Download Prelude 3: The Baroque Spirit

Prelude 3: The Baroque Spirit
The Baroque Era (1600–1750)
• 
Turbulent change in
politics, science, arts
• 
Religious wars
• 
Exploration of the New
World
• 
Rise of middle-class
culture
• 
Music making centered in
the home, church, and
universities
Judith Leyster, The Flute Player
The Enjoyment of Music 11th, Shorter Edition
Prelude 3: The Baroque Spirit
Main Currents in Baroque Music
Monody:
New style featuring solo song with instrumental
accompaniment.
Florentine Camerata
• 
Vincenzo Galilei
• 
Giulio Caccini
• 
Jacopo Peri
Young Woman at a Virgina, Jan Vermeer
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Prelude 3: The Baroque Spirit
New Harmonic Structures
• 
Figured bass
• 
Chords created through
improvisation
• 
Basso continuo
• 
Major-minor tonality
Bach, C.P.E., Trio Sonata in G
View of Toledo, El Greco
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Prelude 3: The Baroque Spirit
New Harmonic Structures
• 
Equal temperament
• 
J. S. Bach’s The WellTempered Clavier
Bach: The Well-Tempered Clavier, Book I,
Prelude and Fugue No. 1
Photo of the grand staircase of the Residenz
The Enjoyment of Music 11th, Shorter Edition
Prelude 3: The Baroque Spirit
Baroque Musical Style
•  Early Baroque rhythm is freer
•  Late Baroque rhythm is regular and
vigorous
•  Emotions expressed with subtle dynamic
changes and use of dissonant chords
•  Dramatic forte/piano contrasts were also
typical
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Prelude 3: The Baroque Spirit
The Doctrine of the Affections
• 
Union of text and music
• 
One mood, or affection, per
movement or piece
Handel: Sampson, “Let the Bright Seraphim”
The Enjoyment of Music 11th, Shorter Edition
Prelude 3: The Baroque Spirit
The Rise of the Virtuoso Musician
• 
Technical improvements in instrument making
• 
Composers challenging the performers
– Domenico Scarlatti
– Antonio Vivaldi
Sonata in D minor
Antonio Vivaldi
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Prelude 3: The Baroque Spirit
The Rise of the Virtuoso Musician
•  Instrumental
•  Vocal
•  Castrato
•  Countertenor or falsettist
Caricature of Farinelli, Pier Leone Ghezzi
The Enjoyment of Music 11th, Shorter Edition
Prelude 3: The Baroque Spirit
The Rise of the Professional Female Singer
Increasingly professional women were
singers
and instrumentalists
• 
• 
• 
• 
• 
Francesca Caccini
Barbara Strozzi
Faustina Bordoni
Francesca Cuzzoni
Elisabeth-Claude Jacquet de la Guerre
Concerto delle donne (Ensemble of the Ladies)
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Prelude 3: The Baroque Spirit
Internationalism
•  Free interchange among national cultures
•  All-European style
– George Frideric Handel
G. F. Handel
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Prelude 3: The Baroque Spirit
Exoticism
•  Looking to the Near East, the Americas, and
elsewhere for ideas
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16. Baroque Opera and Its Components
The Components of Opera
Meredith Hall as Poppea in the opera
The Coronation of Poppea
Large-scale musical drama
combining
•  Poetry
•  Acting
•  Scenery
•  Costumes
•  Singing
•  Instrumental music
The Enjoyment of Music 11th, Shorter Edition
16. Baroque Opera and Its Components
The Components of Opera
Recitative
•  Secco
•  Accompagnato
Aria
•  Da capo aria
http://www.youtube.com/
watch?
v=s3TXSuZ2fgM
Monteverdi-Orpheo
In un fiorito prato
Possente spirto-from
Orfeo
The Enjoyment of Music 11th, Shorter Edition
16. Baroque Opera and Its Components
The Components of Opera
•  Ensemble numbers: Duet,
trio, quartet, etc.
