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Baroque Flashcards

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1
Q

The Baroque Period

A 
•	1600-1750
•	Follows trends in art
o	Depicts a lot of action – a lot going on in the painting
•	Baroque comes fro Portuguese barroco
•	Rise of the professional vocalist
•	Music begins to highlight the vocalist
o	Monody
•	Figured bass
•	Basso Continuo
•	Development of tonic, idea of key, multi movement works (17th C.)
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2
Q

Basso Continuo

A
  • Baroque
  • Allowed for wide variety of instrumentation
  • Flexible and allows to condense large work
  • Built from the bass upward
  • Music built vertically with focus on the function of chords
  • Figured Bass
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3
Q

Ornamentation (Music as a blueprint)

A
  • Baroque
  • Embellishments
  • Many treaties on how and when to add ornamentation
  • Free ornamentation – entire sections to have “improvised” ornamentation
  • Scores w/o ornamentation are to be used as blueprints for the music
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4
Q

Opera

A

• Baroque
• A dramatic work set to music with staging, costume and scenery
• Italian is the primary language
• First Opera emerge in Italy c. 1600
• Predecessor
o Intermedio
o Music added between acts of plays
• May or may not be relevant to the drama
o Intermedio grew to become the main attraction – less focus on the drama

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5
Q

Jacopo Peri

A

Dafne (1598)
o First opera
o Very little of the operas survived
o IN 1600 he wrote Euridice

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6
Q

Opera components

A

o Libretto (text)
o Compose overture/prelude
• Sets a mood
• Could be multi-movements to set multiple moods
o Aria, Recitative, choruses, duets, trios, quartets

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7
Q

German Opera (Baroque)

A

• Experimented with German Opera but it did not work until the 19th C

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8
Q

British Opera (Baroque)

A
  • Developed the Ballad Opera
  • A series of popular songs separated by spoken dialogue
  • New text replaced on popular tunes
  • Similar to a Broadway Musical
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9
Q

French Opera (Baroque)

A
  • Didn’t like Italian Opera – Wanted excitement
  • Jean Baptist Lully: one of the Earliest French Composers
  • Combined popular Genres to form a new one
  • Wanted to turn Opera into a spectacle: Ballet & Stage machinery
  • Strong dramatic text
  • Very long – 5 acts
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10
Q

Monody

A
  • Baroque

* Solo vocal with accompaniment with simple chordal structure

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11
Q

Florentine Camerata

A
  • • Baroque
  • Near the end of the 16th C
  • Wanted homophonic form, development of Monody
  • Did not want word-painting
  • Were attempting to bring music to a higher level
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12
Q

Claudio Monteverdi

A
  • Baroque
  • Wrote only vocal works – sacred pieces, 250+ madrigals, operas
  • 1607 – Wrote L’Orfeo
  • 1608 – L’Arianna
  • Maestro di cappella at St Marks in Venice for 30 years
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13
Q

George Fredrick Handel

A

• • Baroque
• Master of vocal and instrumental works
• Inventor of English Oratorio
- utilized the chorus as large contributor to the works
• Wrote Italian Opera
• Won international renown during his lifetime (His music has never ceased to be performed)
• Devoted 36 years to composing opera’s
• Included Italian, German, and French elements in his opera’s
• Spent time as the Music director of the Royal Academy of Music (joint stock company producing Italian opera’s)
• Water Music (1717 - suite for orchestra or winds), Royal Fireworks Music (1749 - for winds, but originally included strings), Messiah (oratorio), Saul (oratorio), Giulio Cesare (opera)
• Funeral at Westminster Abbey

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14
Q

Recitative

A
  • Baroque
  • Secco – Dry
  • Accompagnato (Accompanied) -> Dramatic Affect
  • Speech set to music – Chords for accompaniment
  • Dialogue
  • No-form – no repeated text
  • It is where the action happens
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15
Q

Aria (Duet,trio)

A

• Baroque
• Song with full accompaniment
• All action stops
• Characters reflect on what has happened in the recitative
• Da Capo
o ABA
o ‘Afekts” of A&B sections are usually related

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16
Q

Strophic (variation) aria

A

• Baroque
• Same melody – Varies the rhythm
• Same chords
• Ties the aria together with the Ritornello
• Ritornello (in Aria only)
o An instrumental passage that recurs several times like a refrain
- Monteverdi’s L’Orfeo (1607)

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17
Q

Polychoral Music (Cori spezzati)

A

• Baroque
• Music for multiple choirs placed throughout the church
o Sing Antiphonally
• Could be a combination of vocal an/or instrumental music
• Homophonic (most)
• Music comes off very large/ large scale

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18
Q

Concertato Style

A
  • Baroque (17th Century)
  • Combination of voices and instruments where instruments play separate parts (do not simply double the voices)
  • Contrasting forces are brought together in harmonious ensemble
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19
Q

