Chapter 10 Baroque Instrumental Music The Rise of Instrumental MusicRequired new understanding between composers and audiencesWhen to end a piece?How to make instrumental works coherent?How to sustain interest and drama? * Concerto and Concerto GrossoThe most important orchestral genres of the Baroque eraUnderlying idea is contrast -Virtuosity vs. stabilityConcerto: Soloist against orchestraConcerto Grosso: Group of soloists against orchestra * MovementsMovement = Self-contained section of a larger workTypical concerto has threeI: Bright, extroverted, fastII: Slower, quieter, more emotionalIII: Similar to I, often faster * Ritornello FormBased on contrast of musical ideasOrchestral material (ritornello)Solo materialReturns many times to a stable elementIn whole or in partIn various keysUsually full theme in tonic key to end piece * Standard Ritornello Form RIT = Complete ritornello statement [RIT] = Partial ritornello statement Solo 1, 2, 3, etc. = Solo episodes * Titles of Instrumental WorksOpus – Latin for “work” Sometimes given evocative titles: “Harmonic Whims” or “Extravagance”Number (No.) – the piece within the opusEx- Concerto in G, La stravaganza, Op. 4, No. 12 Vivaldi, Violin Concerto in GOpus 4 = Fourth published set of concertosLa stravaganza = Descriptive title of setNo. 12 = Concerto’s number within the setStandard three-movement formatI and III fast and brilliant, in ritornello formII slower and gentler, in ground bass form * Insert CD 1 of 6-CD set. Double-click buttons on slides to play; click button again to stop playback. Violin Concerto in G, IRitornello theme (for orchestra)Three short sections (a, b, c)Alternates between first and second violins * Concerto GrossoConcerto for a group of solo instruments and orchestraOtherwise similar to concertoThree movements: fast, slow, fastFast movements usually ritornello formEmphasis on contrast (contest) between soloists and orchestra * Vivaldi The Four Seasons Violin Concerto in E, SpringMost famous movementSimple but catchy ritornellosPhrases repeat: a (loud) a (soft) b (loud) b (soft)Next-to-last ritornello introduces new melodies; all others based on b phraseComplicated solo sections—sound more like concerto grosso at times * * J. S. Bach (1685–1750)From family of musiciansFirst a church organist, later a court composer1723—Cantor and Director musices, Leipzig (St. Thomas Lutheran Church)Prolific, wrote in almost every genre * Brandenburg Concerto No. 5Solo group = Flute, violin, harpsichordSome soloists do double dutyViolin leads orchestra in ritornellosHarpsichord provides continuo chordsStandard three-movement format * Insert CD 2 of 6-CD set. Double-click buttons on slides to play; click button again to stop playback. Brandenburg Concerto No. 5, Mvt. IRitornello themeHomophonic feelComplete theme only at beginning and endThree subsections (a, b, c) * Brandenburg Concerto No. 5, Mvt. ISol ...

1. Chapter 10
Baroque Instrumental Music
The Rise of
Instrumental MusicRequired new understanding between
composers and audiencesWhen to end a piece?How to make
instrumental works coherent?How to sustain interest and drama?
*
Concerto and
Concerto GrossoThe most important orchestral genres of the
Baroque eraUnderlying idea is contrast
-Virtuosity vs. stabilityConcerto: Soloist against
orchestraConcerto Grosso: Group of soloists against orchestra
*

2. MovementsMovement = Self-contained section of a larger
workTypical concerto has threeI: Bright, extroverted, fastII:
Slower, quieter, more emotionalIII: Similar to I, often faster
*
Ritornello FormBased on contrast of musical ideasOrchestral
material (ritornello)Solo materialReturns many times to a stable
elementIn whole or in partIn various keysUsually full theme in
tonic key to end piece
*
Standard Ritornello Form
RIT = Complete ritornello statement
[RIT] = Partial ritornello statement
Solo 1, 2, 3, etc. = Solo episodes
*
Titles of Instrumental WorksOpus – Latin for “work”
Sometimes given evocative titles: “Harmonic Whims” or

3. “Extravagance”Number (No.) – the piece within the opusEx-
Concerto in G, La stravaganza, Op. 4, No. 12
Vivaldi, Violin Concerto in GOpus 4 = Fourth published set of
concertosLa stravaganza = Descriptive title of setNo. 12 =
Concerto’s number within the setStandard three-movement
formatI and III fast and brilliant, in ritornello formII slower and
gentler, in ground bass form
*
Insert CD 1 of 6-CD set. Double-click buttons on slides to play;
click button again to stop playback.
Violin Concerto in G, IRitornello theme (for orchestra)Three
short sections (a, b, c)Alternates between first and second
violins
*
Concerto GrossoConcerto for a group of solo instruments and
orchestraOtherwise similar to concertoThree movements: fast,
slow, fastFast movements usually ritornello formEmphasis on
contrast (contest) between soloists and orchestra
*

