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IGCSE Year 10 October 13th, 2009 Aristocracy was rich and powerful during the 17th century The word baroque = bizarre, elaborately ornamented Filling up space with action and movement ◦ Contrasting light and dark Three phases ◦ Early (1600-1640) Italian composers created opera Homophonic texture emphasized and unstable chords ◦ Middle (1640-1880) Modes gave way to major and minor scales New importance of instrumental music ◦ Late (1680-1750) ** Return to Polyphonic texture Dominant to tonic chords Instrumental music = as important as vocal MOOD RHYTHM MELODY DYNAMICS ◦ One piece = One mood usually ◦ Exception in vocal music – changes in emotions correspond to changes in musical changes (but usually not suddenly) ◦ Continuity in rhythm ◦ Emphasis on the beat ◦ Also feeling on continuity (reoccurring) ◦ Elaborate and ornamental = not balanced ◦ Continuity – if shifts occur, usually sudden = TERRACED DYNAMICS ◦ Use of ORGAN or HARPSICHORD – no finger pressure control ◦ Clavichord = slight changes allowed = for amateur usage TEXTURE ◦ Polyphonic ◦ Repetition of the melody in different voices ◦ Not all were polyphonic CHORDS AND BASSO CONTINUO ◦ Chords – became more significant ◦ Sometimes composed melody to fit a chord progression ◦ BASSO CONTINUO and FIGURED BASS WORDS and MUSIC ◦ Sometimes many notes for one syllable of text Instruments in the violin family 10-40 players Based on the basso continuo – harp and cello, bass, or bassoon Violins and violas Woodwinds, percussion, brass were added only some of the time – ie. when music was festive Melody, rhythm and harmony was stressed Movements that contrast Movement = complete and independent, but part of a larger work ABA, AB, Undivided form = ALL COMMON Contrasting sounds Music written to order (mainly from churches and courts, and opera companies) Good pay and prestige of the music director Job is at the call of the patron Some had good relationships with their patrons ◦ Ie. Corelli Church also need music – organ or choir, or orchestra Church music contributed to the prestige of the city Music played in public, for taverns etc. Usually musician jobs = handed down from father to son Women were not usually employed performers, but many became musicians (ie. Caccini, Strozzi) To become a musician = pass exam, or do other non-musical requirements Small group pitted against larger group (Tutti) 2-4 soloists 8-20 in Tutti ◦ String instruments, harpsichord as part of basso continuo Usually in 3 movements (fast, slow, fast) Usually the form of the first and last movement of concerto grosso Alternating between tutti and solo TUTTI with a theme (ritornello) Theme returns in different keys in fragments End of the piece = ritornello in home key ◦ ◦ ◦ ◦ ◦ ◦ ◦ TR (home key) Solo TR (fragment) Solo TR(fragment) Solo TR(home key) History of the Concerto: Listening Notes: The fugue: polyphonic composition on one main theme: SUBJECT Different melody lines (voices) imitate the subject TOP LINE – soprano voice, bottom is base 4-5 voices, but usually starts in single voice Sometimes counter subject Episodes with new material Some are introduced by a prelude Key Terms: ◦ Stretto ◦ Pedal Point ◦ Inversion ◦ Retrograde ◦ Diminution Notes Instrumental music grew in importance Sonata = several movements for 1-8 instruments TRIO sonatas: 2 high instruments, 2 for basso Sonata da cheisa vs. Sonata da camera Notes: Late Italian Baroque – born in Venice - - Violin teacher, composer, conductor Composed SOLO CONCERTOS – single soloist and orchestra Notes: Known as the town musicians Church organist, court organist, then concertmaster First wife died, leaving 3children – remarried Cantor in Leipzig, he was a religious man No opera, his vocal music – usually hymns Polyphonic texture and rich harmony Several melodic lines at once – chord progression Single idea per piece – twisting the inner voices etc Notes: Same key but different tempo, meter, or character ◦ ◦ ◦ ◦ ◦ Allemande Couratne Gavotte Sarabande Gigue AABB Balance and symmetry Notes: Opera Chorale/Cantatas Oratorios Fusion of music, acting, poetry, dance, scenery, constumes Began 1600 Orchestra and actors with conductor LIBRETTO – text Parts: ◦ ◦ ◦ ◦ ◦ ◦ ◦ Coloratura soprano Lyric soprano Dramatic soprano Lyric tenor Dramatic teno Basso buffo Basso profondo ARIA RECITATIVE ENSEMBLE CHORUS PROMPTER OVERTURE/PRELUDE Camerata – ancient Greek tragedy They rejected polyphony Euridice by Peri earliest opera preserved Orfeo by Monteverdi 1st opera house in Venice – 1637 Castrato Late baroque – secco recitative/accompanied recitatives ABA da capo Arias Early Baroque era Wrote Orfeo Music directer in Venice Bridging the 16th and 17th century Wanted emotional intensity in music Used dissonances, tremolo and pizzicatos Notes: London, choirboy, then composer then organist English composer, wrote with all music forms Wrote Dido and Aeneas Homophonic textures and polyphony Used GROUND BASS – repeated bass pattern Libretto by Nahum Tate – inspired by Aeneid by Virgil Dido – Queen and Aeneas – king of Trojans Aeneas lands in Carthage and falls for Dido False messenger tells Aeneas to leave – Dido suicides Notes: Music used often in churches – 4 hour services! - Chorale: hymn tunes sung to German texts - Usually one note to a syllable - New music was often based on traditional melodies - CHORALE PRELUDES before the hymn - Cantata - Piece that was sung - usually for chorus, vocal soloists, organ and orchestra - Resembled the opera at the time Notes: Large scale for chorus, solo and orchestra - No acting,based on biblical stories - Choruses and arias, duets and recitatives - Longer than cantatas and have story line - Ie. Messiah Italian opera and English oratorio - Studied law in university - Music director at for Hanover - Wrote Rinaldo (opera)- success - Favorite of Queen Anne - Scapegoat of political struggles - 1741: Messiah Late Baroque- just like Bach His works are nearly always serious, based on Roman and Greek history English oratorios – stories from Old Testament But not for the church, just for entertainment The chorus was his focus! Changes texture frequently Sharp changes in mood – major and minor Notes: Notes Continued: