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3. baroque period
The document provides an overview of Baroque music and its history, styles, forms and major composers from 1600-1750. It discusses the rise of opera and instrumental music during this period, and the innovations of composers like Vivaldi and Bach. Specifically, it summarizes the three phases of the Baroque period, characteristics of Baroque music like the basso continuo, and common forms such as the concerto grosso, fugue, sonata and suite.
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3. baroque period
- 1. © 2006 TheMcGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Part III The Baroque Period (1600-1750) Presentation developed by: Robert Elliott Tennessee State University Edited by: Al-lyn Vocal La Salle University
- 2. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Time-Line Shakespeare: Hamlet-1600 Cervantes: Don Quixote-1605 Jamestown founded-1607 Galileo: Earth orbits Sun-1610 King James Bible-1611 Newton: Principia Mathematica-1687 Witchcraft trials in Salem, Mass.-1692 Defoe: Robinson Crusoe-1719 Swift: Gulliver’s Travels-1726
- 3. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill The Baroque Style Time of flamboyant lifestyle Baroque style “fills the space” Visual Art – Implies motion – Busy - Note pictures p. 96 - Note pictures p. 95 - Compare sculpture w/ p. 65
- 4. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill The Baroque Style Architecture – Elaborate - Note picture p. 97 Change in approach to science – Experiment-based, not just observation – Inventions and improvements result
- 5. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Baroque Music Period begins with rise of Opera – Opera: a play with speaking parts sung Period ends with death of J. S. Bach The two giants: Bach & Handel Other important composer: –Antonio Vivaldi
- 6. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Period divided into 3 phases: – Early: 1600-1640 - Rise of opera - Text with extreme emotion - Homophonic to project words
- 7. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Period divided into 3 phases: – Early: 1600-1640 – Middle: 1640-1680 - New musical style spreads from Italy throughout Europe - Use of the church modes gives way to major and minor scales - Rise of importance of instrumental music
- 8. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Period divided into 3 phases: – Early: 1600-1640 – Middle: 1640-1680 – Late: 1680-1750 - Instrumental music becomes as important as vocal music - Elaborate polyphony dominates - Most Baroque music we hear comes from the Late Baroque
- 9. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Unity of Mood Characteristics of Baroque Music – Expresses one mood per piece Rhythm – Rhythmic patterns are repeated throughout
- 10. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Melody - Continuous expanding of melodic sequence Dynamics – Opening melody heard again and again – Volumes constant with abrupt changes Texture – Late Baroque mostly polyphonic – Extensive use of imitation
- 11. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Chords and the Basso Continuo – Emphasis on way chords follow each other - Bass part considered foundation of the harmony – Basso Continuo: bass part with numbers to represent chord tones - Similar to modern jazz & pop “fake book” notation Words and Music – Text painting/word painting continues – Words frequently emphasized by extension through many rapid notes
- 12. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Based on violin family of instruments The Baroque Orchestra Small by modern standards Varying instrumentation – Combinations of strings, woodwinds, brass, & percussion (tympani) Nucleus was basso continuo unit Composers specified instrumentation – Timbre was subordinate to melody, rhythm, & harmony
- 13. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Instrumental music frequently made up of contrasting movements Baroque Forms – Movement: —a piece complete in itself —also part of a larger whole – Performed with pause between movements – Unity of mood within individual movements – Movements often contrast with each other
- 14. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Common basic forms: - A B A – Ternary – Binary - A B - A A B - A B B - A A B B
- 15. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Music in Baroque Society Music written to order – New music, not old-fashioned, was desired Courts: – Music and musical resources indicated affluence Court Music Director – Good prestige, pay, and other benefits - Still considered a skilled servant
- 16. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Some aristocrats were musicians Church music was very elaborate – Most people heard music only in church Some, though few, public opera houses Music careers taught by apprenticeship – Orphanages taught music as a trade
- 17. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill The Concerto Grosso and Ritornello Form Concerto Grosso – For small group of soloists and orchestra – Multi-movement work – Usually 3 movements - Fast - Slow (usually quieter) - Fast (sometimes dance-like)
- 18. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Ritornello – Frequently used in 1st & last movements of concerto grosso – Theme repeatedly presented in fragments – Contrast between solo sections and tutti
- 19. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Listening Brandenberg Concerto No. 5 in D major First movement Johann Sebastian Bach Listening Outline p. 107 Brief Set, CD 1:63 For string orchestra and group of soloists Soloists: flute, violin, and harpsichord Ritornello form
- 20. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill The Fugue Polyphonic composition Written for groups of voices or instruments Subject – Main theme – Presented initially in imitation – Each voice enters after previous voice has completed presenting the subject Subject~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Subject~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Subject~~~~~~~~~~~~~~~~~~~~~~~~~~~ Subject~~~~~~~~~~~~~~~~~~~~
- 21. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Listening Organ Fugue in G minor (Little Fugue) Johann Sebastian Bach Listening Outline p. 111 Brief Set, CD 1:68 Note individual voice entry on same melody (subject) Subject appears throughout Lowest notes played on pedals with feet
- 22. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill The Elements of Opera Drama sung to orchestral accompaniment Text in opera is called libretto – Music is written by a composer – Libretto is written by a librettist Opera can be serious, comic, or both
- 23. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill – Recitative: presents plot material Two primary types of solo songs: Other types of songs in opera: - Allows for conversation between characters - Three or more singers make up an ensemble – Duet – Trio – Quartet – Aria: expresses emotion—usually a “show-off” vehicle for the singer – Quintet, etc.
