12 - Folder 3 - Middle Baroque Instrumental Music

Question 1

Describe the Sonata.

Answer 1

i. Originally a designation for any instrumental music in the early Baroque era (sonata means played, in contrast to cantata, which means sung)
ii. Later, sonata came to mean a multi-movement work for one or two melodic instruments with continuo accompaniment

Question 2

In what way were Sonatas categorized by performing forces?

Answer 2

1. Solo sonata — a solo keyboard piece, or a piece for solo instrument with continuo accompaniment (thus requiring three players, since the continuo part includes a bass instrument and a chordal instrument)
2. Trio sonata — the most important type; two melody instruments (usually violins) with continuo accompaniment (a trio because there are three parts, but it takes a total of four performers, since the continuo requires two)
3. Sonata à 4 or 5 — Sonatas in four or five parts, including the continuo

Question 3

In what ways were Sonatas categorized by function and structure?

Answer 3

1. Sonata da camera (chamber sonata)— a set of stylized dances, often beginning with a prelude, like a suite
2. Sonata da chiesa (church sonata)— four movements; slow-fast-slow-fast

Question 4

Describe the four movements of Sonata da chiesa (church sonata).

Answer 4

a. Movement 1 — slow, solemn, contrapuntal
b. Movement 2 — fast, imitative, fugal
c. Movement 3 — slow, lyrical, often like an operatic aria or duet for instruments
d. Movement 4 — fast, binary form, dance-like, often like a gigue

Question 5

Who was Arcangelo Corelli (1653–1713)? Four points.

Answer 5

i. Leading Italian composer of sonatas and other instrumental genres
ii. Composer and violinist who worked primarily in Rome
iii. Standardized the sonata da chiesa structure, and other aspects of the sonata style
iv. Published 5 sets of sonatas, each containing 12 pieces

Question 6

What was included in Corelli’s sonata publications?

Answer 6

1. Includes chamber and church sonatas

2. Trio sonatas & solo sonatas

Question 7

Describe the concerto. 4 points.

Answer 7

i. Genre of ensemble instrumental music
ii. Evolved from the stile concertato
iii. Based on the idea of bringing together contrasting instrumental forces
iv. Usually cast in three movements: fast-slow-fast

Question 8

What were the two types of concertos?

Answer 8

1. Solo concerto

2. Concerto grosso

Question 9

Describe the Solo Concerto.

Answer 9

a. solo instrument with orchestral accompaniment

b. violin was favored as solo instrument for its agility and vocal qualities

Question 10

Describe the Concerto Grosso.

Answer 10

a. Small group of soloists with orchestral accompaniment
b. Concertino (“small concertato group”) — small solo group, usually of two or three instruments, that plays throughout (with continuo accompaniment)
c. Ripieno (“full”) — the full ensemble

Question 11

Within the concerto, what is Ritornello form?

Answer 11

1. The form of a single movement (typically used in the first and third movements of a concerto—i.e., the Allegro movements)
2. Alternates ritornelli (for the full orchestra) and episodes (featuring the soloist or soloists)
3. NB: For more information on the Concerto and Ritornello form, seethe Late Baroque: Vivaldi and Rameau and the Late Baroque: Handel topic outlines.

Question 12

Describe German keyboard music of the Middle Baroque Period.

Answer 12

a. Closely connected to the Lutheran church (in northern Germany)
b. A “Golden Age” of organ building and organ music

Question 13

Name the genres of German keyboard music.

Answer 13

i. Toccatas, preludes, fantasias
ii. Organ chorales
iii. Fugues

Question 14

Describe Toccatas, preludes, and fantasies. 2 points.

Answer 14

1. free, improvisatory style

2. sectional, with some passages of imitation

Question 15

Describe Organ Chorales–in detail.

Answer 15

1. Settings of Lutheran chorale tunes for organ
2. Several different approaches coexisted under this broad term:
   a. Simple homophonic settings of the chorale (usually just called organ chorales, though the term can be used more broadly, as I am doing here)
   b. Chorale Prelude — used to introduce congregational singing; contrapuntal and imitative settings with countermelodies presented against the chorale tune, which is treated like a cantus firmus
   c. Chorale Variations — a set of variations (often labeled partita) on the chorale tune
   d. NB: See the Late Baroque: Bach topic outline for more information

Question 16

Broadly, define fugues.

Answer 16

1. Pieces in imitative counterpoint, following a fairly strict procedure and structure
2. NB: See the Late Baroque: Bach topic outline for more information

Question 17

Who was that bastard Dietrich Buxtehude (c. 1637–1707)?

Answer 17

i. Held organ posts in Denmark and northern Germany
ii. Major influence on J. S. Bach
iii. Abendmusiken — Buxtehude’s famous public concerts of sacred music
1. In 1705, J. S. Bach walked 250 miles to hear Buxtehude play at these concerts. Bach stayed for three months and was eventually fired from his job that he had abandoned.

Question 18

Within French Keyboard Music of the Middle Baroque Period, describe the Ordre. What are agréments?

Answer 18

i. Alternative name for the French version of the keyboard dance suite
ii. Frequently had programmatic (descriptive) associations, fanciful titles, reference to specific individuals, etc.
iii. Increasing ornamentation written into the pieces
1. agréments — French ornamental symbols written above the notes
iv. Stylized dances continued to be in binary form
v. Repeats within the binary form were increasingly written out, with considerable variation (these were called doubles)
vi. Programmatic works with descriptive titles were often not in binary form
vii. Some preludes were written in an unmetered style (prélude non mesuré)

Question 19

Who was Elisabeth (lady of the swamp) laude Jacquet de la Guerre (1665–1729)

Answer 19

i. Renowned composer and harpsichordist at the French royal court
ii. First French woman to compose an opera

Question 20

Who was François Couperin (1668–1733)? The man with the giant nose.

Answer 20

i. Leading figure among the French clavecinistes (keyboard composers)
ii. Composer, organist, harpsichordist
iii. Composed sonatas and other Italian genres, sacred music, organ music, and keyboard suites
iv. Published numerous books of harpsichord music, totaling over 200 ordres

Question 21

For what was Couperin especially known?

Answer 21

v. Known especially for his descriptive titles
1. Examples: The Dreamer, The Mysterious One, The Roving Shadows
2. Important precursor to the Romantic character piece

Question 22

What was the L’Artde toucher le clavecin (The Art of Playing the Harpsichord)?

Answer 22

1. Couperin’s treatise (manual) on playing the keyboard

2. Published in 1717