the music in the baroque period. contents i) musical context. chronology. ii) characteristics iii)...
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CONTENTSCONTENTS
I)I) Musical context. Chronology.Musical context. Chronology.II)II) CharacteristicsCharacteristicsIII)III) IntroductionIntroductionIV)IV) Instruments of BaroqueInstruments of BaroqueV)V) Instrumental formsInstrumental formsVI)VI) The Baroque operaThe Baroque operaVII)VII) Other vocal formsOther vocal formsVIII)VIII) ComposersComposers
I)I) IntroductionIntroductionCONTEXTCONTEXT It was known as the “age of It was known as the “age of
enlightenment”enlightenment” The power of reason was as The power of reason was as
important (or more) as faithimportant (or more) as faith The influence of middle class The influence of middle class
rose, and helped lay the rose, and helped lay the groundwork for the American groundwork for the American and French Revolutionsand French Revolutions
It was the time of absolute It was the time of absolute monarchies, with Louis XIV: monarchies, with Louis XIV: the king and the aristocracy the king and the aristocracy marked the artistic patron, marked the artistic patron, not the churchnot the church
The scientific method came The scientific method came into being: Newton (gravity), into being: Newton (gravity), Harvey (circulation of blood), Harvey (circulation of blood), Kepler ( the elliptical motion Kepler ( the elliptical motion of planets)…of planets)…
ARTSARTS The term Baroque was derived The term Baroque was derived
from a portuguese from a portuguese word meaning word meaning “a pearl of irregular shape”“a pearl of irregular shape”
It was used to imply strangeness, It was used to imply strangeness, abnormality and extravagances abnormality and extravagances applying more to art than musicapplying more to art than music
Architecture: featured by Architecture: featured by movement, chiaroscuro, and the movement, chiaroscuro, and the grandeur. Borromini, Bernini.grandeur. Borromini, Bernini.
Sculpture: eagerness by the Sculpture: eagerness by the movement, exalted expression movement, exalted expression and gesture and theatricality. and gesture and theatricality. Bernini.Bernini.
Painting: predilection by the Painting: predilection by the naturalism, dynamism, optic naturalism, dynamism, optic effects and a strong expressivity; effects and a strong expressivity; dramatic intensity and especial dramatic intensity and especial use of the lights and shadows. use of the lights and shadows. Velázquez, Rubens, Murillo, Velázquez, Rubens, Murillo, Rembrandt.Rembrandt.
II) MUSICAL CONTEXTII) MUSICAL CONTEXT The technical, compositional and organizational demands on The technical, compositional and organizational demands on
music directors for the royal courts were quite high, and it was music directors for the royal courts were quite high, and it was necessary for influential musical figures to curry the favour of necessary for influential musical figures to curry the favour of the courtthe court
Music directors in churches also had the juggle organizational Music directors in churches also had the juggle organizational and educational demands on his time with the need to and educational demands on his time with the need to constantly promote new musicconstantly promote new music
The demands of performance settings were quite high, and The demands of performance settings were quite high, and possibly as a result, some of the highest quality compositions possibly as a result, some of the highest quality compositions ever created came from this periodever created came from this period
Chronology: Chronology: 1. Early Baroque (1600-1640):1. Early Baroque (1600-1640): homophonic and polyphonic homophonic and polyphonic texturestextures2. Middle Baroque (1640-1680):2. Middle Baroque (1640-1680): spread from Italy throughout spread from Italy throughout Europe; mayor and minor scales in compositionsEurope; mayor and minor scales in compositions3. Late Baroque (1680-1750):3. Late Baroque (1680-1750): instrumental instrumental
compositions became just as important as compositions became just as important as vocal compositions vocal compositions
III) CHARACTERISTICSIII) CHARACTERISTICS
GENERALSGENERALS Bass continuo: a keyboard and a bass instrument help to Bass continuo: a keyboard and a bass instrument help to
convey the harmonic support of chords under the melodyconvey the harmonic support of chords under the melody Major/Minoir tonalitiesMajor/Minoir tonalities Functional harmony: melodic and harmonic sequences, free Functional harmony: melodic and harmonic sequences, free
