Power point 15: Late Baroque Music in Germany
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German composers in the Late Baroque Era incorporated elements from German, French, and Italian styles in their compositions. Key figures included Dietrich Buxtehude, who wrote organ works based on chorales as well as praeludiums, Georg Philipp Telemann who was extremely prolific across genres, and George Frideric Handel who combined Italian and German styles in his operas and oratorios. Johann Sebastian Bach lived in several German cities over his career, was highly influential as a keyboard player and composer of cantatas, passions, oratorios and instrumental works, and incorporated counterpoint and chromatic harmony into his distinctive compositional style.
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Power point 15: Late Baroque Music in Germany
- 1. Music in the Baroque Era: Part V 1600-1750
- 2. The Late Baroque Era in Germany 1700-1750 German composers incorporated German, French, and Italian elements in their compositions.
- 3. Dietrich Buxtehude (ca. 1637—1707) • organist • organ works – based on chorales • chorale preludes (short) • chorale fantasias (long) – not based on chorales • praeludium—like Frescobaldi toccatas – Praeludium in E major • influenced Bach
- 4. Georg Philipp Telemann (1681-1767) • worked throughout Germany and Poland as an ensemble director and opera director • extremely prolific – operas – solo and trio sonatas – quartets (3 solo instruments plus continuo) • Quartet for flute, oboe, violin, and continuo from Tafelmusik – concertos – overtures – cantatas – orchestral suites – concertos – sacred works
- 5. George Frederick Handel (1685-1759) • 1703—Hamburg—Italian operas • 1706—Italy—Italian operas • 1710—London – Italian operas until 1741 • Giulio Cesare – English oratorios (1732—1752) • Saul • Messiah • blind 1752 • Works – opera—opera seria • Arias—ritornello Form • combined Italian and German styles – Italian--tuneful, singable music – German—chromatic harmony, counterpoint – large ensemble • orchestra: Water Music • wind band: Music for the Royal Fireworks
- 7. Bach’s life
- 8. • born in 1685 in Eisenach—musical town, musical family • in his lifetime, known only in Germany— never left Germany Eisenach, Germany
- 9. • lived in Arnstadt, 1703- 1707 • church organist – organ music – concertato vocal music – studied w/Buxtehude Arnstadt, Germany
- 10. • lived in Weimar, 1708-1717 • organist @ ducal chapel – court chamber music • concertmeister 1714 – cantatas – organ works – harpsichord pieces – instrumental ensemble works; concertos Weimar, Germany
- 11. • lived in Cöthen, 1717-1723 • court Kapellmeister – solo keyboard works – instrumental ensemble works – secular cantatas Cöthen, Germany
- 12. • lived in Leipzig from 1723 • cantor of St. Thomas School, dir. of music in city’s 5 main churches – cantatas (sacred and secular) – oratorios – passions • St. Matthew Passion • published earlier works • 1729-1741—Director of Leipzig Collegium Musicum – public concerts • instrumental music • secular cantatas – Goldberg Variations – Art of Fugue – Musical Offering – B minor Mass Leipzig, Germany
- 13. Bach’s works
- 14. Keyboard • Organ virtuoso – organ works—same types as Buxtehude. • Praeludium becomes prelude and fugue (separate works) – Toccata and Fugue in d minor – Prelude and Fugue in a minor, BWV 543 • Chorale Prelude on Durch Adams Fall • unspecified keyboard works – 2 & 3 part inventions – Well-Tempered Clavier—preludes and fugues in all 24 major and minor keys – English & French Suites, Partitas • French dances • German and Italian stylistic elements • Italian Concerto style
- 15. Orchestra • overture—orchestral suite in French style • instrumental concerto • solo concerto – studied Vivaldi’s concertos – Brandenburg concertos • #5--1st keyboard harpsichord concerto • # 3--3 violins, 3 violas, 3 cellos, continuo • # 2--F major, fast-slow-fast, ritornello form – Corelli-style concerto grosso (ripieno not necessary)
- 16. Cantatas • one or more solo singers and instruments • all parts sung by men (falsettists) • one to a part • chorale cantata—texts and music derived from a chorale – open with chorale fantasy – arias and recitatives in the middle – 4-part chorale at end • sacred cantatas – organized around church calendar—one for each Sunday and church holiday – Cantata no. 62 – Cantata no. 147 • different from Italian secular cantata: – in German – several singers – sacred
- 17. Bach’s compositional style • church musician, but also composed secular music (little difference) • counterpoint • sometimes highly dissonant, chromatic harmony