Baroque Flashcards
1
Q
Thirty years war
A
The Thrity years War:
1618-1648
Mostly on Germanic lands
Involved: France, Spain, Sweden, Denmark, Holland, and the H.R.E
Begun: Catholic/ Protestant conflicts
Sustained: Territory (Hapsburg vs Bourbon
Effect: Famine/ disease/ Broken economy.
this is very devastating on Germany.
Schutz: lived the most productive years of his life in this war. All of his works are for church. So when you get a doman nobis pachem he really really means it.
2
Q
English civil war
A
England:
Parliament works with Monarchy
Struggle: English Civil War (1642-1649) until Charles I dies
Oliver Cromwell (10 years)
Cromwell des; monarchy again. He wants to destroy anything related to monarchy. So monasteries are gone (as well as all there wealth)
“Glorious revolution” (1688-9) replaces pro-catholic James II with his daughter, Mary, and husband William of Orange.
3
Q
Public support of the arts
A
in places where absolutism doesn’t work (England and city states like Venice and Hamburg)
Art now written for the public, paid for by the public.
public theatres are built. Koffee hauses
The oratorio (is a building at first) it is a place where priest and monks go to pray outside of church.
4
Q
Scientific revolution
A
Mid 16th-18th centry Astronomers lead (Tycho Brahe 1546-1601; Johannes Kepler 1571-1630) Galileo Galilei (1564-1642) confirms the idea (originally copernicus) that the earth is not the centre of the universe astronomers are the important scientist at this time because they are making maps to the colonies form the stars Francis Bacon (1561-1626): the Scientific Method Rene Descartes (1590-1650): philosopher G.W. Leibniz (1646-1716): Mathematician I. Newton (1642-1727): physicist.
5
Q
Affect
A
Predominant emotions n of a text or musical work
6
Q
Engraving
A
A term for printing
7
Q
Vincenzo Galilei
A
Father of Galileo
Was in the florentine Camerata
He studied with Zarlino
Wrote “a dialog on ancient and modern music” it was very influential. He a glued for the solo voice accompanied by lute.
Thinning out a thick texture
c.a 1520-1591), composer and lutenist: music should be a single melody line with an accompaniment. He tried to do this, but really it wasn’t. He kept on writhing it should be this way! so it wasn’t bc he wanted it to be.
8
Q
Florentine Camerata
A
Th Florentine Camerata
take all that emotion and make it less complex so you can actually understant the text.
Poets and composers (and nobility) get together at count Giovanni de Bardi’s house in florence (1573-15870
they discuss what greek music, what it might have sounded like, and its impact on its listeners.
the birth place of opera. which is odd because they did not intend to do that at all.
9
Q
Intermedi
A
Intermedi for de’Medici wedding
Ferdinando de Medici marries christine de Lorraine (princess of France) (1589)
Main entertainment: a play, the pilgrim woman (la pellegrina)
between the acts, the florentine camerata provides musical entertainment: INTERMEDI
write a bunch of loosely connected musical plays.
Intermedi:
Topic: he power of music in ancient Greek mythology
form: each intermedio was 4 or 5 mvmts long
Style: mix of instrumental interludes, old style (ie, renaissance polyphony) and new style (i.e, early Baroque)
they’re just experimenting.
There was 6 of them but most important:
Il Canto D’Arione (the song of Arion). not on listening list (Was last year) but just kinda know this.
the 5th intermedio for the de’Medici wedding in florence
composed by Jacopo Peri (1561-1633) who also sang the role of arion
Arion, who is about to be thrown into the sea, sings so sweetly that apollo sends dolphinns to rescue him.