- 24. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Chorus: groups of actors playing crowd parts The prompter and the prompter’s box – Translation of text and effects upon text painting Modern questions concerning text in opera The orchestra pit Preludes: Instrumentals that open opera acts – Supertitles—projection of text above the stage
- 25. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Opera in the Baroque Era Result of musical discussions of the Camerata in Florence 1st known opera: Euridice (Peri-1600) Orfeo (Monteverdi-1607) – 1st large scale (great) opera
- 26. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Rise of virtuoso singer 1st public opera house 1637 in Venice Opera composed for court ceremonies – Display of magnificence and grandeur – Patrons compared to ancient heroes Secco vs accompanied recitative – Chief was castrato Da capo aria: A B A(embellished)
- 27. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Ground Bass Repeated musical idea in bass Also called basso ostinato – Variation form - Melodies above bass change
- 28. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Listening Dido’s Lament from Dido and Aeneas (1689) Henry Purcell Vocal Music Guide p. 123 Brief Set, CD 1:72 Listen for: Secco recitative followed by aria Aria makes use of ground bass Chromatically descending bass used to indicate grief
- 29. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill The Baroque Sonata Instrumental work Multi-movement piece for one to eight instruments – Trio sonata - Three melodic lines: basso continuo and two above - Written as three parts, but performed by four players Sonata da chiesa—church sonata (dignified) Sonata du camera—chamber sonata (more dance- like, intended for court performance)
- 30. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Antonio Vivaldi Late Baroque Italian composer Il prete rosso (the red priest) Taught music at girls orphanage in Venice – Girls performed at mass hidden behind screen Wrote sacred & secular vocal & instrumental music Famous as a virtuoso violinist & composer – Best known for concerti grossi & solo concertos for violin - Solo concerto: piece for single soloist & orchestra
- 31. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Listening La Primavera (Spring), Op. 8, No. 1, from The Four Seasons (1725) Antonio Vivaldi PerformancePerformance Profile: JeanneProfile: Jeanne Lamon-violinist/Lamon-violinist/ conductorconductor Listen forListen for interpretationinterpretation ofof tempo, rhythm,tempo, rhythm, and dynamics, useand dynamics, use of decorativeof decorative tones, and attempttones, and attempt to keep a familiarto keep a familiar piece “fresh.”piece “fresh.” 1st Movement: Allegro Listening Outline: p. 128 Brief Set, CD 2:1 Concerto for violin and string orchestra Note: Polyphonic texture & ritornello form Baroque program music Descriptive effects (e.g., bird songs)
- 32. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Listening 2nd Movement: Largo e pianissimo sempre (very slow and very soft throughout) Listening Guide: p. 129 Brief Set, CD 2:6 Concerto for violin and string orchestra Note: Orchestra reduced to only violins and violas Descriptive effects (violas: “dog barking”) PerformancePerformance Profile: JeanneProfile: Jeanne Lamon-violinist/Lamon-violinist/ conductorconductor Listen forListen for interpretationinterpretation ofof tempo, rhythm,tempo, rhythm, and dynamics, useand dynamics, use of decorativeof decorative tones, and attempttones, and attempt to keep a familiarto keep a familiar piece “fresh.”piece “fresh.” La Primavera (Spring), Op. 8, No. 1, from The Four Seasons (1725) Antonio Vivaldi
- 33. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Listening 3rd Movement: Danza pastorale (Pastoral Dance) Listening Guide: p. 131 Brief Set, CD 2:7 Concerto for violin and string orchestra Note: Ritornello form alternates solo and tutti sections Descriptive effects (sustained notes in low strings to imitate bagpipes) PerformancePerformance Profile: JeanneProfile: Jeanne Lamon-violinist/Lamon-violinist/ conductorconductor Listen forListen for interpretationinterpretation ofof tempo, rhythm,tempo, rhythm, and dynamics, useand dynamics, use of decorativeof decorative tones, and attempttones, and attempt to keep a familiarto keep a familiar piece “fresh.”piece “fresh.” La Primavera (Spring), Op. 8, No. 1, from The Four Seasons (1725) Antonio Vivaldi
- 34. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Johann Sebastian Bach German, late Baroque composer Organist and violinist Large family – Deeply religious (Lutheran) – Worked in sacred and secular positions - Weimar, Cothen, Leipzig
- 35. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Known during lifetime as keyboardist, not composer – Master of improvisation Almost unknown outside Germany Baroque style going out of fashion during his lifetime – Bach’s music fell from use following his death
- 36. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Bach’s Music Wrote in every form except opera – Compositions recognized for technical mastery - Highpoint of polyphony combined w/ harmony - All music majors study Bach’s compositions His extensive instrumental works indicate the new importance of instrumental music Wrote music exploring musical concepts – Art of the Fugue demonstrates potential of this form – Six suites for solo cello demonstrates cello techniques – Well-Tempered Clavier explores new method of tuning