•  Chorus
•  Overture/sinfonias
•  Libretto, librettist
The Enjoyment of Music 11th, Shorter Edition
16. Baroque Opera and Its Components
Early Opera in Italy
• 
Lavish spectacles
• 
Claudio Monteverdi
• 
Orfeo, Arianna
• 
Coronation of Poppea
• 
arioso
Claudio Monteverdi (1567–1643)
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Listening Guide: “Tu se’ morta” (“You Are Dead”) from Act
Two of Monteverdi’s Orfeo
• Based on Greek
continuo
You are dead, my life, and do I breathe?
You are gone from me
never to return, and do I remain?
No, for if my verses can do anything,
I will go surely to the deepest abysses,
and having softened the heart of the King of Shades,
I will bring her back to see again the stars:
Oh, if wicked destiny refuses me this,
I will stay with you in the company of death.
• Non-metric
Farewell earth, farewell heaven and sun, farewell.
legend of Orpheus
• The
libretto (literally,
“book” or the text)
changed from
original legend to
operatic version to
provide happy
ending
• Homophonic texture
• Tenor soloist with
recitative from opera
The Enjoyment of Music 11th, Shorter Edition
Listening Guide: CHORUS Ahi, Caso Acerbo from Act Two
of Monteverdi’s Orfeo
Chorus
Ah, bitter mischance, ah, wicked, cruel fate,
ah, hurtful stars. ah, envious heaven!
Let no mortal man trust
happiness that is passing and frail,
that soon flies away, and often
a precipice is near a great height.
The Enjoyment of Music 11th, Shorter Edition
16. Baroque Opera and Its Components
The Spread of Opera
•  Italian opera rejected in France
•  Developing a national style
•  Jean-Baptiste Lully (1632–1687)
•  Genre won favor with King Louis
XIV
The Enjoyment of Music 11th, Shorter Edition
16. Baroque Opera and Its Components
Opera in England
•  Masque
•  Stage plays forbidden
during the
Commonwealth
•  Play set to music and
Henry Purcell (1659–1695)
called “concert”
was allowed
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16. Baroque Opera and Its Components
Purcell’s Dido and Aeneas
Henry Purcell
(1659–1695)
•  English singer, organist,
and composer
•  Adopted elements from
Italian and French opera
•  Sacred and secular music
The Enjoyment of Music 11th, Shorter Edition
16. Baroque Opera and Its Components
Act III: Dido’s Lament (Listening Guide)
•  Girls’ boarding
school
•  Virgil’s Aeneid
•  Librettist: Nahum
Tate
•  Plot: Aeneas leaves
The Death of Dido, Giovanni Barbieri
Dido, who loves him
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Purcell: Dido and Aeneas, Act III
Dido’s Lament and Chorus
(Listening Guide)
• 
Recitative: “Thy hand, Belinda”
• 
Aria: “When I am laid in earth”
• 
• 
Five-measure chromatically descending ground bass
(ostinato)
Chorus: "With drooping wings"
• 
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Polyphonic texture
Word painting especially on words "drooping wings"
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Purcell: Dido and Aeneas, Act III
Dido’s Lament (Listening Guide)
Recitative: “Thy hand, Belinda”
Chromaticism
“Sigh motive”
The Enjoyment of Music 11th, Shorter Edition
Purcell: Dido and Aeneas, Act III
Dido’s Lament (Listening Guide)
Aria: “When I am laid in earth”
Ground bass or ostinato
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
16. Baroque Opera and Its Components
Barbara Strozzi and the Baroque Aria
•  Barbara Strozzi
(1619–c. 1677)
•  Educated in Venice
•  Worked in a male-
dominated field
•  Prolific composer of
Barbara Strozzi, composer
madrigals, arias,
cantatas, and sacred
motets
The Enjoyment of Music 11th, Shorter Edition
Strozzi: Amor dormiglione (Sleepyhead, Cupid!)