10
Q
Jacopo peri
A
(1561-1633)
Member of florentine Camerata
Wrote Arion and played his role
11
Q
Homophony
A
Type of texture in which a principal melodic line is accompanied by a clearly subordinate voice/ voices
12
Q
Seconda Practtica
A
Second Practtica
A prominent melody line + accompanyment
the first practive is renaissance polyphony
first and second here are chronologixal ideas not priorities)
Seconda Prattica: Dominant melody line where text determines rhythm and pacing, develops in the 1580s and 90s
do not use this word to refer to things like show tunes and pop music. It is only applied to music from now to the end of the Baroque
13
Q
Prima Prattica
A
Renaissance polyphony
14
Q
Basso continuo
A
continuous bass
bass line that never ceases to accompany the melody, helps to outline chords. it is the base that does not stop. It has a new function, it is not just the lowest line in the lump of polyphony, it is your like ground work. you need it to be there. the bottom bread of the sandwich
New idea when compared to 1st practtica
15
Q
Figured bass
A
the basso continuo is usually notated as a single line of music (bass line)
above this, there will sometimes be numbers
read these like you’re in theory class
keep in mind that these numbers came first (1600) and the concept of functional triads and their inversions came later . Rameau 1722)
figured bass is a written phenomenon it is something that defines how the basso continuo does what it does. so the basso continuo is the line, the bass player his help, the figured bass is what that player is reading. Looks like a completed theory assignment
16
Q
Opera
A
A drama sung entirely from begenning to end
Composed of singing vs speaking
music focussed on text tells a story
Opera: reincarnating ancient greek dramas
each singer plays a role through text
first thought of as the best way or recreating greek entertainment
Peri Euridice (1600)
17
Q
Monody
A
Music has two poles north pole: melody south pole: Basso continuo think of it as a sandwhich Melody can be rhythemically free
18
Q
Sprezzatura
A
this freedom in money= sprezzatura: because this of you’re self as the singer and you want to be dramatic, but you don’t have a huge amount of forces so, so you do your thing and they have to follow.
Sprezzatura might be obscure the text……uh oh (if you go to much) the idea that you don’t need a tactuse. anti groove. Just pull push all the time.
19
Q
Age of absolutism
A
Age of Absolutism:
louis XVI (reigned 1543-1715)
the age of absolutism in France/ continental Europe
Absolutism: royalty claims complete dominance over the state
The divine right of kings: God approves of the kinship of the ruler
Versailles is a testament to his power.
Great for arts, architecture, they need to impress.
impressing with how powerful and wealthy they are, how much they can command.
20
Q
Modal vs tonal
A
A shift from modal to Tonal Writing At the end of the Renaissance, and through much of the 17th century, composers and theorists alike were still writing thinking in terms of the traditional Lydian, Dorian, and so on. By 1700, these constructs had largely given way to a single type diatonic scale, with half steps between scale degrees 3-4 and 7-8 (in the major mode) or 2-3 and 7-8 (in the melodic” minor mode). “Mode” was now reserved to distinguish between the major and minor forms of this one scale, which could be transported to any desired key
21
Q
Intervalic vs chordal harmony
A
Intervalic Harmony is when they though of harmony as a by product of counterpoint, aka the relationship of the voices in a work.
Chordal is our modern day system, although we still use counterpoint
22
Q
Virtuoso
A
A by product of seconda practica
Soloist display talents
Ex: sfogava con le Stelle
Buxtehudes Praeludium for organ
23
Q
Italian French and German styles
A
Italian: predominant melody, sharp rhythmic shape, strong sense of meter.
Serious and weighty
French: springy, bright, dance like, slightly swung.
German: mix between the two but with better counterpoint
24
Q
Madrigal
A
Definition: “any throught-composed setting f freely structured verse”
very general but its showing up everywhere so you can be overly specific.
Varied style
a capella ployphonic style
or solo voices with basso continuo
25
Concertato madrigal
Concertato Madrical: any # of voices with any # of instruments
a happy medium between monodic style and polyphonic style
required basso continuo part.
a new form where instrumentalist and vocalist are working together to tell a story
there is a limit on what is defined though, you are setting poetry in a intimate setting basically
26
Claudio Monteverdi
(1567-1643)
Italian
9 books of madrigals; the progression in style mirrors the age in which he lived
books 1-4: polyphonic writing (prima practtica)
book 5: introduces basso continuo
book 6: full basso continuo technique
books 7-9: concerto madrigals
those books are important. also know he composed madrigals at the turn of the century.
27
Artusi-Monterverdi Contraversy
Giovanni Maria Artusi (ca. 1540-1613):
not a fan of monterverdi's new style
Pamphlet: "the imperfections of modern music"
focusses on cruda amarilli (5th madrigal book)
the problem: dissonances and accidentals are not treated in the traditional (zarlino) way.
he gradually got very angry as Monteverdi progressed into the new stye
he does not like that instead of resolving suspensions Monteverdi repeats the suspension instead of resolving it. and also, he does not like that he will write a line where he will introduce a flat but not resolve it downwards. if you go one note above law you had better correct it by going back up
when he throws in a sharp he will go down instead of up.
Monteverdi replies:
"there is a different way" of dealing with dissonance. he was not really upset by the criticism.
