts.
First opera house, in Venice, opened in
1637.
Listen to This 3-22
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 23. Baroque Opera:
Characteristics
Libretto--the story or play
Usually based on Greek dramas.
Started in Italy but moved to England and
France.
Italian remained the popular language for
opera during this period.
Currently, Baroque operas have been
translated to many languages.
Listen to This 3-23
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 24. Characteristics of
Baroque Opera
One character = one voice
Homophonic texture with accompaniment
Easier to understand the text
Restores balance between text and music
Accompaniment consists an instrument that can play chords
(such as a lute or harpsichord) and a low melodic instrument
that can play long notes, such as the cello or bassoon.
Accompaniment plays continuously and is known as basso
continuo.
Bel Canto Singing Style--”beautiful singing”--the lilting flow of
melody
Involves elaborate embellishments.
Trained singers are taught this style of singing routinely.
Listen to This 3-24
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 25. Characteristics of
Baroque Opera
Types of compositions: recitatives, arias, choruses, duets,
trios, sextets, etc.
Recitative--moved the action along--a style of singing
that lies somewhere between singing and speaking.
Not very elaborate musically
Simple accompaniment
Less embellishment
Aria--character who sings this pauses to reflect on the
story or an emotion.
Musically elaborate; this is where the singers get to
display their virtuosity.
Accompaniment can also be more elaborate than the
accompaniment for a recitative, but it does not
overshadow the singer.
Listen to This 3-25
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 26. Characteristics of
Baroque Opera
Types of Duet--2 singers
compositions: Trio--3 singers
recitatives, arias, Quartet--4 singers
choruses, duets, Quintet--5 singers
trios, sextets, etc. Sextet--6 singers
Chorus--polyphonic Septet--7 singers
texture--various Octet--8 singers
members of the Nonet--9 singers
chorus comment on
the action, reflect
emotions, etc.
Listen to This 3-26
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 27. Baroque Opera:
Characteristics
Soloists--principal characters are trained
singers
Sopranos, altos, tenors, and basses all used
to give variety.
Sometimes male voices used in female roles.
Some male roles required high voices; a
castrated man would sing these roles (called
castrati).
Boys were castrated before their voices
changed; they were celebrities!
These roles are now usually sung by
Listen to This women (called “pants roles”).
3-27
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 28. Baroque Opera
Rise of Virtuoso
singers
Done with consent of
parents who hoped sons
would become highly
paid opera singers
Faranelli-most famous
Castrato-combined lung power of man with
vocal range of woman; agility, breath control,
and unique sound intriguing; received highest
pay of any musician; audiences more
impressed with vocal virtuosity than realism
Listen to This 3-28
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 29. Baroque: Vocal Music
Concertato Style: Vocal music that also
included instrumental ensembles
“concert” and “concerto” come from the
word meaning “bring contrasting
performing groups together”
Three musical genres (i.e., types of
compositions): oratorio, cantata, and
Mass
Composers: Monteverdi, Schütz,
Telemann, Handel, and J. S. Bach
Listen to This 3-29
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 30. Monteverdi’s Orpheus
Orpheus--the story
His beloved, Euridice, has been poisoned by a snake
bite and gone to the Underworld. Orpheus uses
singing to persuade the guardians of the Underworld to
let him bring Euridice back. They agree with the
stipulation that he not look back while leaving the
Underworld. He cannot resist the urge to look back,
and he loses Euridice forever.
Orpheus--this selection
A recitative, a chorus--Orpheus is grieving the loss of
Euridice, and the Chorus is commenting on his grief
and sadness. Both sections are accompanied by
basso continuo, although it is harder to hear in the
chorus.
Listen to This 3-30
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 31. Claudio Monteverdi
(1567-1643)
Career straddled the Other compositions by
Renaissance and Monteverdi
Baroque eras--he was a Coronation of Poppea
bridge composer.
