Music: An Appreciation9th Editionby Roger Kamien Part IVThe Baroque Period1600-1750The Baroque PeriodTime-line:Shakespeare: Hamlet-1600Cervantes: Don Quixote-1605Jamestown founded-1607Galileo: Earth orbits Sun-1610King James Bible-1611Newton: Principia Mathematica-1687Witchcraft trials in Salem, Mass.-1692Defoe: Robinson Crusoe-1719Swift: Gullivers Travels-1726The Baroque StyleTime of flamboyant lifestyleBaroque style fills the spaceVisual ArtImplies motionBusyNote pictures p. 126ArchitectureElaborateNote pictures p. 125Note picture p. 127Change in approach to scienceExperiment-based, not just observationInventions and improvements resultCh. 1: Baroque MusicPeriod begins with rise of OperaOpera: a play with speaking parts sungPeriod ends with death of J. S. BachThe two giants: Bach & HandelOther important composers:Claudio MonteverdiHenry PurcelArcangelo CorelliAntonio VivaldiPeriod divided into 3 phases:Early:1600-1640Middle:1640-1680Late:1680-1750Unity of MoodCharacteristics of Baroque MusicExpresses one mood per pieceRhythmRhythmic patterns are repeated throughoutMelodyContinuous expanding of melodic sequenceDynamicsOpening melody heard again and againVolumes constant with abrupt changesTextureCharacteristics of Baroque MusicLate Baroque mostly polyphonicExtensive use of imitationChords and the Basso ContinuoEmphasis on way chords follow each otherBass part considered foundation of the harmonyBasso Continuo: bass part with numbers to represent chord tonesSimilar to modern jazz & pop fake book notationWords and MusicText painting/word painting continuesWords frequently emphasized by extension through many rapid notesBased on violin family of instrumentsThe Baroque OrchestraSmall by modern standardsVarying instrumentationNucleus was basso continuo unitStrings, woodwinds, brass, & percussionComposers specified instrumentationTimbre was subordinate to melody, rhythm, & harmonyInstrumental music frequently made up of movementsBaroque FormsMovement: a piece complete in itselfalso part of a larger wholePerformed with pause between movementsUnity of mood within individual movementsMovements often contrast with each otherCommon basic forms:A B ATernaryBinaryA BA A BA B BA A B BCh. 2: Music in Baroque SocietyMusic written to orderNew music, not old-fashioned, was desiredCourts:Music indicated affluenceCourt Music DirectorGood prestige, pay, and other benefitsStill considered a skilled servantCh. 2: Music in Baroque SocietySome aristocrats were musiciansChurch music was very elaborateMost people heard music only in churchSome, though few, public opera housesMusic careers taught by apprenticeshipOrphanages taught music as a tradeCh. 3: The Concerto Grosso and Ritornello FormConcerto GrossoFor small group of soloists and orchestraMulti-movement workUsually 3 movementsFastSlow (usually quieter)Fast (sometimes dance-like)Ch. 3: The Concerto Grosso and Ritornello FormRitornelloFrequently used in 1st & last movements of concerto grossoTheme repeatedly presented in fragmentsContrast between solo sections and tuttiListeningBrandenberg Concerto No. 5 in D major by Johann Sebastian BachFor string orchestra and group of soloistsSoloists: flute, violin, and harpsichordFirst movementRitornello formListening Outline: p. 137Basic Set, CD 2:1Brief Set, CD 1:63Ch. 4: The FuguePolyphonic compositionVocal or instrumentalSubjectMain themePresented initially in imitationEach voice enters after previous voice has completed presenting the subjectListeningOrgan Fugue in G Minorby J. S. BachNote individual voice entry on same melody (subject)Listening Outline: p. 141Basic Set, CD 2:14Brief Set, CD 1:68Ch. 5: The Elements of OperaDrama sung to orchestra accompanimentText in opera is called librettoRecitative: presents plot materialAria: expresses emotionusually a show-off vehicle for the singerMusic is written by a composerLibretto is written by a librettistOpera can be serious, comic, or bothTwo primary types of solo songs:Other types: duet, trio, quartet, quintet, etc.Three or more singers make up an ensembleCh. 5: The Elements of OperaChorus: groups of actors playing crowd partsThe prompterthe prompters boxTranslation of text and effects upon text paintingSupertitles-projection of text above the stageModern questions concerning text in operaThe orchestra pitPreludes: Instrumentals that open opera actsCh. 6: Opera in the Baroque EraResult of musical discussions of the Camerata in Florence1st known opera: Euridice (Peri-1600)Rise of virtuoso singerchief was castrato1st public opera house 1637 in VeniceOrfeo (Monteverdi-1607)1st large scale (great) operaOpera composed for court ceremoniesDisplay of magnificence and grandeurPatrons compared to ancient heroesSecco vs accompanied recitativeCh. 