28
Ground bass
what is is?
short phrase in the bass repeated over and over again
Shares no thematic material with the upper voices but provides the frame work for them.
example: monterverdi's Zefrio torna e di soavi accent
Use of ground bass reflects the emotional content of the text.
the ground bass has a narrative function, its the groove. which the soloist who are telling their story about their love, everything stops while they profess their love. its telling you something about the drama of the piece.
29
Arietta
A small Aria or song
| Ex: tradimento by Barbara strozzi
30
Ritornello
Italian for brief return
| A short passage which reoccurs frequently throughout the piece to provide a unifying factor.
31
Air de cour
form: solo voice plus accompaniment (may or may not include B.C)
Courty airs
french equivalent of the madrigal.
solo voice + accompaniment not several voices like the italian could be. more defined.
Why? because words. the emphasis is on the words. the text. the easiest way to do this is that one prominate voice. the french way of doing the greek way. there is a thing called linguistic accent, really strong in french. Ancient poetic. Trying to set french in an ancient greek poetic way with their rhetoric
Emphasis: text
Background: french attemps to bring poetry clsoer to that of antiquity through accentuation/ metre
Academie de poesie et de musique )jean Antine de Baif, 1570)
32
Madrigal comedies
Late 16th century
Predecessor of opera in a way
Consists of a cycle of madrigals connected by a dramatic theme
33
Recitative
A speech like style of singing used in operas, oratorios, and cantatas.
Follows inflections in the text, resulting in rhythmic flexibility
Advanced plot or story line because it gets through a lot of text quickly.
Two types:
Secco:
Italian for dry recitative
Supported only by the continuo
Accompaniato:
Supported by instrumental ensemble or orchestra
Allows for greater connection to text.
34
Dafne
Music by giacopi peri, text by ottavio rinuccini.mprosuced during carnival season of 1598, at the palace if Jocope Corsi and also at the Medici court, both in Florence. The music is almost entirely lost
35
Rappresentazione di anima e di corpo
(Emilio de Cavalieri: 1600, rome. representation of the soul and body. Inside out movie in the 16th century.
36
Euridice
Euridice (peri) 1600, florence.
comes right after daffne. she is the daughter of appolo. wife of orpheous.
Euridice (Giulio Caccini) 1601/1602, Florence. father of Francassca.
all of these early operas have themes from greek antiquity and are conected in some way. sooooo they should be emotional and powerful like the greeks could do with their music. Buuutttt there was to much recit. recit does not make people cry. it basically makes it boring.
Orfeus and Euridice Myth:
From ovid's metamorphoses (book X, XI)
Orfeus: musician, poet, singer. and HUMAN. Known as a bit of a player. so in the real thing the woman he plays kills him. he has interactins with the Greek Gods, and influences them, so in a way he is God like.
Euridice: daughter of Apollo
They had a wedding. Orfeus is marrying into a demi god family.
she is so happy that she goes into the forest to dance then a centure (half horse thing) chases her and tries to have his way with her, and she runs away from his, and then she, being careless, runs into a pile of snacks. So:
Orfeus goes to the underworld to retrieve euridive when she dies. His music is so good he can pass through the shadowy realms of the underworld.
so they are saying music is really powerfull.
so all is going well but he cannot look back at her until they are both out of the underworld
orfeus gets excited a bit too early......
this is the happy version the darker original is that Orfeus is being made fun of by the gods because they think he's not man enough to commit suicide to be with her.
37
Orfeo
Monteverdi's Orfeo (1607)
librettist: Alessandro Striggio (son of composer)
Balance between recitative and aria
40 instruments (so sparse? but this many. but they are not al playing at the same time, he wanted these for the tone pallet)
Instruments used to create appropriate feeling for scenes/ emotions.
they bring us what is basically the first opera
a mix of reicit and aria. it satisfies both.
38
Deus ex machina
in orfeo the opera there is a good example of this
also shows up in drama
popular method of escaping plor problems at the ends of operas
a god (from ancient myth) descends from the ceiling riding some sort of device (machine)
the god decrees how life will be henceforth,
machines and special effects are big in early opera another way to show how rich you are as the owner of the theatre.
people spend a lot of money on these.
that machine owns the show. but strategically hidden by clouds.
barbarini family. funded a lot of these. also funded berninni
39
Vespro della Beata Vergine ("Vespers for the Blessed Virgin)
Monterverdies 1610 Vespers (vespers dela Beata Vergine)
important because of variations in musical styles so why 1610 vespers? to locate it because in this are many different style prima vs second practtica its everything to every one. Kinda like his resume. There is everything going on it in, every thing he can do. Shows all the competing styles. No evidence it was actually preformed in his lifetime. Could have been an audition piece.
the 1610 vespers
14 vespers
modled after a vespers service
introductory material (i.e versicle, responces)
5psalms paired with 5 motets (aka antophones, anthem in eng a piece of poetery set to music) so in this case hes got psalms but theyre paired with motets instead of motetes not anthems.
hymn
magnificant. always end vespers services. He give us 2 even.
the psalms are set, but its the motets that go crazy.
