The Baroque Era 1600 - 1750

The word 'Baroque' (literally translated from the Portuguese word 'Barroco', means

'rough pearl') is used as a technical expression that describes the extravagant and

flamboyant architectural styles of the 17th and 18th centuries. Musicians adopted this

label as the music from this period very much reflected the thoughts, concepts and

decorative styles of other artistic disciplines like architecture, sculpture and art. the

baroque period can be summed up in one word: 'elaboration' (ornamentation).

In the 17th century, instrumental music was largely contained within the privileged

households that ere able to employ full-time musicians/composers. Such wealthy patrons

of the arts could define what they wanted and for what purpose. Alongside the

aristocracy, the Catholic church patronised many artists and musicians. Public concerts

became fashionable towards the end of the 17th century.

Baroque orchestras began mainly as string ensembles with sparing use of the oboe and

bassoon, lesser still the trumpet and trombone. The complexity of baroque music, coupled

with the advancement of instrumental designs, led to enlargements of the standard

orchestra. Flutes, horns and occasional use of percussion like the timpani, helped provide

contrasting timbres and musical embellishment. Much of the artistic development was

within the affluent nation of Italy, the common language for music notation being Italian,

although many composers from Northern Europe contributed to the advancement of

musical styles/genres.

Performers thrived upon challenging music that would show off their virtuosity. As an

overspill from the renaissance era, musicians relished the opportunity to ornament or

elaborate rather simple music through daring scalic runs or arpeggios, complex rhythmic

figures and demanding dexterity. Some performers considered it insulting for all the solo

music to be fully notated as they expected each piece to provide space for virtuoso

displays in manners suitable to each individual.

Musical genres Concerto Grosso Music written for a group of soloists, as opposed to one

individual, and supported by an orchestra, often strings.

Suite Music inspired by the characteristics of European dances.

Often written for keyboard or orchestra

Fantasia, Chaconne,

Passacaglia

There were several terms to describe keyboard variations upon

a given theme.

Opera The setting of a story script to music, featuring some dialogue,

mainly music for solo voices (arias), duets/trios etc. and

choruses (songs featuring an array of voices), to theatrical

settings (limited movement/acting) and spectacular

scenery/props. All the 'rage', particularly in Italy.

Oratorio The religious musical equivalent of an opera; all the operatic

qualities without movement or frivolity.

Sonata Solo music, written in three movements (pieces)

(fast/slow/fast), often accompanied by a keyboard instrument.

Compositional techniques Basso continuo Firm bass line played on a keyboard (normally harpsichord or

organ), and reinforced on the cello or double bass, which

provided the foundations for the elaborate construction of

harmony.

Ground bass An ostinato in the bass line, and consequent rather static

harmony, over which constantly evolving melodies would be

constructed.

Canon See ‘Pachelbel's Canon’

Melisma The singing of several/many notes to one syllable. The opposite

to melismatic writing is 'Syllabic'.

Ornamentation The use of additional notes to make an otherwise simple melody

appear complex and elaborate. popular ornaments included the

turn, mordent, trill and singular notes of the appoggiatura and

acciaccatura.

Composers Claudio Monteverdi 1567 - 1643

Heinrich Schutz (1585 -1672)

Jean-Baptiste Lully (1632 - 1687)

Arcangelo Corelli (1653 - 1713)

Henry Purcell (1659 - 1695)

Antonio Vivaldi (1678 - 1741)

Johann Sebastian Bach (1685 - 1750)

George Frideric Handel (1685 - 1759)

Domenico Scarlatti (1685 - 1757)