Giovanni Gabrieli

A
  • • Baroque
  • 1553-1612
  • Composer/Organist San Marco Bascillica
  • Motets, madrigals, instrumental works (canzonas, sonatas, and organ works)
  • Polychoral works
  • Most famous piece: En inclesi est
20
Q

Heinrich Shutz

A
  • Baroque
  • German composer of Oratorios – Blends German and Italian elements
  • Confined to Gospel subjects (Christmas, Passion(Easter Oratorio))
  • Great powers of emotional expression
21
Q

Sacred Concerto

A
  • Baroque
  • Grand Concerto’s_
  • Polychoral music in Church
  • A composition on a sacred text for voice and instrumental accompaniment
22
Q

Oratorio

A

• Baroque
• Starts in Italy then spreads elsewhere -> north
• Sacred counterpart to opera
o Depicts biblical principles without staging
• Large scale vocal (narrative, Dialogue, commentary) work –sacred- designed to be performed without scenery or costume in concert halls/churches
• Native laguage used from where it was written
• Spreads north to southern Germany and North German Compsers
• Historie -> Blended into German service
o Christmas stories, death of Christ
• German Oratorios
o Christmas oratorios
o Passions
o More elaborate than Historie

23
Q

English Oratorio

A

• • Baroque
• Handel brings oratorio to England
o Brought because he was broke
• Losing audience to Ballade Opera
o Put on a benefit for himself
• Bishop syas no
• Next performance does not have staging, etc
o Dramatic Oratorios
o Narrative oratorios – Allegorical oratorio
• Innovative use of Choruses to reflect on what has been presented
o Narrative use a tone of word painting
• Oratorio’s: Esther, Saul
• Most oratorios are biblical opera without staging

24
Q

Cantata

A

• Baroque
- 17th & 18th centuries
- Italian v
ocal chamber work with continuo, usually for solo voice, consisting of several sections or movements that include:
- recitatives
- arias
- setting a lyrical or quasi-dramatic text
• Sacred music
- Lutheran church music (18th century)
- combined poetic texts with text drawn from chorales or the Bible. Also used:
- recitatives
- arias
- usually one or more choruses
- Famous composers of the style:
- Cesti, Rossi, Carissimi, and Strozzi
__________________________________________
• Subject is tied to what is going on that day – readings for the day – the epistle, and gospel
• Reflects the theology of the time
o Bach and Piety – Pietism
• Chorus – opens and closes the cantata
o Chorale “Pure” Chorale
o Chorale fantasy
• Elaborate dense polyphonic introduction
• When voices enter – 1 sings chorale
• Elaborate ritornellos between each phrase
• Can be referred to as chorale cantata
• Most Bach cantatas end with a “pure” chorale

25
Q

Johann Sebastian Bach

A
  • Baroque
  • Virtuoso organist and keyboard player, a skilled violinist and a prolific composer in every genre of his time except opera.
  • Began studying with his father then with his older brother Johann Christoph Bach
  • Church organist in Arnstadt (1703)
  • 1708: Court musician in Weimer: Organist then concertmaster
  • St. Matthew Passion, Brandenburg Concertos, Well-Tempered Clavier, The Art of Fugue, Many Chorales
26
Q

Dance Suite

A

• 16th Century – Late Baroque
• Compositions in several movements with each mvt having an individual mood or stylistic rhythm
• Mvts connected by: Key signatures, thematic variations, or melodic ideas
• All mvt’s are in contrasting styles
• Johann Froberger -> Credited with bring dance suite to Germany
o Decides 4 Main dances: Allamande, Courante, Sarabande, Gigue,
• Prelude my occur first
• Other dance types may be inserted between Sarabande and Gigue
• Written out for single instrument and Available in Print forms
• Broken Style

27
Q

Orchestral Suite

A
  • Baroque
  • Born out of French Ballet
  • Dance music taken from opera and performed independently
  • Dances are contrasting
  • Performed in Ballroom Setting
  • Tend to start with French Overture
  • French Overture
28
Q

French Overture

A

• Opens an orchestral suite
• Two sections – each played twice
o First section: Homophonic and majestic, marked by double dotted rhythms and figures rushing toward the downbeats
o Second Section: Faster and begins with a semblance of fugal imitation, sometimes at the end it returns to the tempo and figuration of the first section
• Jean-Baptiste Lully’s overture to Armide is an example

29
Q

Baroque Sonata

A

• Trio Sonata
o Most common instrumentation after 1670 for both church and chamber sonatas: Three part texture but can have more if more are playing the basso continuo
• Sonata de camera – Chamber Sonata
o Featured a series of stylized dances often beginning with a prelude
• Sonata de chiesa (church)
o Grows out of sonata or canzona
• Instrumental counterpart of polychoral
o Used in church services, Substitute for certain parts of the Mass Proper, or for antiphons for the Magnificat at Vespers
o Trio Sonata in 4 mvts – usually abstract movements
o No reference to dance because it is played in church

