Baroque Era Flashcards

0
Q

What is Le Nuove Musiche?

A

1602 publication by Florentine composer Giulio Caccini

Exemplified emphasis on outside voices, clarity/emotional intensity of text, monody, and continuou

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1
Q

What is the Florentine Camerata?

A

Group of intellectuals, artists, composers trying to recreate performance style of ancient Greek drama
- First operas written in early 1600s in Florence, Italy
Developed Monody (musical texture consisting of vocal melody over bass line) and Continuou
Solo singer presented text with clarity, emotional intensity
Emphasis on outside voices (soprano/bass)contrasts greatly with dense polyphony

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2
Q

What was the first opera and who was it by?

A

“L’Eurdice” in 1600

By Jacopo Peri, Guilio Caccini

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3
Q

What was Monteverdi’s first opera and when was it performed?

A

“L’Orfeo”
1607
Introduced musical line into operas, monody used to move plot along in form of recitative/speech-song

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4
Q

Give examples of opera houses that were constructed during the Baroque era.

A

Haymarket Theatre in London, 1732

La Scala in Milan, 1778

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5
Q

Who is Claudio Moneverdi?

A

Wrote Coronation of Poppea
Most important composer of early Italian opera
Built on foundation of FLorentine Camerata
Spent 12 ears at court of Duke of Mantua in Northern Italy
1613 - appointed choirmaster to St. Marks Cathedral
8 books of secular madrigals, showed transition from older polyphonic style of Renaissance to monodic accompanied solo madrigal of Baroque
Introduced Bel Canto (operatic singing with purity, control, agility, precision) and Buffa (comic farcical elements) to Baroque opera
Originated Stile Concitato (agitated style), expressed hidden emotions of sould
Used dissonance and instrumental colour for dramatic expressiveness, atmosphere
Contrasts between characters emphasized with changes of key

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6
Q

Who was the librettist of “The Coronation of Poppea”?

A

Giovanni Busenello

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7
Q

Describe the plot of Act I of “The Coronation of Poppea”

A

Empero Nero wants to remove his wife (Ottavia), marry mistress (courtesan Poppea)
Nero’s advisor (Seneca) voiced opposition to idea, condemned to death for expressing opinion

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8
Q

Describe the plot of Act II of “The Coronation of Poppea”

A

Took place in Seneca’s garden
Told of his death sentence, Poppea happy since he stood in her way
Ottavia wants Poppea’s husband (Otho) to kill Poppea, dresses as woman to try to murder her, gets away

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9
Q

Describe Act III of “The Coronation of Poppea”

A

Rome
Love scenes between Nero and Poppea
Nero exiles Otho, Drusilla (lady of court), and Ottavia
Nero and Poppea married, Poppea becomes queen

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10
Q

What are the musical stylistic features of “The Coronation of Poppea”?

A

Powerful emotions expressed in recitatives, arias, choruses, passages in arioso style (between aria and recitative)
Sinfonias played by orchestra provide musical interlude between scenes, add variety especially when there is lots of recitatives
Each section has different ritornello, played by orchestra, gave singers chance to rest
Love duets show Poppea’s manipulation of Nero - forces him to change keys
Final love duet has descending ground bass ostinato
Stile concitato showed through dissonant phrases (“piu non peno”)

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11
Q

Describe the sinfonia of “The Coronation of Poppea”

A

Orchestral section
Moving bass line
Jubilant in character
Sets up love scene between Nero and Poppea
Provide musical interlude between scenes, added variet

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12
Q

Describe the duet between Nero and Poppea in “The Coronation of Poppea”

A

Poppea forces Nero to change keys
Descending ground bass ostinato
Melody lines close to each other, overlap as lovers interrupt one another
Emotional phrase “pur t’annodo” emphasized by melisma
Dissonance on phrases shows stile concitato

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13
Q

Who is Henry Purcell?

A

Wrote “Dido and Aeneas”
Career began at court of Charles II, continued through turbulent reign of James II and into time of William and Mary
Assimilated achievements of continental Europe into English music
- Dynamic instrumental style, movement toward major-minor tonality, recitative and aria of Italian opera, accentuated rhythms of the French)
Used ground bass

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14
Q

Where did “Dido and Aeneas” premier? Who was the librettist? What was it based on?

A

1689 - Mr. Josias Priest’s boarding school
Librettist - Nahum Tate
Baed on ancient Rome epic tracing adventures of hero Aeneas after fall of Troy

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15
Q

Describe the plot of “Dido and Aeneas”

A

Aeneas and men shipwrecked at Carthage (northern shore of Africa)
Aeneas falls in love with Dido (Carthaginian queen)
Mission is to reach Italy, destined to be founder of Rome
Dido burns herself to light Aeneas’ way out of harbour

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16
Q

What are some stylistic features of “Dido and Aeneas”?