Born in Cremona, Italy (opera)
(where famous violins The Return of Ulysses
were made); became a to His Homeland
violinist. (opera)
He served at the court of “Zefiro torna”--a
Mantua where Orpheus madrigal written in
was first performed--1607. Italian
1613--He became music “Vespers in Honor of
director at St. Mark’s
Basilica in Venice. the Blessed Virgin
1630’s--He composed Mary”--a sacred choral
works for the new public piece
opera houses in Venice.
Listen to This 3-31
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 32. Claudio Monteverdi
(1567-1643)
A portrait of
Monteverdi, circa
1613
Made when he was
appointed music
director at St. Mark’s
in Venice, Italy;
became a priest and
composed sacred
music.
Listen to This 3-32
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 33. Chapter 10: Henry Purcell--
Dido and Aeneas
One of the first operas ever written in English
First documented production--at a girls’ school in Chelsea
in 1689
Short, for strings & continuo; no elaborate staging; dances
& choruses
Libretto-Nahum Tate, inspired by The Aenid(Virgil)
Plot--foreign prince (Aeneas) promises to marry the Queen
of Carthage (Dido), but abandons her and drives her to
suicide
Chief characters
Dido--(soprano)
Aeneas--(baritone)
Belinda, Dido’s maidservant--(soprano)
Listen to This 3-33
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 34. The Form of This
Selection
Song—an aria in which Dido laments her situation
Melody sung over a repeated pattern in the bass--
ostinato
Ostinato can also be called a ground bass--a short
sequence of low notes repeated over and over.
Listen to This 3-34
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 35. Henry Purcell
(ca. 1659-1695)
Dido and Aeneas--his only opera
Wrote many works that included song
and spoken dialogue (semi-operas).
Was far ahead of his time in writing
opera in English. Opera wasn’t
popular during his time, and even
when it became popular, audiences
wanted it sung in Italian.
Born into a musical family.
Served as composer and organist in
the English court and later at
Westminster Abbey (buried near the
organ there--a BIG honor).
Listen to This 3-35
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 36. Other Baroque
Composers of Opera
Italian
George Frideric Handel
Rinaldo--includesda capo aria--an aria in
ABA form. The first section is repeated
(embellished) after the contrasting second
section
French
Lully--Armide
Jean-Philippe Rameau--Hippolyte et
Listen to This
Aricie
3-36
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 37. Aria Form: Called “Da Capo”
A B A
Three parts: called A B A (letters designate sections)
A section: highly melodic, B section: contrasts A section: repeat
minimal ornamentation of mood, tonality, the 1st section
or change of tempo . Singer is free to
improvise/ornament
embellish melody
“da capo” means “go back and sing the beginning again”
A = very melodic, but not ornamented B = contrasting mood, tonality,
tempo A = repeated, but this time embellished
Listen to This 3-37
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 38. Women Musicians in the
Baroque Era
Trained primarily as performers/virtuosos, not as
composers
Most women did not have access to training in
musical composition--exceptions:
Barbara Stozzi, Francesca Caccini, and Elisabeth
Jacquet de la Guerre
No professional prospects for women composers
Women weren’t really accepted as composers
(or conductors) until the 20th century.
