Download Introduction to Music Chapter 4 - Music of the Baroque Period (1600

Introduction to Music
Chapter 4 - Music of the Baroque Period (1600 - 1750)
The term Baroque is used to indicate a particular style in the arts. This style tends to fill
space with movement and action. Artists of this time (such as Rembrandt) expanded the
potential of color, detail, ornament, and depth. Art and music were very structured.
Scientific discoveries and advances by Galileo (1564 - 1642) and Newton (1642 - 1727)
occurred during the Baroque period, helping to inspire experimentation in other areas,
such as music. The Bay Psalm Book was printed in America in 1640; it was the first
book printed there.
The two major composers of this time were George Frideric Handel and Johann
Sebastian Bach. Other major composers included Claudio Monteverdi, Henry Purcell,
Arcangelo Corelli, and Antonio Vivaldi.
Music in the Baroque period can be divided into three phases: early (1600 - 1640),
middle (1640 - 1680), and late (1680 - 1750). Homophonic texture was preferred over
polyphonic texture in the early Baroque; however, by the late Baroque, polyphonic
texture was again favored.
Characteristics of Baroque Music
A unity of mood is common in many of the works from the Baroque era. Moods (also
called affections) generally remained the same throughout a Baroque piece. Specific
rhythms or melodic patterns were associated with certain moods.
Rhythmic patterns are continuous. The beat is emphasized more during the Baroque
period than in the Renaissance.
To ensure continuity, an opening melody will be heard again and again in the course of a
piece. Many of the melodies from the Baroque era are elaborate and ornamental.
Changes in dynamics (loudness and softness) was usually sudden in Baroque music, as if
stepping up or down a level. This is called terraced dynamics. Gradual changes were
occasionally done, but they were not prominent. Keyboard instruments of this time, such
as organ and harpsichord, could not crescendo and decrescendo, and another keyboard
instrument (the clavichord) could only make very small dynamic changes.
Musical texture during the Baroque period was predominantly polyphonic with imitation
between various lines; however, some composers, such as Handel, used contrasts
between polyphony and homophony.
Chords became increasingly important throughout the Baroque era, giving new
prominence to the bass part (the foundation of the harmony). The basso continuo, or
figured bass, is a characteristic feature of Baroque music. It is often referred to as the
continuo, and it is usually played by at least two instruments, such as an organ or
harpsichord and a low melodic instrument (a cello or a bassoon). The bass part is played
by the left hand of the keyboardist and the melodic instrument, and the keyboardist
improvises chords and melodic lines with the right hand, which are specified by numbers.
This is basically a shorthand method of accompaniment which gives the performer lots of
creative freedom.
As in Renaissance music, composers tended to use word painting, depicting the meaning
of some words with the music. An example may be the word heaven set to a high tone.
The Baroque Orchestra
The Baroque orchestra was based on the instruments of the violin family. It was small
compared to today’s orchestras, ranging from ten to forty players. The nucleus of the
orchestra was the basso continuo and the upper strings (violins and violas). Wind and
percussion instruments were used variably. A well known orchestra of the day was the
Vingt-quatre violons du roy (The King’s 24 violins), conducted by Jean-Baptiste Lully.
This group was known for touring and for playing at special events. Lully was largely
responsible for the form of the French ouverture which will be discussed later.
Music in Baroque Society
While this style of music may seem dull to many people today, we must remember that
without the music and the composers of the past, we would not enjoy such a wide variety
of music as we do today. Everything from country to rock to jazz has roots in early
music such as that of the Baroque period. In Baroque society, music was a main source
of diversion from boredom (especially for the wealthy), just as it is for many people of
various classes today. To keep the wealthy patrons happy, a court music director had the
responsibility for writing music for every occasion, keeping other musicians accountable,
and keeping up with the care of the musical instruments. Pay and prestige were high for
them, but they were not allowed to travel or even quit without the permission of their
employers. Not only did musicians have to pass tests and submit compositions to get a
job, but sometimes the requirements involved “voluntary contributions” to the treasury or
even marrying the daughter of a retiring musician. Some rulers, while feared generals,
were also good musicians. One such example is Frederick the Great of Prussia. He
played the flute and composed many pieces, which he would often perform. His
instructor was flutist and composer Johann Quantz. Some musicians earned extra money
by writing operas for commercial opera houses, many of which were in Italy. Musicians
were usually born into musical families, and many composers began their studies as choir
boys. Many music schools were also affiliated with orphanages.
Musical Forms
New musical forms were developing during the Baroque period. Larger instrumental
works were being written, both for orchestra and for smaller ensembles, as well as for
solo performers. Many of these larger compositions had many movements, which
sounded fairly complete and independent. Each movement of a piece has its own themes
and comes to a definite end, and each is separated from the next with a brief pause. One
piece of music may have three or four movements, each having a different form:
A concerto grosso is performed by a small group of soloists pitted against a larger group,
called the tutti (all). There are usually two to four soloists, and the piece consists of
several movements that contrast in tempo and character. Often there are three
movements (fast, slow, fast), and the first and last movements are generally in ritornello
form, which is based on the alternation between tutti and solo sections. The form of
these movements opens with a ritornello (refrain) played by the tutti. This refrain
returns, usually in fragments, and sometimes in different keys, throughout the movement.