90 min
a variety of different settings (solo, duet, basso continuo or several instruments)
Mixes prima practtica and seconda Prattica.
cantus firmus bass lines, referal to chant, reachign back into history to look at the history of music in the church.
40
Heinrich Schütz
1581-1672)
born in Germany
educated in italy (venice) for 3 years
took the job he had for his whole like in 1617 as kapellmeister at the dresden court (saxony)
composer of mostly sacred vocal works
so not into travel and increasing his fame.
therefore when we look at his output we look at what was required of him for his job- sacred music.
a conservative guy.
Prima and seconda Prattica in Scutz
scutz advocated that young composers learn the prima prattica (i.e., polyphonicc counterpoint) for a throughout educated
his workd mix both styles, but he leans towards the seconda prattica with his word painting and his reliance on basso continuo and sparse textures
Works of schutz to know:
Geistliche Chormusik 1648
singet dem herrn (listening list) is the first piece in this collection of motets
cantiones sacrae 1625
4 voice motets with the addition of a basso continuo
Symphoniae sacrae, three volumes (1629,1647 and 1650)
sacred song (solos, ducats, trios) with extensive instrumental accompaniment.
41
Cantiones sacrae (1625)
A collection of 41 sacred motets
42
Symphoniae sacrae
1629,1647,1650
| Works for various combinations of voices and instruments published in three volumes over a period of 21 years
43
Geistliche Chormusik
Schutz
| A set of 29 motets in the Prima Prattica
44
Ballet de cour
Arose in early 1680s
Combined song, dance, instrumental music.
Heavily allegorical. Their heroes were thinly veiled as the monarch
45
Tragédie en musique / Tragédie lyrique
A new opera genera in France created by Lully and the poet Quinault
Set tails from myths to songs
46
Ballet de cour
Arose in early 1680s
Combined song, dance, instrumental music.
Heavily allegorical. Their heroes were thinly veiled as the monarch
47
Tragédie en musique / Tragédie lyrique
A new opera genera in France created by Lully and the poet Quinault
Set tails from myths to songs
48
Philippe Quinault
1635-1688
| Lully's poet
49
Armide
Armide:
about a heroic night that falls in love with an evil witch. And she was going to kill him, but she can not be she loves him.
this is probably a allegory about Louis's new wife.
so this opera is not really published.
50
Marc-Antoine Charpentier
Tried to become proficient in opera but people were still to stuck on Lully
51
Jean-Philippe Rameau
1683-1764
theorist, opera, keyboard player
Traite de l'harmonie redite a ses principes naturals (treatise on harmony) its kinda philisophical.
also singer and violinist
operas became emblematic of French style in the war of the buffoons.
his father wanted him to be a lawyer even though his father was an organist. so apparently the younger reameau used to disrupt his classes to get kicked out of law.
his operas became the quintessential French style.
52
Opera seria
1680-1770s: most important type of opera everywhere but France
Seria distingishes it form Buffa
Subject: mythologies about kings/ rules. Hero might have to choose between hero and duty.
Music: Inspires heroic emotions
Audience: Noble/ royal
High point: 1720's-1750'sAfter this point people just start to make fun of it.
53
Da Capo Aria
Textbook example handles L'empio sleale indegno from Giulio Cesare in Egitto
Form: ABA where the singer ornaments the return of A
The
Most common song type in Baroque opera and oratorio
54
Exit Convention
once a world famous singer has preformed these arias the convention is that he or she leaves the stage. The opera libretti are writing with this in mind. they are trying to put the arias right before it makes sense for that character to run off the stage. the singer would sometiems be brought back on stage for them to bow and stuff. so put it where ab reak inthe narrative wont mess it up
another reason: compeating divas.
if the 1st person has gone and then youre next you dont want to last person to steal your thunder.
55
Castro
Castrati:
comes with the rise of the performance superstar
they sarifice to become superstars
Male singers who are castrated before puberty
we do not really know what these guys sounded like
by all accounts they were spellbinding because they combined the rise of a really well trained boy soprano so longs of a grown man with the range of a woman.
extreamly popular
Functional equivalent to pop stars
Paid extreamly well
mixed awe and laughter. they were getting exponential amounts more money.
56
Handel
1685-1759
Well known for oratorios, odes, instrumental suits too
opera was Handel's focus as a young man Grew up in Germany tried to be a lawyer
1701: invented to Italy to study composing (age 21)
1705: back in Germany; music director to the elector of Hannover
1707: Fame in England: Rinaldo
remember: opera never really got a good foothold in England. Handle was the "leader" of 2 opera houses that eventually went bankrupt.
so he gives attention to oratorios.
Messiah becomes really popular, an english tradition. this is why it is still done here. But in Germany, France, etc, it is unlikely that the Messiah will be offered. So only big for english speakers.
Moves to England but retains his job.
1714: elector of Hannover becomes King George 1 of England
He tried really hard to follow his fathers wish to be a lawyer but music kept getting away
Handle as opera composer:
composer and stake holder for TWO unsuccessful opera houses in London Eng
opera in England was a fad rather than an art form with staying power
by 1741 handle realizes operas are not going to work for English people turns to oratorio
saul
isreal in Egypt
Messiah
1751: blinded by an eye operation by John Taylor.
Also, see RCM.
57
Pietro Metastasio
1698-1782)
his librettos are given over 1000 settings (multiple settings)
The only librettist any one remembers
THE librettist for opera seria
composers who set: Hasse, Caldara, Pergolesi, Gluck, Mozart.
58
Carnival
Happens in Venice between lent .the thing with the masques. Attracted a lot of tourists= public music funding.
59
Impresario
responsible for opera production
finances it, hires composer, singers, musicians, artists, stage hands, costume designers, ticket prices, etc.
Boxes are sold by the season, ground floor by night
Expensive. about 2 or 3 times that of spoken theatre
60
Masques
Courtly entertainment which involved music, dancing, singing–like an orchestrated flash mob where they take on roles and half-improvise popular myths.
61
Semi opera
Growing out from masques (same subject matter), the myths/legends were told through mixture of dialogue and music. Onstage with less audience involvement, less improv. (e.g., Purcell’s Fairy Queen, King Arthur)
62
Semi opera
Growing out from masques (same subject matter), the myths/legends were told through mixture of dialogue and music. Onstage with less audience involvement, less improv. (e.g., Purcell’s Fairy Queen, King Arthur)
63
Henry purcell
His compositions reflect the English political upheaval during English Civil War and Glorious 1659-1695
Revolution. He sung with Chapel Royal (as his father and uncle did). He worked as organist and court composer for Charles II. Converted to the Italian style from the Lully-French style when he’s about 20. With reign of Mary/William, the less musically oriented monarchs led Purcell to find employment with the stage. His compositions are evident of who he worked for…(After glorious revolution, his music becomes less religious)
64
Dido and Aeneis
A short opera (45 min) for treble voice choir and a few soloists by Purcell. Probably premiered at an English court before its documented performance at a school for girls. May have been suppressed for political reasons; unflattering commentary on reign of King William and Queen Mary.
1689
This opera exemplifies French tradition–(tragédie lyrique?): overture (slow intro, then fast imitative). Singing moves rapidly with minimum virtuosity and there are no da capo arias.
65
Dido and Aeneas: Act I No. 1 (1689)
By Purcell. Belinda (Dido’s friend) and chorus tell her to “shake the cloud from off your brow… banish sorrow” [soprano/basso/harpsichord/chorus/viols]
66
Dido and Aeneas: Act I No. 2 (1689)
Dido and Aeneas: Act I No. 2 (1689)
| By Purcell. Dido’s lament “I am prest with torment…peace and I are strangers grown” [soprano/basso/harpsichord]
67
Dido and Aeneas: Act I No.3 (1689)
By Purcell. Belinda’s short recit, forcing Dido to confront her lover for Aeneas [soprano/basso/harpsichord]
68
Dido and Aeneas: Act I No. 4 (1689)
Short chorus piece [Chorus/basso/harpsichord/viols]
69
Dido and Aeneas: Act I No. 6 (1689)
Duet (Belinda + other woman) + and chorus [soprano/soprano/basso/harpsichord/chorus/viols] *hear parallel 3rds in top 2 voices
70
John gay
Playwrght of The Beggar’s Opera; an English play with music portraying common criminals (not myths or historical heroes).