Listen to This 3-38
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 39. Other Baroque Composers
of Chamber Music
Arcangelo Corelli Johann Pachelbel
Many of both kinds of Canon and Gigue in D
trio sonatas major--3 violins and
basso continuo--a very
Sonata--that which is
famous Baroque piece
played vs. cantata-- Marin Marais
that which is sung Much virtuosic music
Sonata da camera--
for viola da gamba (a
chamber music for precursor to the cello)
entertainment
Sonata da chiesa--
church sonata
Listen to This 3-39
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 40. Johann Pachelbel
Nuremburg, Germany
Taught Bach’s teacher
Canon in D
Composed 1689,
rediscovered
Used quite often today
Ground bass of 8 notes,
all equal length
Melodic variation played
over bass 27 times
3 instrumental parts,
following each other after
8 beats in imitation
Originally for 3 violins &
continuo
Listen to This 3-40
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 41. The Baroque Orchestra
Chamber orchestra-small, 10 to 30-40
players, for use in smaller venues
All had basso continuo, upper strings,
woodwinds/brass/percussion variable
Instrumentation varied from piece to piece
Baroque trumpet-no valves, difficult to play,
aristocratic role in orchestra
Composers used great deal of doubling and
rearranging
Listen to This 3-41
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 42. Baroque Instrumental
Music: General
Characteristics
Several major genres developed:
The Baroque Concerto--a soloist plus an
accompaniment consisting of harpsichord and
small chamber orchestra (mostly strings)
The Concerto Grosso--several soloists plus
an orchestra (called “tutti”)
The Fugue---a complex instrumental
composition for 3 or 4 “voices”--different parts
in the counterpoint, but played on
instruments, not sung
Listen to This 3-42
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 43. Antonio Vivaldi The Four
Seasons “Spring”
Concerto--an instrumental work for a
soloist (or group of soloists) and a larger
ensemble
“Spring”--for solo violin, an orchestra of
string instruments, and basso continuo
“Spring”--the first of 4 concertos
Consists of 3 movements--fast-slow-fast.
This selection is the first movement.
Listen to This 3-43
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 44. Concerto
Sharp contrast between the timbre of the
solo instrument (or the small group of
soloists) and the larger
ensemble/orchestra
An example of the Baroque love of
extremes
Nearly every modern symphony concert
includes at least one concerto--they were
written in all periods after the Baroque
era.
Listen to This 3-44
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 45. The Concerto Plan
2nd Movement 3rd Movement
1st Movement
Slow (Adagio, Fast (allegro)
Fast (allegro)
Andante)
Movements- piece that sounds complete &
independent on its own but part of larger composition
Three movements--typical arrangement: fast
movement, slow movement, fast movement
Middle movement often in contrasting key
Listen to This 3-45
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 46. The Concerto Grosso
Typically a recurring theme (called the
“ritornello”) is played by the whole orchestra
(the “tutti).
Soloists play more virtuostic transition
passages in which the key of piece changes
(called “modulation”).
Tutti returns to play the ritornello theme in the
new key; this pattern of soloists and tutti
repeats several times.
Last statement of ritornello theme is in the
original key.
Listen to This 3-46
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 47. Form: The Ritornello
Principle
A series of alternating sections--between the
soloist(s) and the orchestra; orchestra is called
the tutti.
The main theme of the movement is called the
ritornello.
Piece starts out with the ritornello. The soloist(s)
play a section (which modulates to a new key)
and then the ritornello comes back again in that
new key. This happens over and over (any
number of times) until the soloist section returns
to the original key and the orchestra plays the
ritornello in that key one last time.
Listen to This 3-47
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 48. Ritornello Form
Ritornello Form
Ritornello 1 Solo 1 Ritornello 2 Solo 2 Ritornello 3 repeat pattern
Tonic key New keys-----------------> Tonic key at end
Listen to This 3-48
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 49. Program Music
An instrumental work that is in some way
associated with a story, event, or idea
Can be indicated by
Suggestive title
A prose narrative
A poem
Listener can listen with program in mind
or without it--listener’s choice.
Listen to This 3-49
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 50. Antonio Vivaldi (1678-
1741)
Born in Venice, a virtuoso violinist
Most important accomplishments: innovations
in concerto form, orchestration, and violin
technique
Prolific composer of concertos, sonatas,
operas, cantatas, chamber pieces, and
sacred vocal music
Most famous works: hundreds of concertos,
including The Four Seasons--4 violin
concertos (one depicting each season)
Listen to This 3-50
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 51. Antonio Vivaldi
(1678 - 1741)
Called the “Red Priest”
1703-1740-Director of
music at Ospedale della
Pieta-orphanage for
young women
Moved to Vienna and
worked in Charles VI’s
court
Gave concerts in Europe,
produced opera, lived
w/French soprano
A master of melody and
novelties in the basic
forms of his day
Listen to This 3-51
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 52. Chapter 13--Johann Sebastian
Bach Fugue in G minor
Fugue--a polyphonic work based on a central
theme--very common type of composition in the
Baroque Era
One voice plays the theme alone
Each voice comes in subsequently stating the
theme while the previous voices spin out a
countermelody--called counterpoint--note
against note
Similar to voices chasing one another in imitation
This fugue composed for organ, probably at
Arnstadt, when Bach was about 20.
Listen to This 3-52
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 53. Organ = “King of
Instruments”
Has size, power (volume), and a wide variety of
sounds (different pipes create different sounds)
Consists of keyboards (called manuals), and
pipes (through which wind/air is blown)
Keys control the flow of air through the pipes
Stops control which pipes the keys open
Longest pipes are 16 feet; shortest about 2 feet
Longest pipes = lowest sounds; highest pipes =
highest sounds
Listen to This 3-53
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 54. The Baroque Fugue:
General Information
Subject (main musical theme)--played in one
“voice” and then imitated in others
Countersubject (counter theme played
opposite the subject in other voices)
Episodes--parts of the fugue in which the
subject is not heard--used for transition and
musical interest
Listen to This 3-54
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 55. Organ Fugue in G Minor(Little Fugue)
Listen to This 3-55
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 56. Fugue: Compositional
Techniques
stretto-subject imitated before it is completed
pedal point(organ point)-a single tone, usually in
bass is held while other voices are still moving
sequence-pattern of notes repeated several times in
succession but at different pitch levels
suspension-holding notes from one chord to next to
create tension & release
Listen to This 3-56
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 57. Johann Sebastian Bach
(1685-1750)
Most prominent composer of Baroque Period
Born in Eisenach, Germany; family with many
musicians
Composed music at three locations during
career (a few famous works composed at each)
Weimar--music for church services
Cöthen--The Well-Tempered Clavier and 6
Brandenburg Concertos
Leipzig--Mass in b minor, the cantata, Wachet Auf (“A
Mighty Fortress is Our God”), St. Matthew Passion, 2
and 3-part Inventions for harpsichord
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 58. Johann Sebastian Bach
First wife, Maria
Barbara, dies
Marries Anna
Magdalena, for which
he wrote book of
keyboard music, still
used today
Listen to This 3-58
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 59. Johann Sebastian Bach
Other Important Works
St. Matthew Passion--for vocalists and orchestra
The Well-Tempered Clavier--Books 1 and 2--two
sets of preludes and fugues in all 24 of the major
and minor keys
Toccata and Fugue in D minor--for keyboard
Chorale Prelude (Wachet Auf)--an organ version
of one movement of his Cantata #140 (a chorale
prelude was played prior to singing the hymn on
which it was based)
Listen to This 3-59
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 60. Chapter 15: Johann Sebastian Bach
Brandenburg Concerto no.2 in F Major
Concerto grosso--Italian for “big concerto”
Bach wrote 6 of these Brandenburg Concertos--dedicated
to the Margrave of Brandenburg.
Actually composed for and performed by Bach employer
Prince of Cöthen
Each has multiple soloists (concertina) and orchestra.