The ritornello returns to the tonic (original) key at the end of the movement. We will
listen to this form in class (Bach; Brandenburg Concerto No. 5, first movement).
A fugue is a polyphonic composition based on one main theme, called a subject. It can
be written for a group of voices or instruments, or for a single instrument such as organ.
Throughout the piece, the subject is imitated by different melodic lines or voices. The
form for a fugue is flexible, but they almost always begin in the same manner - the
subject is presented in a single, unaccompanied voice. In a way, a fugue is similar to a
round, but the imitation is not exact after the opening theme is stated in each voice. Also,
the opening of a fugue is presented in two different scales; the first time it is in the tonic
(the main key), and the second is based on the dominant (five scale steps higher than the
tonic). The second presentation of the subject is called the answer. A countersubject is
a different melodic idea that often accompanies the subject (either above or below in
pitch). Other terms apply to other things going on in a fugue; however, pedal point (or
organ point) is the only one among these that I’ll ask you to listen for. It is a single tone,
usually in the bass part, that is held while other voices produce a series of changing
harmonies against it. You will be asked to remember the four ways the subject of a fugue
can be varied: inversion - intervals are reversed in direction; retrograde - beginning with
last note, proceeding backward to the first; augmentation - original time values are
lengthened; diminution - original time values are shortened. One last thing - independent
fugues are often introduced by short pieces called preludes. We will listen to the Organ
Fugue in g minor (Little Fugue) by J.S. Bach.
Introduction to Music
Chapter 4, continued
Elements of Opera
An opera is a drama that is sung to orchestral accompaniment, fusing music, acting,
poetry, dance, scenery, and costumes. Characters and plots are introduced and explained
through song rather than speech. The music of an opera tends to carry the plot forward,
helping make the moods and ideas more visible. The opera orchestra is located in the
“pit” with the conductor, who directs the orchestra as well as those on stage. The pit is
in front of or underneath the stage.
The text of an opera is called the libretto. A librettist writes the libretto, and the
composer sets the libretto to music. Operas can be serious, comic, or both. Some contain
spoken dialogue (comic opera), but most “grand operas” are entirely sung.
The voices that we discussed in the “Music Basics” portion of class are more finely
divided for opera. Coloratura soprano is a voice with a very high range that sings fast
scales and trills. Lyric soprano is a light and graceful voice, usually used in charming
roles. A dramatic soprano has a full, powerful voice that is passionate and intense.
Lyric tenor is a light, bright voice, while dramatic tenor is a powerful voice, capable of
heroic expression. A basso buffo voice is used for comic roles, with rapid singing.
Basso profundo is a powerful voice with a low range, often used for dignified roles.
An aria is a song for solo voice with orchestral accompaniment which is often led into
with a recitative - a vocal line that imitates the rhythms and pitch fluctuations of speech.
A prompter gives cues and reminds singers of words or pitches if they have a memory
slip. And last but not least, an overture begins the opera. It is an orchestral piece that has
been drawn from music to be heard later in the opera.
Baroque opera originated in Italy. Its path was prepared by a small group of nobles,
poets and composers known as the Camerata in Florence around 1575. Their goal was to
create a new vocal style modeled on the music of ancient Greek tragedy. Their new
vocal style was recitative (recited). Euridice, by Jacopo Peri, is the earliest preserved
opera (first performed in Florence in 1600). While Euridice is the earliest preserved
opera, the first popular opera was Orfeo, composed by Claudio Monteverdi in 1607 for
the Gonzaga family in Mantua. Most opera of this time was composed for ceremonial
occasions at court, and the subject matter was drawn from Greek mythology and ancient
history. The first public opera house opened in Venice in 1637, and by 1700 there were
seventeen opera houses in Venice alone, as well as several others in other Italian cities.
During the Baroque era, women were generally not accepted as performers in opera;
therefore, female roles had to be played by men. As a result, a male singer with a nice
high voice was castrated before puberty in order to keep his voice from changing. This
enabled the singers to have the vocal range of women with the lung capacity of a man
(not to mention that they would be less likely to grow facial hair). These men were
known as castrati (castrato, singular). This practice was common in Italy (and other
places) from 1600 to 1800, usually with parental consent. Often, the parents were poor
and were easily tempted with money in exchange for their approval. Orphans were also
easily persuaded to become castrati.
There are two types of recitative in an opera: secco recitatives and accompanied
recitatives. Secco (dry) recitatives link arias of late baroque operas and were only
accompanied by a basso continuo. At emotional high points or tense moments, the
orchestra plays for an accompanied recitative. During an aria, all action on stage is
stopped, and the soloist faces the audience. The typical aria of this time is called a da
capo aria. Its form is A B A, because after the B section, the music says da capo (which
means the top) where the A section is repeated.