1685-1732
71
The beggars opera
```
The most successful ‘opera’ in England; it’s a satire of Italian opera. It was successful in the USA and Britain. It mocks the tragedy/seriousness of opera seria. It features lower-class characters, scandals, funny scenes (numerous women pregnant by 1 man, narrator (beggar) doesn’t let male lead hang himself and marries the female lead). It’s a ballad opera
1728
```
72
Convents
A house for nuns; many girls were sent to Italian convents from about 1650-1750; it was financially smart for families–like a boarding school where great music came out of them (place where nuns compose/sing/publish music). Tourists were attracted to convents; gorgeous places with great musicians…complex music with nuns not visible to listeners–mysterious!
73
Giacomo Carissimi
Worked as maestro di cappella for the German/Hungarian college for priests in Rome for his entire career. His additional composing job=confraternity (groups of men in various professions) hired him to write Latin oratorio.
1605-1674
74
Jephte
A commissioned oratorio by Carissimi (not for the priest college). It premiered during Lent at San Marcello (church near college), with college members as performers. The final chorus is a showstopper! It tells story of Jephte, an Israelite, who promises God he’ll sacrifice the first thing he sees upon arriving home.
1645-1649
75
Jephte
Jephte (1645-1649)
An oratorio by Giacomo Carissimi. One of the most popular early oratorios. Carissimi sets the narrator sometimes as a bass, sometimes as an alto. The narrator introduces characters and moves the plot forward. [Historicus (narrator)/Jephte (tenor)/chorus/duet/trio]
76
Bach's st Matthews passions
One of Bach’s 5 passions [Gospel according to Matthew], an example of later (developed) oratorio. For double chorus. It’s Lutheran. It combines narrator, da capo arias, choruses, and incorporates Protestant chorale melodies.
77
Bach's St. John's passions
One of Bach’s 5 passions [Gospel according to John], an example of later (developed) oratorio. It’s Lutheran. It combines narrator, da capo arias, choruses, and incorporates Protestant chorale melodies.
78
Handles messiah
An oratorio. In English (growing dislike of Italian opera in England); Biblical Israel representing English Nation–growing sense of nationalism. Originally associated with Easter (not Christmas)
79
Handles Israel and Egypt
An oratorio. In English (growing dislike of Italian opera in England); Biblical Israel representing English Nation–growing sense of nationalism.
1739
80
Handel's Judas Maccabeus
An oratorio. In English (growing dislike of Italian opera in England); Biblical Israel representing English Nation–growing sense of nationalism.
1747
81
Motet
During the high Baroque, the definition is general; can mean music for choir/solo/orchestra/etc. Usually sacred music with singer(s) involved. It can be in Latin (or not) and it doesn’t have a specific place in the church liturgy.
82
Grand motet
In France, where orchestra accompanies Latin-singing choir/(soloists) through multiple (contrasting) movements. [Comparable to operatic writing; no stylistic differences between sacred/dramatic music
83
Cantata
A sung piece of music. Usually written for the church.
84
Elisabeth Jacquet de la Guerre
Born into a noble French family, she was a child prodigy and was the 1st French woman to compose an opera. She composed the cantata, Judith, among other cantata collections (sacred/secular) and sonatas (violin, trio).
1665-1729
85
Bach (J S)
1685-1750
Born in Germany, he was very prolific. He wrote over 200 Baroque cantatas (80+ were lost), most for Lutheran worship [At first, his ‘cantata’=solo cantata (voice + b.c), then publishers started labelling other stuff cantatas] 1723-27 he wrote 3 cycles of cantatas (one/sunday of the church year). He wrote about 500 vocal works (cantatas, chorales, oratorios, passions), 250 organ works (prelude/fugues, chorale preludes), 200+ keyboard works (well-tempered Clavier, clavier-übung), 40+ chamber pieces, 30+ orchestral works (suites, brandenburg). He was known as a skilled improviser; finds fun out of counterpoint.
A very dedicated Lutheran, Bach’s early life influenced his music… Orphaned at 10, he learned music from his eldest brother. He held a tense relationship with his employers, and wasn’t very sought after as a composer. He was married twice, and had 20 children (who all died).
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Jesu, der du meine Seele (1724): Chorus
By Bach. Opening chorus incorporates 4 musical devices of Baroque composition–ostinato (descending half-step in bass/oboes/singers), chorale (choral melody in soprano), ritornello structure (rit1-chorus1-rit2-ch2…rit7), motet (6 sections with own themes and points of imitation–motet structure…the chorus can stand on it’s own as choral motet).