use of disonanceuse of disonance Doctrine of affectionsDoctrine of affections Metric beats are very strict in tempo/ “senza batuta” tempoMetric beats are very strict in tempo/ “senza batuta” tempo Contrast of dynamic, texture, rhythm, colour and number of Contrast of dynamic, texture, rhythm, colour and number of
voices and instruments…voices and instruments… Terraced dynamicsTerraced dynamics Use of imitative polyphony and homophonic textureUse of imitative polyphony and homophonic texture Rich counterpoint and a highly decorated melodic lineRich counterpoint and a highly decorated melodic line Improvisation and virtuosityImprovisation and virtuosity
III) CHARACTERISTICSIII) CHARACTERISTICS
INSTRUMENTAL MUSICINSTRUMENTAL MUSIC Increase of its importance Increase of its importance Use of absolute musicUse of absolute music Use of monothematic Use of monothematic
compositions, thematic compositions, thematic variations and sequencingsvariations and sequencings
Inclination to contrast large Inclination to contrast large sounds against small sounds against small sounds (concerto grosso)sounds (concerto grosso)
The orchestra and forms The orchestra and forms such as concert, suite, such as concert, suite, sonata appear sonata appear
Some ancient instrument Some ancient instrument disapperar and other news disapperar and other news appearappear
VOCAL MUSICVOCAL MUSIC Ensemble size is usually Ensemble size is usually
quite small (chois of 12 – 25 quite small (chois of 12 – 25 not uncommon)not uncommon)
Camerata instigated monody, Camerata instigated monody, recitatie and opera, against recitatie and opera, against Renaissance polyphonyRenaissance polyphony
1631: professional female 1631: professional female singers appear on the stagesingers appear on the stage
The opera was conceived The opera was conceived with its homophonic style to with its homophonic style to focus the listener’s focus the listener’s concentraon on the poetic concentraon on the poetic melody of the singermelody of the singer
Cantata, oratorio and pasion Cantata, oratorio and pasion were conceived toowere conceived too
IV) INSTRUMENTS OF IV) INSTRUMENTS OF BAROQUEBAROQUE
KEYBOARDSKEYBOARDS- Organ- Harpsichord- Clavichord, virginal, espineta
STRINGSTRING- Violin, viola, cello double-
bass- Guitar, lute, “vihuela”
WINDWIND- Woodwind: bassoon, flute, Woodwind: bassoon, flute,
oboeoboe- Brasswind: horn, trumpet, Brasswind: horn, trumpet,
trombontrombon
PERCUSSIONPERCUSSION
- Timpani- Timpani
V) INSTRUMENTAL FORMSV) INSTRUMENTAL FORMS CONCERTO GROSSOCONCERTO GROSSO: a solo : a solo instrument or a small group of soloists instrument or a small group of soloists
contrasts with an orchestral ensemble; presents a contrast in texture contrasts with an orchestral ensemble; presents a contrast in texture between the group (tutti) and the soloists (ripieno). Composers: Corelli, between the group (tutti) and the soloists (ripieno). Composers: Corelli, Torelli, Haendel. Bach and Vivaldi used the type of ripieno and solo Torelli, Haendel. Bach and Vivaldi used the type of ripieno and solo concerto too, with three movements with the quick ones in ritornello concerto too, with three movements with the quick ones in ritornello form.form.
SUITESUITE: collection of small pieces based on dances, grouped togheter : collection of small pieces based on dances, grouped togheter into a set with the same key but differing in tempo, meter and into a set with the same key but differing in tempo, meter and character; their structure of each one was binary (section A, ending to character; their structure of each one was binary (section A, ending to the dominant and returning to tonic during B). Composers: Bach, the dominant and returning to tonic during B). Composers: Bach, Haendel, Couperin, FrobergerHaendel, Couperin, Froberger
TITLETITLE COUNTRYCOUNTRY CHARACTERCHARACTER METERMETER
ALLEMANDALLEMANDEE
GermanyGermany Moderate, statelyModerate, stately 4/44/4
COURANTECOURANTE FranceFrance Quick, livelyQuick, lively ¾¾SARABANDSARABAND
AASpainSpain Slow, statelySlow, stately ¾¾
GIGUEGIGUE EnglandEngland Fast, livelyFast, lively 6/86/8
V) INSTRUMENTAL FORMSV) INSTRUMENTAL FORMS SONATA: multimovement work composed for an unaccompanied
solo sonata (one instrument), accompanied solo sonata (one instrument with basso continuo) and trio sonata (two instruments and basso continuo). Their movements contrast in tempo and texture. They can be Church Sonata, played in parts of a church with organ in the continuo parts, or Chamber Sonata, with dance movements and harpsichord in the continuo parts.
