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Music in the Baroque Era: Part V
1600-1750
The Late Baroque Era
in Germany
1700-1750
German composers incorporated German,
French, and Italian elements in their
compositions.
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
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
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
Johann Sebastian
Bach
Bach’s life
• born in 1685 in
Eisenach—musical
town, musical family
• in his lifetime, known
only in Germany—
never left Germany
Eisenach, Germany
• lived in Arnstadt, 1703-
1707
• church organist
– organ music
– concertato vocal music
– studied w/Buxtehude
Arnstadt, Germany
• lived in Weimar,
1708-1717
• organist @ ducal
chapel
– court chamber music
• concertmeister 1714
– cantatas
– organ works
– harpsichord pieces
– instrumental
ensemble works;
concertos
Weimar, Germany
• lived in Cöthen,
1717-1723
• court
Kapellmeister
– solo keyboard
works
– instrumental
ensemble works
– secular cantatas
Cöthen, Germany
• 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
Bach’s works
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
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)
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
Bach’s compositional style
• church musician, but also composed secular
music (little difference)
• counterpoint
• sometimes highly dissonant, chromatic harmony

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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
  • 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
  • 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