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Jesu, der du meine Seele (1724): Aria (Duet)
Wir eilen
By Bach. Da capo aria-like form. Listen for word-painting. Text (weak, yet eager steps) is set to energetic, upward line at a constant rhythm of eighth notes.
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Jesu, der du meine Seele (1724): Recitative: Die Wunden
By Bach. Listen for Word painting… Text Wunden (wounds), Nägel (nails) Kron (crown) are dissonant. On Grab (grave) the register is low.
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Jesu, der du meine Seele (1724): Aria: Nun du wirst mein Gewissen stillen
Jesu, der du meine Seele (1724): Aria: Nun du wirst mein Gewissen stillen
By Bach. An aria for bass…but more like a duet for Bass and oboe.
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Jesu, der du meine Seele (1724): Chorale: Herr, ich glaube
By Bach. The chorale tune from the 1st chorus returns and is harmonized (turned to triple metre, added voices, etc.). Gives a sense of cyclical symmetry.
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Ostinato
A figure represented repeatedly in succession. Is in 1st movement of Jesu, der du meine Seele, and Dido’s final lament in Dido and Aeneas.
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Chorale
A hymn (harmonized or just melody). Bach’s Jesu, der du meine Seele uses (previously) well known words/melody in it’s chorale melody.
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Rittornello structure
Ritornello material returning between other musical material (choruses, verses, whatever)
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Compositional process in the Baroque
Lots of compositional reuse; Baroque composers regularly did this–their thinking was to take something and make it better (more complex, more beautiful, bigger, etc.)~not about originality
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Baroque violin
The bass-bar (wood underneath the violin’s surface) is shorter and lighter than… The neck/body angle is not as sharp as…the finger board is shorter than… the bow is shorter than… […the modern violin] The sound of the baroque violin is softer and lighter. Traditionally would use less vibrato, and no chin rest.
1600-1750
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Amati
The first violin maker in Cremona (Italy). He established the standard proportions for the violin family.
?-1577
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Stradivari
Amati’s most famous pupil, who made some of the most famous violins (still today).
1644-1737
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Andrea Guarneri
Another of Amati’s pupils. He established workshops for making violins. His grandson Antonio Guarneri became even more famous than he [violin makers were often family trades]
1625-1698
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Flauto
| Flauto traverso
Recorders were called flauto, and flutes were called flauto traverso (made of wood, and less popular than recorders)
Baroque; 1600-1750
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Natural trumpet
No values. The natural trumpet could only play the open harmonic series…to carry a melody they’d have to play very high.
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BEBUNG
To tremble or shake in German; the technique of moving a finger up and down on a key once it has been pressed on the Clavichord (soft, private, indoor instrument)
Baroque; 1600-1750
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Arp Schnitger
Worked in Northern Germany, an organ builder.
| 1648-1719
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Gottfried Silbermann
Worked in Southern Germany, an organ builder
| 1683-1753
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Brustwek
New set of pipes on the organ: in front of the organist, at “chest level”.
Baroque; 1600-1750
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Capella
Groups of professional musicians ‘on staff’ at churches.
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Public Concert in the Baroque Era
There weren’t publicly-funded orchestras. On rare occasions, musicians would visit hospitals or orphanages and raise funds. Entertainment occasionally to hotel guest, or patrons of coffee houses (Kaffeehaus Zimmerman!)
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Sonata
An instrumental work (as opposed to ‘cantata’). Can be a small or large group of instruments. No fixed set # of movements.
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Scordatura
Mistuning”–non-standard tuning for string instruments, allowing for otherwise impossible note sequences and unusual timbres. Heinrich Biber was the King of scordatura; e.g., his Mystery sonatas
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Trio Sonata
Crystallizing at the end of the 17th c., it has 3 parts: 2 higher voices above a basso continuo. Composers aren’t particular about what instruments to play upper 2 lines. There are 2 types… (sacred/secular)
end of 17th c.
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Sonata da Camera
“Chamber sonatas” – a kind of trio sonata. Consists of dance suites.
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Sonata de chisea
Church sonatas”–a kind of trio sonata. More serious-sounding; suitable for the church.
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Concerto grosso
Church sonatas”–a kind of trio sonata. More serious-sounding; suitable for the church.
They consists of a small group of soloists with their own b.c. (concertino) which is contrasted by a larger group (ripieno)–minority against majority
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Concerto Grosso in F Major (1685?)