FUGUE: a composition (or technique) in which a theme is developed by imitative counterpoint. It stars with the exposition of the subject (main theme in the tonic); while the 2nd voice enters with the answer (subject in the dominant) the 1st proceed with the countersubject. This procedure is repeated until all the voices have entered. Then, the entries of the subject are separated by “episodes”. The middle entries can be in other keys, treating the theme in stretto or other variations. The final entry of the subject is in the tonic key. It’s performed by keyboards.
V) INSTRUMENTAL FORMSV) INSTRUMENTAL FORMS Improvisatory forms, such as prelude, fantasia, toccata. Without
specific rules, they share some common items: contrapuntual texture, rapid scales, sustained chords and figuration. They are usually performed by keyboards.
Chorale prelude: Played in church music, a cantus firmus has longer note values in any part of the piece, e.x. in the pedals, while at other times each phrase of the chorale would appear in imitative counterpoint. It’s performed by organ.
Variation forms: such as canzona, cantus firmus, dance suites. They are also called passacaglia and chaconne. They´re performed mainly by keyboards.
Overture: it’s an orchestral piece introducing an opera or other longer work. French overture has two movements (slow-fast) and Italian overture has three movements (fast-slow-fast)
VI) THE BAROQUE OPERAVI) THE BAROQUE OPERA ORIGIN: It began in Italy, in the early 1600s, inspired by Greek ORIGIN: It began in Italy, in the early 1600s, inspired by Greek
mythology and ancient history, to flatter a identified aristocracy mythology and ancient history, to flatter a identified aristocracy with this subjects and themes. It’s composed of music, orchestra, with this subjects and themes. It’s composed of music, orchestra, libretto, performers, costuming and stage design.libretto, performers, costuming and stage design.
STRUCTURAL PARTS:STRUCTURAL PARTS:- Solo vocal lines:- Solo vocal lines:
. Recitative, that follows the rhythms and intonations of . Recitative, that follows the rhythms and intonations of speech and will serve to tell the story and to carry the speech and will serve to tell the story and to carry the
actionaction. Aria, that are more expressive and melodious, serves to . Aria, that are more expressive and melodious, serves to reflect upon the eventes and to express feelings reflect upon the eventes and to express feelings
- Orchestral parts:- Orchestral parts:. Overture, that opens the opera. Two types: French (2 . Overture, that opens the opera. Two types: French (2
sections slow-fast) Neapolitan (3 sections fast-slow-fast) sections slow-fast) Neapolitan (3 sections fast-slow-fast). Instrumental interludes. Instrumental interludes
VI) THE BAROQUE OPERAVI) THE BAROQUE OPERAEVOLUTIONEVOLUTION ITALIAN OPERAITALIAN OPERA
- - Florence: The Camerata Florentine brought back ancient Florence: The Camerata Florentine brought back ancient Greek tragedy and created the new style. Early operas Greek tragedy and created the new style. Early operas collected recitatives and occasional orchestral interludes. collected recitatives and occasional orchestral interludes. Monteverdi (“Orfeo and Eudidice” 1607) Peri, Caccini. Music Monteverdi (“Orfeo and Eudidice” 1607) Peri, Caccini. Music was subservient to the words. was subservient to the words. - Rome: (1620s) The separation between recitative and aria - Rome: (1620s) The separation between recitative and aria was more marked; music started became more important and was more marked; music started became more important and it was more focus on religious subjects. it was more focus on religious subjects. - Venice: The opera was more popular, the fist commercial - Venice: The opera was more popular, the fist commercial opera house was opened (San casiano, 1637). It used opera house was opened (San casiano, 1637). It used recitatives, arias, duets, historical subjects, elaborate stage recitatives, arias, duets, historical subjects, elaborate stage machinery and complex and improbable plots. Composers: machinery and complex and improbable plots. Composers: Monteverdi, Cesti, Cavalli.Monteverdi, Cesti, Cavalli.- Naples: It became more artificial and formalized, it used aria - Naples: It became more artificial and formalized, it used aria da capo (ABA) but less recitative. The castrati, the superstars, da capo (ABA) but less recitative. The castrati, the superstars, improvised with their vocal technique and virtuosity.improvised with their vocal technique and virtuosity.