Soloists in this piece--trumpet, oboe, violin, and recorder
(a kind of flute)
All have contrasting sounds
Trumpet--a loud brass instrument
Oboe--a rather shrill woodwind instrument
Violin--a high register string instrument
Recorder--a soft sounding woodwind instrument
Listen to This 3-60
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 61. Baroque Cantata: General
Characteristics
Featured soloists, chorus, and orchestra
Similar in style to an oratorio, but much
shorter
Sacred cantatas
Usually glorified New Testament subjects
Often based on a Lutheran Chorale (a 4-part
hymn sung by the congregation)
Secular cantatas
Based popular stories and themes
Otherwise, like sacred cantatas
Listen to This 3-61
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 62. The Church Cantata
Performed in worship
service
1700-Influence of Erdmann
Neumister
Theologian & poet who
introduced subjective,
meditative texts not of
Biblical liturgical origin
Designed for use in
arias or duets, in
addition to choruses
based on the Chorale
Listen to This 3-62
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 63. Bach’s Cantatas at Leipzig
58 per year
Small orchestra: 18-24 players
Approx. 200 cantatas preserved (not
numbered by Bach, but by editors)
All use chorale melody as basis for each
movement
Listen to This 3-63
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 64. Chapter 17: Johann
Sebastian Bach Cantata 140
The piece highlighted here is Awake, a Voice
Calls to Us
Two movements presented here--the first and
the last
First movement = polyphonic
Last movement = homophonic
This entire piece is a cantata--a work sung
during a service of worship
Based on a hymn tune
Hymn tune is known as a chorale when sung in
4-part harmony
Listen to This 3-64
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 65. Cantata No. 140
Wachet Auf, ruft uns die Stimme
(Wake Up, Call the Voices)
Performed Sunday Before Advent
Text: Matthew 25: 1-13, parable of 5 wise, 5
foolish virgins
Message: Be prepared and vigilant, for you
don’t know when God will call
Seven sections total
Listen to This 3-65
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 66. Johann Sebastian Bach
Cantata 140--Movement 1
An opening chorus
Dotted rhythms (long-short-long-short) make this sound
like a march (similar to a French Overture).
Upper voice has the melody in very long notes.
Elaborate lines of counterpoint are weaved with the lower
voices and the orchestra.
Form: also in Bar Form, but long pauses between sung
sections are filled in by the orchestra.
Form: uses the ritornello principle--each vocal chorale
section is followed by an orchestra ritornello section.
Ritornello 1 -->Chorale A --> Ritornello 2 --> Chorale A
(again) --> Ritornello 3 --> Chorale B --> Ritornello 4
Listen to This 3-66
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 67. Johann Sebastian Bach
Cantata 140--Movement 7
The Closing Chorale--this is sung in homophonic
texture
It is easy to recognize the tune here.
The melody is in the top voice, set syllabically, in
4 part harmony.
Instruments of the orchestra play the same parts
as the voices sing--called doubling
High instruments double soprano line
Lower instruments double other lines
This combination of voices and orchestral doubling
creates a sense of unity and projects the text of the
chorale clearly.
Listen to This 3-67
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 68. Chapter 16: George Frideric
Handel Water Music
Written for a riverboat party given by
English King George I--July 17, 1717
The entire piece is a suite--series of
dance movements (about 2 dozen)
Movements presented here:
Rigaudon--a fast dance in duple meter,
cheerful in tone
Hornpipe--a lively dance in triple meter,
often associated with sailors
Listen to This 3-68
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 69. View of London and the Thames --similar
to the Water Music procession
Listen to This 3-69
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 70. The Baroque Suite
Dance Suites
“Stylized” collection of dances intended for listening rather
than dancing
Derived from various types of dances that were in fashion
Core Dances: Allemande(Ger), Courante(Fr), Sarabande(Sp),
Gigue(Irish)
Other dances: Bourée, minuet, gavotte, loure, polonaise,
passepied
Might include prelude or overture
Customary for all to be written in the same key, faster dances
contrast with slower
Binary form
Listen to This 3-70
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 71. Binary Form
Two sections, each repeated
||: A :||: B :||
Tonic key to related key New key ---> tonic
A section starts in tonic and modulates; B
section starts in the new key and goes
back to the tonic key.
Usually based on a single theme,
manipulated in various ways; little actual
contrasting material.
Listen to This 3-71
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 72. George Frideric Handel
(1685 - 1759)
Born in Halle, Germany but moved to Italy in 1706--
composed operas and oratorios there.
Worked as a violinist in opera house at Hamburg.
Studied music in Rome with Corelli.