4. Vivaldi The Four Seasons
Violin Concerto in E, SpringMost famous movementSimple but
catchy ritornellosPhrases repeat: a (loud) a (soft) b (loud) b
(soft)Next-to-last ritornello introduces new melodies; all others
based on b phraseComplicated solo sections—sound more like
concerto grosso at times
*
*
J. S. Bach (1685–1750)From family of musiciansFirst a church
organist, later a court composer1723—Cantor and Director
musices, Leipzig (St. Thomas Lutheran Church)Prolific, wrote
in almost every genre
*
Brandenburg Concerto No. 5Solo group = Flute, violin,
harpsichordSome soloists do double dutyViolin leads orchestra
in ritornellosHarpsichord provides continuo chordsStandard
three-movement format
*

5. Insert CD 2 of 6-CD set. Double-click buttons on slides to play;
click button again to stop playback.
Brandenburg Concerto
No. 5, Mvt. IRitornello themeHomophonic feelComplete theme
only at beginning and endThree subsections (a, b, c)
*
Brandenburg Concerto
No. 5, Mvt. ISolo episodesSolo group with continuoImitative
polyphonyCadenza = Improvised solo passageTypically near
end of concerto’s first movement
*
FugueMost characteristic form of Baroque musicSystematized
imitative polyphonyBuilt on a single principal theme
(subject)Subject “chased” from one voice to another
*

6. Fugal ExpositionThe subject = The principal themeAll voices
take turns presenting the subject in fullEach voice continues
with new material as next one states subject
*
Episodes and Subject EntriesSubject reenters at intervalsin any
voicein different keysEpisodes contrast with subject entriesfinal
subject entry in tonic key
*
*
Bach, Fugue 1 in C MajorNo episodes, no countersubject24
entries of the subjectStretto- faster overlapping entrance of
subject in several voices, sometimes simultaneously.
The Dance Suitea grouping of miscellaneous dancesall in same
keylast dance always fastusually stylized danceswritten for
listening, not dancingallow greater musical
sophisticationwritten for various performing forcesorchestra,
chamber ensembles, solo harpsichord or lute (all instrumental)
*

7. *
French Baroque Dance FormsMinuet- simple, triple meter,
moderate tempoSarabande- intricate, triple meter, accent on
second beat Gigue- compound meter (3/8,6/8), maybe derived
from Irish jig
Handel,
Minuet from Royal Fireworks MusicMinuet- simple, triple
meter, moderate tempoNot meant to be dancedUsed the Festive
Baroque Orch.Notice the timpani and snare drum
Bach, Gigue from Cello Suite No. 2 in D Minorpart of a set of
six suites for solo cellobowing on two adjacent stringsform
|: a :| |: b :|
*
*
Key TermsConcertoConcerto
grossoMovementRitornelloRitornello form

8. Key TermsFugueSubjectEpisodesStrettoMinuetGigue
Chapter 9
Prelude:
The Late Baroque Period
(1700-1750)
Baroque PeriodGeneral time line of this period is
1600-1750
Age of AbsolutismDecreasing power of churchRise of absolute
monarchs (Louis XIV)Pomp and splendor (Versailles)
*
Age of ScienceDevelopment of scientific methods and
technologyNew theories about the natural worldTempering of
scales to specific frequencies allows major/minor keys to be
performed with consistency

9. Musical Life in the Late Baroque PeriodComposer as
artisanProducing a made-to-order craft for patronsMusic often
anonymous in characterThree main institutions for
musicChurchCourtOpera house
*
Church ComposersComposed or improvised new music for
worshipPlayed and led performancesProvided elaborate works
for special occasionsTrained choirboys
*
Court ComposersEmployee of the court, producing music to
order Had to be prolificEnjoyed secure existence Could travel
and encounter new trends
*
Opera House MusiciansSupported by the public (paid
admission)Solo singers were the starsComposers wrote music to
show off singers’ talents

10. *
RhythmHighly regular, repetitiveDistinctive rhythms against a
steady beatSteady harmonic rhythm- the pace at which chords
change e.g. every measure, etc.
*
DynamicsRarely indicated; usually steadyDramatic contrast
preferredEither loud or soft (f or p)Performers still created
subtle nuances
*
Tone ColorNew interest in sonority Writing for the unique color
of a specific instrumentFlexibilityWorks that can be played by
“violin or oboe or flute”
*

11. Basic Baroque Orchestra
A string orchestra with continuo
*
ED: Check the page number given in the figure here: page 130
correct?
Festive Baroque Orchestra
Adds brass, woodwinds, and percussion
*
MelodyTends toward complexity and difficultyExtended
rangeVariety of rhythmic note valuesFrequent use of sequence
for forward motion
*
OrnamentationAddition of fast notes, motives, or effects to a
melodyCadenzas; chording continuo instrumentsImprovised
during performance
*

12. TextureStandard Baroque texture is polyphonicSometimes
homophonic texture, for contrast onlyDense orchestral works
use many moving contrapuntal lines
*
Key TermsHarmonic rhythmBasic orchestraFestive
orchestraOrnamentationContinuo
Chapter 8
The Early Baroque Period
(Late 1500s – Early 1600s)
Renaissance to BaroqueA period of rapid changeNew
emphasesExpression of strong emotionSolo singingNew
stylesRecitative; theatrical opera styleInstrumental and dance
music
*

13. Extravagance and ControlNew freedom of emotional expression
VersusSystematic control of new forms
= Expressive yet organized music
*
Rhythm and MeterStrong beat and regular meterConsistent
repetition of patternsDifferent patterns for different
emotionsRange between two extremesRecitativeDance music
*
Score Example
Texture: Basso ContinuoConsistent feature of Baroque
musicStrong, reinforced bass lineStrong harmonic
foundationPlayed byBass melody instruments (cello,
bass)Chording instruments (keyboard, lute)
*

14. Texture: Ground BassGround bass = Basso ostinato, repeating
bass line
Ostinato = repeated motive/phrase. Is a nearly universal
practiceRepeated rhythm or harmony/melody
*
Functional HarmonyRelies on major and minor scalesSense of
stabilityMore focus on chord progressions over strong bass
lineMore predictable, purposeful—more modern.
*
OperaDrama presented in musicMost characteristic Baroque art
formIdeal example of extravagance and controlLavish mix of
many art formsRigid schemes (recitative and aria)
*
Recitative & AriaRecitative- technique of declaiming words

15. musically in a theatrical manner.Aria- extended piece for solo
singer. Musically elaborates the passage of recitative.
Recitative vs. Aria
RecitativeFree, speechlike rhythmsPitches follow speech
patternsContinuo accompanimentProse text (words stated
once)Advances the action (movement)Dialogue (free
interaction)
AriaClear beat, consistent meterPitches form melodic patterns
and phrasesOrchestral accompanimentPoetic text (phrases often
repeated)Freezes the action (reflection)Soliloquy (expresses one
emotion)
*
Claudio Monteverdi (1567–1643)
The Coronation of PoppeaPoppea is mistress to Emperor
NeroTheir love triumphs afterPoppea’s former lover is
banishedThe Empress is set to seaNero’s adviser is forced to
commit suicidePoppea is crowned Empress of Rome
*
The Coronation of Poppea

16. From Act I, RecitativeRhythm dictated by words and
dialogueSpeeds up and slows down freelyShort arioso
(songlike) passagesSupport Nero’s flattery of Poppea
*
The Coronation of Poppea
From Act I, AriaA kind of victory dance in three
sectionsRecitative indicates moment of uncertaintyEnergetic
rhythms depict section 3’s battle
*
Henry Purcell
(1659–1695)Greatest English Baroque composerInfluenced by
French and Italian musicWrote the first real English opera, Dido
and Aeneas
*
Dido and Aeneas (1689)

17. Act III, final sceneRecitativeDark, somber toneMostly minor
mode with chromaticismAriaDescending bass lineRepeated
phrasesChorusAlternates imitation and homophonyUses word
painting
*
Dido and Aeneas
Act III, final scene, Aria
*
DanceOpera firmly linked to balletDance suites for
orchestraStylized dances and suites for harpsichord
*
VirtuosityInstrumental music was now written
down“Virtuosity” reflects an extraordinary high level of
technical ability Virtuoso performers used written music as a
guide for improvisation

18. *
Vocal Music
Influence on Instrumental MusicBaroque favored solo
singersImitative polyphony moved to instrumentsDevelopment
of fugueSets of variations on vocal tunes
*
Fugue & VariationsFugue- piece with imitative polyphony
based on a single, main themeVariations- form using single
melodic unit that’s repeated with harmonic, rhythmic, and other
changes.
Renaissance vs. Baroque
RenaissanceHuman voices superiorVocal ensemblesA cappella
idealNatural, simple musical ideasIrregular, floating
rhythmsModal harmonyChurch and chamberDeclamation and
word painting
BaroqueInstruments equally importantSolo singersVoice with
accompanimentArtifice and virtuosityClear, dance-like
rhythmsFunctional harmonyTheater, church, and
chamberExpression of strong emotions
*

19. Key TermsBasso continuoGround bass (basso
ostinato)Functional harmonyOperaRecitativeAria(Dance)
SuitesFugueVariations (form)