(Listening Guide)
• 
Lighthearted aria—an invocation to the God of
love
• 
Solo soprano with harpsichord or bass lute
• 
Rising opening melody; lines shaped to express
the text
• 
Lilting triple meter; brief switch to duple at
beginning of second section
• 
Consonant with some chromaticism
• 
Monody (accompanied solo song)
• 
Da capo aria (three parts: A-B-A)
• 
Source of text: anonymous Italian poem
The Enjoyment of Music 11th, Shorter Edition
performance with lute
The Enjoyment of Music 11th, Shorter Edition
17. The Baroque Cantata and Oratorio
•  Cantata (Italian “to
sing”)
•  Vocal genre for solo
singers and instrumental
accompaniment
•  Based on lyric, dramatic,
or narrative poetry
St. Thomas’s Church, Leipzig
The Enjoyment of Music 11th, Shorter Edition
17. The Baroque Cantata and Oratorio
Bach and the Church Cantata
•  Sacred cantatas
for the Lutheran
church
•  Sacred cantatas
•  Secular cantatas
•  Multimovement
works
J.S. Bach, composer
The Enjoyment of Music 11th, Shorter Edition
17. The Baroque Cantata and Oratorio
Bach and the Church Cantata
Billings: “Chester”
Five Wise and Five Foolish Virgins, Godfried Schaicken
• 
Chorale
• 
Martin Luther
• 
Early hymns: in unison
• 
Later hymns: four-part
harmony, soprano
melody
• 
Unifying thread of the
Protestant cantatas
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17. The Baroque Cantata and Oratorio
Bach and the Church Cantata
• 
Johann Sebastian Bach (1685–
1750), German composer,
organist, educator
• 
Culminating figure of the
Baroque style
• 
Career in northern Germany
• 
Musical family
• 
Organist and composer
• 
Devout Lutheran
• 
Secular and church patrons
during career
The Enjoyment of Music 11th, Shorter Edition
17. The Baroque Cantata and Oratorio
Bach and the Church Cantata
Duties at Leipzig
• 
Church
• 
University collegium
musicum
An evening outdoor concert in 1744
by the collegium musicum of Jena, Germany
The Enjoyment of Music 11th, Shorter Edition
Keyboard Music
The Well-Tempered Clavier
Bach: The Well-Tempered Clavier I, Prelude No. 1
Instrumental Music
Sonatas and concertos
Bach: Flute Sonata No. 2, “Siciliano”
Bach: Concerto for Violin and Oboe, II
Brandenburg Concertos
Bach: Brandenburg Concerto No. 6, III
Orchestral suites
Bach: Orchestral Suite No. 2, “Badinerie”
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17. The Baroque Cantata and Oratorio
Bach and the Church Cantata
• 
200-plus church cantatas
• 
Passions
• 
One Catholic Mass
Dictionary, J.G. Walther
The Enjoyment of Music 11th, Shorter Edition
17. The Baroque Cantata and Oratorio
Bach and the Church Cantata
• 
Musical Offering
• 
The Art of Fugue
Bach: Brandenburg Concerto No. 4, III (fugue)
Bach: Chromatic Fantasia and Fugue (fugue)
The Enjoyment of Music 11th, Shorter Edition
17. The Baroque Cantata and Oratorio
Bach and the Church Cantata
•  Typically have five to eight movements
•  Many movements based on chorale tune
•  Several choral numbers, recitatives, arias
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
17. The Baroque Cantata and Oratorio
Handel and the Oratorio
George Frideric Handel
(1685–1759)
• 
International career
• 
German-born
• 
Studied and composed in
Italy
• 
London and the Royal
Academy of Music
• 
Italian opera seria,
oratorios
The Enjoyment of Music 11th, Shorter Edition
17. The Baroque Cantata and Oratorio
Handel and the Oratorio
• 
Oratorio
• 
• 
Performed by solo
voices, chorus,
orchestra
No staging or costumes
Performance of Handel’s Messiah in 1784
The Enjoyment of Music 11th, Shorter Edition
17. The Baroque Cantata and Oratorio
Handel and the Oratorio
• 
Diatonicism
• 
Tone color
• 
40-plus operas
• 
Expanded role of
chorus
George Frideric Handel (1685–1759)
The Enjoyment of Music 11th, Shorter Edition
17. The Baroque Cantata and Oratorio
Handel and the Oratorio
• 
Prolific composer of
instrumental music
• 
Orchestral suites
• 
• 
Water Music
Music for the Royal
Fireworks
The Enjoyment of Music 11th, Shorter Edition
Handel: Messiah, Nos. 18, 44
(Listening Guide)
•  Premiered in Dublin in 1742
•  Written in 24 days
•  Libretto: compilation of Old and New Testament
The Enjoyment of Music 11th, Shorter Edition
Handel: Messiah, No. 18
(Listening Guide)
Soprano aria “Rejoice greatly” (da capo aria)
Melisma
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Handel: Messiah, No. 44
(Listening Guide)
Hallelujah Chorus: contrasting textures
• “Hallelujah! Hallelujah!”