Claudio Monteverdi (1567 - 1643) was one of the most important composers of the early
Baroque. He was born in Cremona, Italy and served at the court of Mantua for 21 years,
first as a singer and violinist, then as music director. He is very well known for his opera
Orfeo, which was about Orpheus, son of Apollo in Greek mythology. Orpheus was a
gifted musician who, because of his talent, was granted permission to bring his young
bride back from the underworld. Unfortunately, he didn’t follow all the rules and it
didn’t quite work out. We’ll discuss the story further in class. We will also listen to an
excerpt from Orfeo.
The Baroque Sonata
A sonata is a composition in several movements for one to eight instruments. A trio
sonata has three melodic lines; however, there are four performers - two high voices and
basso continuo (2 performers). The sonata originated in Italy but spread to Germany,
England and France during the seventeenth century. A sonata da chiesa is a “church
sonata” that has a dignified character and is suitable for sacred performances. A sonata
du camera is a “chamber sonata” that is more dance-like and intended for performance at
court.
Antonio Vivaldi (1678 - 1741) was a composer from the late Italian Baroque, born in
Venice. He was very famous and influential as a virtuoso violinist and composer, best
known for his 450+ concerti grossi and solo concerti. A solo concerto is a piece for a
single soloist and an orchestra. La Primavera (Spring), Concerto for Violin and String
Orchestra is part of one of his most famous pieces. It is from The Four Seasons.
The masterpieces of Johann Sebastian Bach (1685 - 1750) mark the high point of
Baroque music. He came from a long line of musicians, and four of his sons were also
composers. Born in Eisenach, Germany, Bach began as a church organist, then as a court
organist, and later as concertmaster of the court orchestra in Weimar. His most
prestigious and lucrative post was as court conductor for the Prince of Cothen. The
Brandenburg Concertos came from this period of his life (1717 - 1723). His next position
was cantor (director of music) of St. Thomas Church in Leipzig. He was married twice
and had 20 children. During his lifetime, Bach was not well known outside of Germany.
It would not be until several years after his death that his music would become popular.
He created masterpieces in every Baroque form except opera. He used a unique
combination of polyphonic texture (counterpoint) and rich harmony. His music leans
toward unity of mood.
The Baroque Suite
Suites are sets of dance-inspired movements. They were written for solo instruments,
small groups, or orchestra. All movements are in the same key, but differ in tempo,
meter, and character. Dances used to have a variety of national origins, including
Germany (allemande), France (courante, gavotte), Spain (sarabande), and England and
Ireland (gigue or jig). Movements of suites are usually in binary form (A B) with each
section repeated (A A B B). A French ouverture often begins a suite. It is not danceinspired and was usually written in two parts - a slow section followed by a quick, light
section. This form was developed mainly by Jean-Baptiste Lully.
The Chorale and Church Cantata
The chorale (hymn tune) was sung to a German religious text. These were originally
used by Lutherans, stressing the direct communication between an individual and Christ.
They were rhythmically simple, making them easy for the congregation to sing and
remember. A chorale prelude is a short composition based on a hymn tune that
reminded the congregation of the melody. This was played by the organist before the
chorale was sung. The word cantata originally meant a piece that was sung. The church
cantata discussed in this class was designed for the Lutheran service in Germany in the
early 1700s. It was written for chorus, vocal soloists, organ, and a small orchestra. The
text was religious in nature, either newly written or from the Bible. The text was related
to the sermon of the day. We will listen to some excerpts in class, including two chorales
from Cantata No. 140, Wachet auf, ruft uns die Stimme (Awake, A Voice Is Calling
Us) by J.S. Bach.
The Oratorio
An oratorio is a large-scale composition for chorus, vocal soloists, and orchestra. It is
usually set to a narrative text, usually based on biblical stories, but not necessarily
intended for religious services. It is very much like an opera, but without the acting,
scenery, or costumes. Oratorios first appeared in Italy in the early seventeenth century.
Handel’s Messiah is possibly the best known oratorio.
George Frideric Handel (1685 - 1759) was born in Halle, Germany to a non-musical
family. By age eleven, he was able to compose and give organ lessons. At age 18, he
became a violinist and harpsichordist in the orchestra of a renowned opera house. At 21,
he went to Italy, where he wrote several operas. He returned to Germany in 1710, where
he took a well-paying position as music director for Elector Georg Ludwig of Hanover.
While at this post, he requested two leaves of absence to go to London. His second leave
turned out to be from 1712 to 1759. He became England’s most important composer of
the time. Due to his popularity in England and Germany, as well as Italy, Handel was
known as an “international” composer. Other composers of the time such as Bach and
Vivaldi tended to absorb their own national traditions. He wrote a great deal of
instrumental music, but he mostly wrote English oratorios and Italian operas. Some of
his best operas were composed for the Royal Academy of Music. Other important pieces
included suites such as Water Music and Music for the Royal Fireworks. We will listen
to some excerpts from Handel’s Messiah (1741) which was first performed in Dublin in
1742. The entire work has over 50 movements and lasts about two and a half hours.