By Arcangelo Corelli. Exemplifies the older concerto concept (in comparison to Vivaldi’s). Concertino is continuous, ripieno provides needed timbres–rapid back and forth of soloists/ensemble is distinctive. Formal structure is fluid; individual movements not built around ritornelli
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Concerto
In the early 17th c., concerto=work for instrumental ensemble (could feature voice parts). Later in the century, different-sounding instrument groups contrasted each other. 3 subcategories…
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Concertino
A small group of soloists with their own basso continuo.
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Concerto in A Minor (1711): Mvt. 1
Concerto in A Minor (1711): Mvt. 1
Solo concerto
By Vivaldi. Exemplifies developed Baroque concerto. Reflects the influence of opera (use of ritornello principle). Ripieno and solo sections more differentiated, and longer–solo and tutti are more structurally independent. Structure consists of ritornello/solo sections.
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Ripino concerto
No featured soloists; from older conception… they could just be called sonatas (sometimes called sinfonias)
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Suit
A group of 4 + dances in the same key (or related major/minor key). Typical order for suites are moderate-fast-slow-fast. In binary form (because choreography), usually with variations in repeat. They’re a form of program music (e.g. Bible story-telling)
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Keyboard suit
Keyboard Suite
Keyboard music for dance. 3 country-specific terms for this…
Partita
The Germany/Italy name for keyboard suite
Lesson
The England name for keyboard suite
Ordre
The France name for keyboard suite. Couperin wrote 27 of them for harpsichord.
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Courant
A Baroque dance in a fast triple metre, with an upbeat
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Gigue
A Baroque dance in a fast compound metre (6/8), usually with dotted rhythms.
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Bourree
A Baroque dance in a fast simple metre (2/2), often with an upbeat and sounds flowingly.
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Gavotte
A Baroque dance in a fast simple metre (4/4), usually melody starts with beat 3. Some keyboard works based on gavotte; dance-based form=binary form.
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Minuet
A Baroque dance in a moderate triple metre (3/4), stately sounding.
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Allemande
A Baroque dance in a moderate simple metre (4/4), often with an upbeat and sounds flowingly. Some keyboard works based on allemande; dance-based form=binary form.
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Siciliano
Siciliano
| A Baroque dance in a moderate compound metre (6/8 or 12/8), often has dotted rhythms.
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Sarabande
A Baroque dance in a slow simple metre (3/4 or 3/2), does not have an upbeat and is noble-sounding. Some keyboard works based on sarabande; dance-based form=binary form.
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Variation suit
Presents contrasting dances based on 1 thematic idea; the same melody over a variety of dance forms (different tempos/metres)
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Archangello corilli
An Italian violinist whose grew up in Bologna. Possibly toured Germany/France in his teens. In his early 20s, he makes his fame/fortune in Rome. He developed “the Corelli School”–teaches intense style of playing. He died rich and well-known.
1652-1713
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Vivaldi
Born in Venice, he had asthma throughout his life and played violin from an early age. At 25 he became a priest. He was a music teacher at an orphanage for girls; he wrote 2 concerti/month for them. The most prolific concerto composer of his time. Wrote 96 operas? We have 20. He died in Vienna (invited by Charles VI), poor, and unknown.
1678-1741
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Social history of dance in the baroque
In France, dance was a cultural practise. Louis XIV was a dancer; especially known for his courante dances. At Royal balls (invitation only), couples were vulnerable to losing capital/power–hierarchy.
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Toccota
A keyboard piece that is freely constructed, whose material is very episodic, and often features rapid passages
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Toccata IX (1627)
By Frescobaldi. Representative of the genre; rapid passages combined with freedom of form. Very episodic.
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Canzona
A freely constructed keyboard piece. No longer connected to any vocal model–now it’s a free, exploratory composition
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Fantasia
A freely constructed keyboard piece. It follows the composer’s free flight of ‘fantasy’. Interchangeable with ‘prelude’.
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Prelude
A freely constructed keyboard piece. Interchangeable with ‘fantasia’. Typically has long imitative sections.
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Praeludium in G Minor (1675-1689)
By Buxtehude. On organ, there are 5 sections with distinct themes/textures. Exhibits virtuosity (compositional; techniques, performative; freely, instrumentational; range) Long imitative sections are typical of many free keyboard genres.
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Ricercar
A freely constructed keyboard piece based on imitative counterpoint. Originated as improvising genre for lute, then an instrumental part for a polyphonic motet, nowA freely constructed keyboard piece based on imitative counterpoint. Originated as improvising genre for lute, then an instrumental part for a polyphonic motet, now a counterpoint-filled keyboard piece. a counterpoint-filled keyboard piece.