homophonic
• “For the Lord God reigneth”
monophonic
• “The Kingdom for this world is become”
homophonic
• “And He shall reign for ever and ever”
polyphonic
• “King of Kings and Lord of Lords”
homophonic
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
18. Baroque Instruments and the Suite
The Rise of Instrumental Music
•  The Rise of Instrumental Music
•  Early- vs. late-Baroque instrumentation
Pietro Domenico Oliviero, Detail of orchestra for 1740 concert
The Enjoyment of Music 11th, Shorter Edition
18. Baroque Instruments and the Suite
The Rise of Instrumental Music
•  Instrument designs
were improved
•  Finest violins in
history came from
shops of:
– Stradivarius
– Guarneri
A Concert, Leonello Spada
– Amati
The Enjoyment of Music 11th, Shorter Edition
18. Baroque Instruments and the Suite
The Rise of Instrumental Music
•  Violin strings made of gut
•  Woodwinds made of wood
•  Horns and trumpets: valveless, called “natural”
•  Timpani
The Enjoyment of Music 11th, Shorter Edition
18. Baroque Instruments and the Suite
The Baroque Suite
Suite: Collection of dance-related
movements
• 
Allemande
• 
Courante
• 
Sarabande
• 
Gigue (jig)
• 
Other optional dances:
minuet, gavotte, bourrée,
passepied
• 
Repeated sections
ornamented second time
Corelli: Violin Sonata, Gigue
The Enjoyment of Music 11th, Shorter Edition
18. Baroque Instruments and the Suite
Handel and the Orchestral Suite
Two notable suites by Handel
• 
Water Music
• 
Music for the Royal Fireworks
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Water Music, Suite in D major, II
(Listening Guide)
•  Royal party on the Thames River in London,
July 17, 1717
•  22 numbers
•  Performed without continuo
•  Divided into three suites
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
18. Baroque Instruments and the Suite
Music at the French Royal Court
• 
Grand entertainments of Louis
XIV and Louis XV
•  Court composer: JeanBaptiste Lully
• 
Composer at the Palace of
Versailles (outside Paris)
• 
Director of the 24 Violons du
Roy
A French court dancer
The Enjoyment of Music 11th, Shorter Edition
18. Baroque Instruments and the Suite
Music at the French Royal Court
Jean-Joseph Mouret (1682–1738)
Chambord, a French castle in the Loire valley
• 
Theatrical composer at the
court in Paris
•  Stage works
•  Divertissements
• 
Instrumental suites
•  Suite de symphonies
The Enjoyment of Music 11th, Shorter Edition
Mouret: Rondeau, from
Suite de symphonies (Listening Guide)
•  Written for a full Baroque orchestra
•  Familiar fanfare
• 
used as theme music for television show
•  Five-part rondo structure (A-B-A-C-A)
• 
A section serves as a refrain
•  Regular phrasing, with a strong, even beat
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
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The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th
Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
19. The Baroque Concerto
•  Contrast and unity
•  Latin concertare (“to contend with”)
•  Opposition of different forces
The Enjoyment of Music 11th, Shorter Edition
19. The Baroque Concerto
Two Types of Concerti
•  Solo concerto
•  Concerto grosso
– Concertino
– Ripieno, or tutti
Vivaldi: Concerto for piccolo in C, I
Handel: Concerto grosso in G, II
The Enjoyment of Music 11th, Shorter Edition
19. The Baroque Concerto
Antonio Vivaldi and the Solo Concerto
Antonio Vivaldi (1678–1741)
•  Italian violinist and
composer
•  “The red priest”
•  Conservatorio del’Ospedale
della Pietà (Venice)
•  Prolific composer
“Above all, he was
possessed by music.”