Spent time in Venice where he composed the oratorio, The
Resurrection
Moved back to Germany to be music director for the
Elector of Hanover in 1710, but then moved to England-
composed operas and oratorios.
Director of London Royal Academy of Music
Abandoned opera in 1741 and turned to oratorios.
One of the first composers to become a cultural hero--
commemorated in 1784 by a series of large concerts in
Westminster Abbey.
Listen to This 3-72
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 73. George Frideric Handel
(1685 - 1759)
Here Handel is
composing at the
keyboard without his
wig.
Notice that he is
basically bald,
keeping his head
shaved so that the
wig would fit more
comfortably in public.
Listen to This 3-73
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 74. George Frideric Handel (1685-
1759)
A few well known works:
Operas: Rinaldo and Julius Caesar
Oratorios: Israel in Egypt, Messiah, Saul,
Samson, and Judas Maccabaeus
Instrumental Music: Water Music and Music
for Royal Fireworks
Secular vocal music, keyboard pieces, and
chamber music
Listen to This 3-74
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 75. Baroque Oratorio:
General Characteristics
Like operas--tell a story (libretto)
Have soloists, duets, trios, choruses
Accompanied by orchestra
Different from opera
No costumes, staging, or acting
Performed as a concert
Biggest composer: Handel, a German
composer of Italian opera who wrote
oratorios in England
Probably his most famous--The Messiah
Listen to This 3-75
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 76. Chapter 18: George
Frideric Handel Messiah
These selections are a recitative and aria
followed by a large, grand chorus (known
as the “Hallelujah Chorus.”)
The three work together to form one
dramatic unit.
Each section has a different style of
composing and singing the music.
Messiah is an oratorio--like an opera
without staging, sets, or costumes.
Listen to This 3-76
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 77. The Messiah
2 ½ hours long
1st performance in Dublin(1742), benefit for
debtor’s prison
1st in London-religious opposition to Christian
text in theater
Achieved unique status, performed yearly at
benefit for London orphanage
“Fed the hungry, clothed the naked, fostered
the orphan.”
Listen to This 3-77
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 78. The Messiah
3 Main parts
Prophecy of Messiah’s arrival
Christmas
Easter
53 sections-19 choruses, 16 aria/recitatives, 2
orchestral features
Contemplation on Christian belief-prophecy, birth,
suffering & death, Resurrection & Redemption
Only oratorio to use Old & New Testament
Listen to This 3-78
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 79. The Messiah
At first
performance-
“Hallelujah
Chorus”-King
George II stood,
started tradition
that is still
practiced
Listen to This 3-79
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 80. George Frideric Handel
Messiah--Recitative and Aria
Recitative--“He That Dwelleth in Heaven”
In a declamatory style to project the text
Aria—“Thou Shalt Break Them”
More musically complex than the recitative with
more elaborate melody
Text is quite brief, but Handel repeats the words
many times and includes long melismas on key
phrases/words.
Built on the ritornello principle, alternating
between the tenor soloist and the orchestra.
Several instances of word painting are used
“broken,” “dashed,” “potter’s vessel.”
Listen to This 3-80
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 81. “Hallelujah” Chorus
Characteristics
Lengthy with repetitive text
Rhythm strictly adhered to
Accompaniment-important role
Music requires more than average singing skill,
challenging
Chorus-two meanings
Group that sings choral music
Choral section of musical work
Listen to This 3-81
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 82. George Frideric Handel
Messiah--Chorus
Based on verses from the New Testament Book of
Revelation
Form: sectional--each verse or half-verse receives its own
melodic material, creating 4 large sections to the work (A,
B, C, and D)
There are five melodies in the work.
When the same text reappears, so does its corresponding
melody.
Texture: movement includes all 3 forms of texture--
monophonic, homophonic, and polyphonic.
Beginning “Hallelujah”--homophonic
“For the Lord God Omnipotent reigneth”--monophonic
Polyphonic when texts are combined
Listen to This 3-82
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458