EVOLUTION OF ITALIAN OPERAEVOLUTION OF ITALIAN OPERA1. FLORENCE1. FLORENCE: The Camerata : The Camerata
FlorentineFlorentine
brought back ancient Greek tragedy brought back ancient Greek tragedy
creating the new style. Early operas creating the new style. Early operas
collected recitatives and occasional collected recitatives and occasional
orchestral interludes. orchestral interludes.
Monteverdi (“Orfeo and Eudidice” Monteverdi (“Orfeo and Eudidice” 1607) Peri, Caccini. Music was 1607) Peri, Caccini. Music was subservient to the words.subservient to the words.
2. ROME:2. ROME: (1620s) The (1620s) The separation between recitative separation between recitative and aria was more marked; and aria was more marked; music started became more music started became more important and it was more important and it was more focus on religious subjects.focus on religious subjects.
4. NAPLES:4. NAPLES: It became more It became more artificial and formalized, it artificial and formalized, it used aria da capo (ABA) but used aria da capo (ABA) but less recitative. The castrati, less recitative. The castrati, the superstars, improvised the superstars, improvised with their vocal technique and with their vocal technique and virtuosity.virtuosity.
3. VENICE:3. VENICE: The opera was more The opera was more popular, the first commercial opera popular, the first commercial opera house was opened (San casiano house was opened (San casiano Theatre, 1637). It used recitatives, Theatre, 1637). It used recitatives, arias, duets, historical subjects, arias, duets, historical subjects, elaborate stage machinery and elaborate stage machinery and complex and improbable plots. complex and improbable plots. Composers: Monteverdi, Cesti, Cavalli.Composers: Monteverdi, Cesti, Cavalli.
FRENCH OPERAFRENCH OPERA- Inspired by popular french Inspired by popular french
dramas and court balletsdramas and court ballets- With Lully, ballets were With Lully, ballets were
entered into operas, entered into operas, creating its tragedies-creating its tragedies-lyriqueslyriques
- Use of Greek myths, clear Use of Greek myths, clear texts, importante of the texts, importante of the drama, recitatives and drama, recitatives and arias merged into one arias merged into one anotheranother
- French overtureFrench overture- Ballets were the major partBallets were the major part- Rameau used Rameau used
sophisticated orchestral sophisticated orchestral effectseffects
ENGLISH OPERAENGLISH OPERA- Italian operas - Italian operas were tipically were tipically
performed in London. performed in London. - They were more involved in They were more involved in
theatre music forms: a theatre music forms: a masque and incidental and masque and incidental and entr’acte musicentr’acte music
- Haendel’s operas in England, Haendel’s operas in England, in italian style. He used arias in italian style. He used arias da capo in a strictly way, da capo in a strictly way, form that abandoned form that abandoned “Xerxes” by strophic ones.“Xerxes” by strophic ones.
- Henry Purcell composed one Henry Purcell composed one important opera, based in important opera, based in mythology, “Dido and mythology, “Dido and Eneas”Eneas”
GENRES OF BAROQUE OPERAGENRES OF BAROQUE OPERA
SERIOUS OPERASERIOUS OPERA- Reform of Zeno and Reform of Zeno and
Metastasio Metastasio - Librettos divested of comic Librettos divested of comic
scenes and supernatural or scenes and supernatural or implausible elementsimplausible elements
- Texts that exalt virtues, Texts that exalt virtues, such as loyalty, such as loyalty, patriotism…patriotism…
- Arias and recitatives Arias and recitatives sharply separatedsharply separated
- Aria gained importance, Aria gained importance, while chorus declinedwhile chorus declined
- CastratiCastrati
COMIC OPERACOMIC OPERA- With vigour, exuberance, With vigour, exuberance,
spontaneity and charming spontaneity and charming fluency; parody of serious fluency; parody of serious opera, satire and humouropera, satire and humour
- Plots and characters more Plots and characters more down-to-earth and lightdown-to-earth and light
- Aria ca capo disregarded in Aria ca capo disregarded in favour of less closed forms favour of less closed forms
- Use of small ensenmble Use of small ensenmble groups, chorus, spoken groups, chorus, spoken dialogues and popular dialogues and popular tunestunes
- Opera buffa (Italy), Opera Opera buffa (Italy), Opera Comique (France), Ballad Comique (France), Ballad Opera (England)Opera (England)
VII) OTHER VOCALS FORMSVII) OTHER VOCALS FORMS CHORAL: CHORAL: It’s a hymn used in Luteran church service in It’s a hymn used in Luteran church service in
German, adapting folk songs and Catholic hymns. It reached German, adapting folk songs and Catholic hymns. It reached its highest point of development in the chorale its highest point of development in the chorale harmonizations of J. S. Bach.harmonizations of J. S. Bach.