- 37. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill The Baroque Suite Instrumental, multi-movement work Written for listening, but based upon dance Movements usually in binary form—AABB Often began with a non-dance overture – French overture—2 sections Forerunner of forms used in the next period - 1st slow, dignified - 2nd faster, often beginning as a fugue
- 38. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Listening Suite No. 3 in D Major (1729-1731) Johann Sebastian Bach Listening Guide: p. 135 2nd movement: Air Basic Set, CD 2:33 4th movement: Bourree Basic Set, CD 2:35 (Brief Set, CD 2:10) 5th movement: Gigue Basic Set, CD 2:37 Listen for: Extensive polyphony Contrast of dance forms & tempo in various movements
- 39. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill The Chorale and Church Cantata Lutheran church service was social event of the week – Lasted 4 hours with 1 hour sermon – Music was major part of worship service – Congregation participated in singing chorales
- 40. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Chorale: hymn tune w/ German text Cantata – Multi-movement church work for chorus, soloists, and orchestra – Vernacular religious text – Resembled opera in its use of choruses, recitatives, arias, and duets
- 41. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Listening Cantata No. 140: Wachet Auf, Ruft Uns Die Stimme (Awake, A Voice Is Calling Us-1731) Johann Sebastian Bach Based upon a chorale tune that was then over 130 years old Listening Guide: p. 137 Brief Set, CD 2:45 Listen for: Vernacular (German) text A A B form
- 42. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Listening Cantata No. 140: Wachet Auf, Ruft Uns Die Stimme (Awake, A Voice Is Calling Us-1731) Johann Sebastian Bach 1st movement: Chorus and Orchestra Listening Guides: p. 138 Basic Set, CD 2:39 Listen for: Vernacular (German) text Chorale tune basis Polyphonic Ritornello form
- 43. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Listening Cantata No. 140: Wachet Auf, Ruft Uns Die Stimme (Awake, A Voice Is Calling Us-1731) Johann Sebastian Bach 4th movement: Tenor Chorale Vocal Music Guide: p. 141 Basic Set, CD 2:39 (Brief Set, CD 2:12) Listen for: Scored for tenors, violins/violas in unison, and basso continuo Chorale tune basis Ritornello form
- 44. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Listening Cantata No. 140: Wachet Auf, Ruft Uns Die Stimme (Awake, A Voice Is Calling Us-1731) Johann Sebastian Bach 7th movement: Chorale Vocal Music Guide: p. 142 Basic Set, CD 2:45 (Brief Set, CD 2:15) Listen for: Chorale tune basis Homophonic, instruments double voices Simple/tuneful—congregation could join in
- 45. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill The Oratorio Like opera: – Large-scale work for chorus, soloists, and orchestra – Contains arias, recitatives, ensembles Unlike opera: Not intended for religious services – No acting, scenery, or costumes – Based upon biblical stories – Commonly performed today in both churches and concert halls
- 46. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill George Frederic Handel Born in Germany—same year as Bach Studied music in Germany, then to Italy to study opera, finally England to work – Buried in Westminster Abbey – Became England’s most important composer – Not from musical family - Father wanted him to be a lawyer – Wrote many operas in London – Had own opera company - Worked as composer, performer, & impresario
- 47. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Handel’s Music Wrote in every Baroque form – Bulk of his work in oratorios and operas - Favored Old Testament stories as topics for oratorios His music has more changes in texture than Bach’s Extensive use of changing moods – Shifts between major and minor keys – His arias showcase virtuoso singers’ abilities
- 48. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill The Messiah (1741) George Frederic Handel 2½ hours of music written over a period of 24 days Premiered to wide acclaim during a trip to Ireland Poorly received in England until a performance to benefit an orphanage Topic: prophesies about Christ, his birth, and death Text drawn from Biblical passages
- 49. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Listening The Messiah (1741) George Frederic Handel Every Valley Shall Be Exalted Aria for tenor, strings, and basso continuo Vocal Music Guide: p. 146 Brief Set, CD 2:10 Listen for: Opens and closes with string ritornello Extensive text painting
- 50. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Listening The Messiah (1741) George Frederic Handel For unto Us a Child is Born Chorus, strings, and basso continuo Listening Guide: p. 147 Basic Set, CD 2:51 Listen for: Joyful musical mood Subdued dynamics until forte outburst Extensive text painting
- 51. An Appreciation © 2006The McGraw-Hill Companies, Inc. All rights reserved.McGraw-Hill Listening The Messiah (1741) George Frederic Handel Hallelujah Chorus Vocal Music Guide: p. 148 Brief Set, CD 2:11 Listen for: Mixture of monophonic, polyphonic, homophonic textures Words and phrases repeat over and over