30
Q

Chorale Prelude

A

• Baroque
• Organ arrangement based on a Protestant chorale tune
• Used for different purposes: Prelude to congregational singing, as a stand alone piece, as an interlude between versus, as a concert piece
• Presented in entirety in one voice or as the basis of polyphonic texture
• Inventor: Sweelnick
o Combined Secular Keyboard with chorale melodies
• J.S. Bach

31
Q

Prelude/Toccata

A

• Baroque
• Prelude & Fugue -> AKA Tocatta and Fugue
• Prelude/Tocatta Preceeds the Fugue when the fugue is self-contained
o Written in a fantasy style
o Has a very free sound/style

32
Q

Fugue

A

• Composition which is based on a single subject that is imitated through the piece in each part
• Theme originally presented in one voice then imitated in others
• Exposition follows which may use some of the original material
• Episode follows -> all free material
o Modulation may occur
• Followed by subject in any voice
o If presented differently -> answer

33
Q

Concerta (instrumental)

A

• Considered the most popular instrumental style of the Baroque Era
o Concerto style and Concerto grew from Poly choral music
• Groups of instruments contrasted each other in texture and style
• Concerto Grosso
• Giuseppi Torelli
o Responsible for 3 mvt concerto (I: Fast, II: Slow, III: Fast)

34
Q

Antonio Vivaldi

A
  • Baroque
  • Known as the “Red Priest”
  • 400 Concertos
  • Bach arranged some of his works
  • Popularized the form of mvts 1 & III of the concerto
35
Q

Concerto Grosso

A

Concertino vs Ripieno (tutti)
• Concerto for two groups of instruments that were different sizes
o Group #1 – Concertino -> Group of soloists
o Group #2 -> Ripieno -> Everyone else not in Concertino
o When both groups played together: Tutti

36
Q

Ritornello Form

A

• • 18th Century
• Standard form of Fast Movement (I, III) in the concerto
o Not a formal procedure but more of a set of guidelines that offer variety
• Performed by full orchestra or ensemble
• Played between elaborate passages of soloists
• Instrumental refrain
• Full Ritornello: Played by everyone, homophonic texture, 1 key, normally 3 phrases
o Episode: Concertino group or soloist with basso continuo, polyphonic, key modulation
o Ritornello fragment
o Episode
o Cadenza -> return to original key
o Full Ritornello -> stops the mvt in the original key
• Vorderstatz (Introduction)
• Fortspinnung (Spinning out, Continuation)
• Epilogue

37
Q

Sequence (Baroque)

A

• The immediate restatement of a motif or longer melodic passage at a higher or lower pitch in the same voice

38
Q

Francesca Caccini

A
  • 1550-1618
  • singer, teacher, composer
  • highest paid musician employed by the grand duke of Tuscany
  • prolific composer of dramatic music during her time
  • daughter of Guilio Caccini
  • wrote music for the ballet “The Liberation of Ruggiero from the Island of Alcina”
39
Q

Castrati

A
  • Males who were castrated before puberty to preserve their high vocal range
  • sang the high parts in some church choirs in Italy, including the papal choir
  • sang in operas outside Rome, but almost always in male rather than female roles
  • Farinelli
40
Q

Teatro San Cassiano

A
  • 1st public opera house
  • 1637
  • Venice
  • supported by the paying public, with financial backing from wealthy and prominent families who rented boxes for the season
41
Q

Francesco Cavalli

A
  • 1602-1676
  • leading Venetian opera composer
  • student of Monteverdi
  • wrote “Giasone” (Jason, 1649)
42
Q

Anna Renzi

A
  • diva of the Venetian operatic stage in the 1640s

- set the standard for the “prima donna” (It. for “first lady”, the lead soprano in an opera)

43
Q

Orontea

A
  • written in 1656 by Cesti
  • one of the most frequently performed operas of the 17th century
  • displayed the changes opera had undergone in half a century
  • instead of imitating Greek tragedy, librettist interwove romantic and comic scenes and high and low characters, seeking first of all to entertain
  • plot is based on disguise and love at first sight across social levels
44
Q

Italian opera

A
  • characteristic by 1650 (mid-17th century)
  • focus on solo singing
  • separation of recitative and aria
  • use of varied styles
45
Q

Francois Couperin

A
  • blended French and Italian tastes

- fan of Lully and Corelli

46
Q

Jean-Philippe Rameau

A
  • composer and organist
  • founded theory of tonal music (Treatise on Harmony)
  • fundamental bass

History (8 decks)

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