7: Claudio MonteverdiItalian, early Baroque composerWrote first great operatic work, OrfeoOnly 3 of his 12 operas still existWorked last 30 years at St. Marks in VeniceComposed both sacred music and secular music for the aristocracyListeningTu se morta from Orfeo by MonteverdiNote: Homophonic textureUse of text paintingVocal Music Guide: p. 151Basic Set, CD 2:17Brief Set, CD 1:71Ch. 8: Henry PurcellEnglish composer (1659-1695)Highly regarded, held court positionsBuried beneath the organ in Westminster AbbeyDido and AeneasGround BassRepeated musical idea in bassVariation formmelodies above changeAlso called basso ostinatoListeningDidos Lament from Dido and Aeneas by PurcellNote: Recitative followed by ariaAria makes use of ground bassVocal Music Guide: p. 154Basic Set, CD 2:18Brief Set, CD 1:72Ch. 9: The Baroque SonataInstrumental workMulti-movement piece for one to eight instrumentsSonata da chiesachurch sonata (dignified)Trio sonataThree melodic lines: basso continuo and two aboveWritten as three parts, but performed by four playersSonata du camerachamber sonata (more dance-like, intended for court performance)Ch. 10: Arcangelo CorelliTrio Sonata in A Minor, Op.3 No. 10 by Arcangelo CorelliFor 2 violins and basso continuoBasic Set, CD 2:20 and 2:21Note:Polyphonic textureMulti movement workContrast between movementsCh. 11: Antonio VivaldiLate Baroque Italian composerIl prete rosso (the red priest)Taught music at girls orphanage in VeniceGirls performed at mass hidden behind screenWrote sacred and secular vocal and instrumental musicFamous as a virtuoso violinist & composerListeningLa Primavera (Spring), Op. 8, No. 1, from The Four Seasons (1725) by VivaldiListening Outline: p. 159Basic Set, CD 2:22 Brief Set, CD 2:1Concerto for violin and string orchestraNote:Polyphonic texture & ritornello formBaroque program musicDescriptive effects (e.g., bird songs)Ch. 12: Johann Sebastian BachGerman, late Baroque composerOrganist and violinistLarge familyDeeply religious (Lutheran)Worked in sacred and secular positionsWeimar/Cothen/LeipzigKnown during lifetime as keyboardistWrote in every form except operaRecognized for technical masteryHighpoint of polyphony combined w/ harmonyAll music majors study Bachs compositionsHe is the model for learning to write musicListeningSuite No. 3 in D Major (~1730) by J. S. Bach, 2nd, 4th, & 5th mvts.Basic Set, CD 2:38, 2:41, and 2:42Note:Extensive polyphonyContrast of dance forms andtempo in various movementsCh. 13: The Baroque SuiteInstrumental, Multi-movement workWritten for listening, but based upon danceOften began with a non-dance overtureMovements usually in binary formAABBFrench overture2 sections1st slow, dignified2nd faster, often beginning as a fugueForerunner of forms used in the next periodCh. 14: The Chorale and Church CantataLutheran church service was social event of the weekLasted 4 hours with 1 hour sermonMusic was major part of worship serviceCongregation participated in singing choralesChorale: hymn tune w/ German textCantataMulti-movement church work for chorus, soloists, and orchestraVernacular religious textResembled opera in its use of choruses, recitatives, arias, and duetsListeningWachet auf, ruft uns die Stimme (Awake, A Voice Is Calling Us)by J. S. Bach (1731), Movements 1, 4, & 7Vocal Music Guides: pp. 179, 181, and 182Basic Set, CD 2:44, 2:47, and 2:50Brief Set, CD 2:12 and 2:15Note:Vernacular (German) textChorale tune basisPolyphonic until chorale in movement 7Movement 7provides for congregation to join inCh. 15: The OratorioLike opera:Large-scale work for chorus, soloists, and orchestraContains arias, recitatives, ensemblesUnlike opera:Not intended for religious servicesNo acting, scenery, or costumesBased upon biblical storiesCommonly performed today in both churches and concert hallsCh. 16: George Frederic HandelBorn in Germanysame year as BachNot from musical familyFather wanted him to be a lawyerStudied music in Germany, then to Italy to study opera, finally England to workBuried in Westminster AbbeyBecame Englands most important composerWrote many operas in LondonHad own opera companyWorked as composer, performer, & impresarioListeningFrom The Messiah by G. F. Handel (1741)Evry Valley Shall Be ExaltedVocal Music Guide: p. 189Basic Set, CD 2:55Brief Set, CD 2:16For unto Us a Child Is BornVocal Music Guide: p. 191Basic Set, CD 3:1Hallelujah ChorusVocal Music Guide: p. 192 Basic Set, CD 3:4Brief Set, CD 2:17