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Power point 12: Middle Baroque Music
In the Middle Baroque period of 1600-1750: - Jean-Baptiste Lully dominated French music as the head court musician for Louis XIV, establishing the conventions of French opera including dances, choruses, and divertissements. His operas like Armide featured recitatives and arias with distinctive French rhythmic styles. - Henry Purcell incorporated Italian styles like recitative and aria into English works including the opera Dido and Aeneas, though opera did not become firmly established in England until later. - German composers like Johann Pachelbel contributed to the development of the suite and other instrumental forms while French composers outside the court like Charpentier wrote oratorios and
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Power point 12: Middle Baroque Music
- 1. Music in theBaroque Era: Part II 1600-1750
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- 3. France in theMiddle Baroque
- 4. Jean-Baptiste Lully (1632-1687) b. Florence (GiovanniBattista Lulli) under Louis XIII Italian music was patronized Louis XIII dies 1643 Louis XIV born 1638 Italian cardinal Mazarin in power until 1661 Lully enters court in 1650s How did an Italian become the most important French composer of the 17th century?
- 5. • Lully wrotedances and airs for ballet de cour and danced with Louis XIV • ballet de cour—court ballet – like Italian intermedio – staged, singing, large audience • air de cour—court air – monody w/lute accompaniment – no regular meter—metric shifts – meter matches syllables – Gabriel Bataille, Ma bergere non lègere • Dance in French Music – late 16th c.—pavane, galliard, allemande—each have their own particular type of music, corresponding to dance steps – 17th c.—courante, sarabande, minuet, gigue, others Dance Le Roi Danse—King Dancing
- 6. • 1660s—Louis XIVbegan to rule • French aristocracy was required to pay homage to Louis XIV @ Versailles, which became center of artistic activity • Lully was head of court musicians • collaborations w/Molière called comedies-ballets • directed the “24 violins” Music at Versailles
- 7. Lully in the1670s and 80s • dir. Royal academy of Music, exclusive rights to present operas in France, averaged 1 opera per year; no other composers were allowed to rival his works • opera w/Phillipe Quinault—11 operas (tragedies en musique) Le Roi Danse—Death of Lully Phillipe Quinault
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- 10. Arias and Recitatives •short airs (like air de cour) • recitative – suited French language – changing time signatures to fit speech patterns – clear rhythm/definite tempo – not as speech-like as Italian; not much lengthy recitation on a single pitch • Enfin il est en ma puissance from Armide
- 11. scoring • no highvoices for men’s roles • no alto voice • 24 violins for overture, ballet – Armide, Overture • recit and air accompanied by continuo • wind (recorder, oboe, bassoon) for special effects
- 12. How was itdifferent from Venetian opera? • French opera featured: – few comic scenes – dances from royal court ballet – chorus – divertissements • dances/chorus play prominent roles (like intermedi) • diversion from main plot
- 13. How did Frenchbaroque music sound? • Conventions of Tempo and Rhythm – overdotting/double-dotting—applies to opening sections of overtures – notes inégales—lengthened 1st note in certain pairs of small note values • ornaments (agrements) – not free embellishment (elaborate melodic decoration whose patterns can be indicated only by writing out the notes; embellishment is more common in Italian music) – standardized melodic decoration which can be notated through symbols (see chart p. 369)
- 14. What could otherFrench composers do?
- 15. – 1st movement—improvisatoryprelude – other movements—stylized dances • tempo, rhythm, style borrowed from court dances – Allemande—slow, 4/4, improvisatory, arpeggiated, French word for “German” – Courante—moderate, 6/4 or 6/8, hemiola, – Sarabande—slow, 3/2 or 3/4, strong 2nd beat, block chords, simple – Gigue—lively 6/4 or 6/8, in English “jig”, skipping rhythms – other dances • Gavotte—2/2, music starts on beat 2 • Minuet—3/4, regular phrases – Elisabeth-Claude Jacquet de la Guerre, Suite in a minor – Johann Jacob Froberger (1616-1667) • German, probably a student of Frescobaldi • combined prima prattica and seconda prattica • wrote almost exclusively for keyboard • Italian toccatas—but had longer contrapuntal section, fugues • established the traditional format of the French Suite Harpsichord suites
- 16. Sacred Music • Marc-Antoine Charpentier(1645 or 1650?-1704) – probably studied w/ Carissimi – also wrote comedies – singer – chapel – oratorios, cantatas, airs
- 17. England in theMiddle Baroque
- 18. Henry Purcell (1659-1695) •English composer • 1677 (age 18!)—composing for King Charles II • 1679—organist at Westminster Abbey • wrote anthems, court odes, welcome songs (multi-movement works), keyboard works, chamber music • imitative counterpoint • seconda prattica dissonance • songs included in plays—recit and aria • opera—Dido and Aeneas • Dido’s Lament – lament » from venician opera— Cavalli » ostinato » descending bass • opera did not develop as a tradition in England until 1800s
- 19. Germany in theMiddle Baroque
- 20. Johann Pachelbel • Germancomposer and organist • Canon in D