ORATORIO: It’s a large composition that contains choruses, ORATORIO: It’s a large composition that contains choruses,
arias, duets, recitatives, oral interludes and orchestra; based arias, duets, recitatives, oral interludes and orchestra; based on sacred texts (non liturgical); approximate to opera but on sacred texts (non liturgical); approximate to opera but performed without scenery, costumes and action. Handel performed without scenery, costumes and action. Handel (Messiah), Bach, Carissimi.(Messiah), Bach, Carissimi.
CANTATA: It’s a non-theatrical composition, short in length, CANTATA: It’s a non-theatrical composition, short in length, and based on texts of narrative character. It contains chorus, and based on texts of narrative character. It contains chorus, organ, small orchestra and arias and recitatives, and it was organ, small orchestra and arias and recitatives, and it was performed in the Luteran service. Bach.performed in the Luteran service. Bach.
PASSION: It’s a kind of oratorio about the Christ’s Passion and PASSION: It’s a kind of oratorio about the Christ’s Passion and Death. It’s performed by a narrator (a evangelist), the soloist Death. It’s performed by a narrator (a evangelist), the soloist as the main characters (Christ, Virgin) and the crowd.as the main characters (Christ, Virgin) and the crowd.
VIII) COMPOSERSVIII) COMPOSERSVIVALDI (1678-1741)VIVALDI (1678-1741)- From Italy, he’s very famous From Italy, he’s very famous
by his concerts above all, by his concerts above all, because he created the because he created the “ritornello” form and the “ritornello” form and the three movements plan (fast-three movements plan (fast-slow-fast)slow-fast)
- Soloist of his concerts: violin, Soloist of his concerts: violin, flute, viola d’amore, lute, flute, viola d’amore, lute, chalumeauxchalumeaux
- His concerts are very His concerts are very descriptivs (“The four descriptivs (“The four seasons”)seasons”)
- He wrote sacred music and He wrote sacred music and operas operas
- Characteristics: vigorous Characteristics: vigorous rhythm, quick scales, rhythm, quick scales, violinistic figurationviolinistic figuration
BACH BACH - He has held several posts as He has held several posts as
organist, chamber musician, organist, chamber musician, musical director in St. Thomas musical director in St. Thomas Church…Church…
- Less opera, he wrote all the Less opera, he wrote all the musical forms: sonatas, musical forms: sonatas, concerts, cantatas, suites, concerts, cantatas, suites, fuges, oratorios, passiones…fuges, oratorios, passiones…His work is hugeHis work is huge
- He wrote above all for organHe wrote above all for organ- Counterpunctual artifice Counterpunctual artifice
predominates in his workpredominates in his work- Mix international styles: Mix international styles:
French rhythm, Italian French rhythm, Italian melody, German texture (use melody, German texture (use of counterpoint)of counterpoint)
VIII) COMPOSERSVIII) COMPOSERS
HAENDELHAENDEL- Although he was Although he was
german, he worked german, he worked most of the time in most of the time in EnglandEngland
- He’s very famous by He’s very famous by his concertos, suites, his concertos, suites, operas operas Purcell Purcell and and oratoriosoratorios
- His style is very His style is very influenced by Italiansinfluenced by Italians
OTHER COMPOSERS:OTHER COMPOSERS:. Monteverdi: wrote the . Monteverdi: wrote the
first known opera, first known opera, “Orfeo”“Orfeo”
. Corelli: composed only . Corelli: composed only instrumental musicinstrumental music
. Purcell: wrote music for . Purcell: wrote music for the court, the church the court, the church and the stage (“Dido and the stage (“Dido and Aeneas”)and Aeneas”)
. Rameau: one of the . Rameau: one of the greatest french greatest french theoreticians, theoreticians, transformed the rules transformed the rules of harmonyof harmony
Monteverdi Purcell
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