—Marc Pincherle
The Enjoyment of Music 11th, Shorter Edition
Vivaldi: The Four Seasons
(Le quattro stagioni) (Listening Guide)
•  Group of four violin concertos
•  Each concerto accompanied by a poem
•  Music depicts specific lines of the poem
• 
• 
• 
• 
No. 1: Spring
No. 2: Summer
(La primavera)
(L’estate)
No. 3: Autumn
No. 4: Winter
(L’autunno)
(L’inverno)
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Vivaldi: The Four Seasons
(Le quattro stagioni) (Listening Guide)
Spring (La primavera)
Solo violin, string orchestra, continuo
Three movements:
I: Evokes animals and nature
Ritornello form
II: Largo in triple meter
Imagery forms a sleeping goatherd’s poem
Ostinato “dog bark” in violas
III: Rustic dance, drone of bagpipes
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
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The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th
Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
20. Other Baroque Instrumental Music
Baroque Keyboard Instruments
harpsichord
• 
Organ
• 
Harpsichord
• 
Clavichord
The Enjoyment of Music 11th, Shorter Edition
20. Other Baroque Instrumental Music
Keyboard Forms
Two basic types
• 
• 
Based on harmony with
strong element
of improvisation
– Prelude
Bach: The Well-Tempered Clavier
– Chorale prelude
Bach: Jesu, Joy of Man’s Desiring
Stricter forms based on
counterpoint
– Fugue
Bach: Fugue in D
The Enjoyment of Music 11th, Shorter Edition
20. Other Baroque Instrumental Music
Keyboard Forms
Purcell: Come, ye sons of art away
•  Passacaglia
•  Chaconne
•  Toccata
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20. Other Baroque Instrumental Music
The Fugue and Its Devices
•  Fuga
•  Contrapuntal, based on imitation
•  Subject unifies the work
•  Choral or instrumental
•  Melodic lines are referred to as voices
Fugue,
Josef Alber, (1925)
The Enjoyment of Music 11th, Shorter Edition
20. Other Baroque Instrumental Music
The Fugue and Its Devices
Episodes: interludes between statements of the
subject that serve as areas of relaxation.
•  Modulation to foreign keys
•  Use of contrapuntal devices
•  Use of stretto is common
•  Piece ends in tonic key
The Enjoyment of Music 11th, Shorter Edition
20. Other Baroque Instrumental Music
The Fugue and Its Devices
Original:
Inversion:
Retrograde:
Retrograde inversion:
Augmentation:
Diminution:
The Enjoyment of Music 11th, Shorter Edition
20. Other Baroque Instrumental Music
Form: Opening of Exposition
Fugue Exposition (4 voice)
Subject Countersubject I Countersubject 2 Contrapuntal line
Answer
Countersubject I Countersubject 2
Subject
Countersubject 1
Answer
The Enjoyment of Music 11th, Shorter Edition
20. Other Baroque Instrumental Music
Form: Exposition and Episode
Exposition Episode Subject Episode Subject Episode Subject
Entry
Entry
Entry
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Bach's Contrapunctus 1, from The Art of Fugue
(Listening Guide)
• 
four-voice fugue
• 
Exposition:
• 
• 
Subject is presented in order: alto-soprano-bass-tenor
Episode
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
20. Other Baroque Instrumental Music
Looking ahead to the Classical Era
• 
Rococo
• 
French rocaille, a “shell”
• 
Reaction against
Baroque style
• 
François Couperin
(1668–1733)
• 
Opera buffa: Italian
comic opera developed
throughout Europe.
La gamme d’amour (The Gamut of Love)
Jean-Antoine Watteau
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The Enjoyment of Music 11th, Shorter Edition