A

Emphasis on choruses and dances, typical of English court masque tradition
Courtiers function as true Greek chorus, made solemn comments in unison on action
Dido’s recitative secco in final scene “Thy hand, Belinda” uses word painting
- Word “darkness”, used faster notes to decorate word and a melismatic text setting
- “death” used neumatic setting in minor key, recitative soft and somber
Lament unfolds over five-measure ground bass/ostinato, descends chromatically (symbol of grief)
‘“Laid in earth” sung in half notes, ascending, syllabic setting
Dotted rhythms prevalent
Ends with emotional chorus mourning Dido’s fate

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17
Q

Describe the recitative of “Dido and Aeneas”

A

Act III, Dido’s Lament
“Thy hand, Belinda”
Introduces lament aria, sung over sparse accompaniment
Five level ground bass descends chromatically
Uses word painting on “darkness” (notes faster to decorate word and melismatic text setting)

18
Q

What is the Baroque Cantata?

A

Vocal genre for solo singers, chorus, instrumentalists based on lyric or dramatic poetic narrative
- Consisted of several movements including recitatives, arias, ensembles
Closely tied to German Lutheran Church
Martin Luther had church services in German, replaced elaborate polyphonic settings of traditional Latin mass, resulted in German chorale
Chorale - hymn of Lutheran church, irregular, syncopated rhythms, no accompaniment, led to development of cantata

19
Q

Who is Johann Sebastien Bach?

A

Wrote “Ein feste Burg ist unser Gott” (“Cantata No. 80”)
Most prolific contributor to the development of the cantata
Held several church positions in lifetime, had chance to compose new cantatas every week
Wrote 240 cantatas, mostly during Leipzig period
Wrote “St. John Passion” and “St. Matthew Passion”

20
Q

What contribution did J.S. Bach’s son, Wilhelm Friedemann Bach, have in “Cantata No. 80”?

A

Revised by adding instruments

- Replaced 3 oboe d’armores with trumpets, added timpani for brighter sound

21
Q

Who was the original chorale melody by? Who was the librettist?

A

Chorale melody by Martin Luther, used in 4 movements

Librettist - Salmo Franck

22
Q

Describe the first movement of “Cantata No. 80”

A

Chorus
Chorale Fugue: D+, 4/4 time
Opening tenor melody embellished version of original chorale
Each musical phrase announced by 1 voice part of choir imitated by other 3
3 oboes play same phrase, in long notes
Violins and organ repeat several beats later
After 2nd/4th phrases enter, 1st/3rd serve as countersubjects

23
Q

Describe the second movement of “Canata No. 80”

A

Duet for Soprano and Bass: D+, 4/4 time, allegretto
Depicts Christ’s struggle against evil
Strings in unison, set up leaping figure over running bass
Soprano sings decorated version of original chorale melody
Bass sings florid counterpoint, very mellismatic

24
Q

Describe the fifth movement of “Canata No. 80”

A

Chorale for Unison Chorus: D+, 6/8 time, allegro
Males sing in unison, very determined, strings play rapid accompaniement in background, dotted quarter notes contrast faster moving strings
Augmentation of the original chorale

25
Q

Describe the eighth movement of Cantata No.80

A

Chorale: Sung by full chorus and orchestra, D+, 4/4 time
Luther’s melody hymnlike, 4 part harmony, each line doubled by instruments
- Very simple but grand

26
Q

What is the Baroque Concerto?

A

Concerto - instrumental form based on opposition between 2 bodies of sound - solists and orchestra
Consisted of 3 movements - Allegro - Adagio - Allegro
Solo Concerto - solo instrument/orchestra
Concerto Grosso - small group of solo instruments/orchestra
Vivaldi favoured violin as solo instruments in solo
Grosso - solo group called Concertino
Tutti/Ripieno - solo instruments and orchestra play together
Spread over Europe, influenced Bach, Handel, Vivaldi
Ritornello in concerti - passage for full orchestra that repeated between instrumental solos

27
Q

What is Concerto?

A

Instrumental form based on opposition between orchestra and soloists
Consisted of 3 movments - Allegro, Adagio, Allegro
Two kinds:
Solo concerto and Concerto Grosso

28
Q

What is Solo Concerto?

A

Solo instrument and orchestra

29
Q

What is Concerto Grosso?

A

Small group of solo instruments and orchestra

30
Q

What is Concertino?

A

The solo group of instruments in concerto grosso

31
Q

What is Tutti (also called Ripieno)?

A

When solo instruments and orchestra played together

32
Q

What is Ritornello in the Baroque Concerto?

A

Passage for full orchestra that repeated between instrumental solos

33
Q

Describe Bach’s contribution to the Late Baroque Concerto

A

Bach under patronage in Cothen with Prince Leopold
Wrote most suites, concertos, sonatas for various instruments
Performed for royal visitor (Margrave Christian of Brandenburg)
- Was impressed, asked Bach to write some works for orchestra
Never paid Bach as promised when commissioned
Wrote 6 pieces became known as “Brandenburg Concertos”
Captured spirit of concerto grosso (two groups working)

34
Q

Who is Prince Leopold?

A

Bach’s patron in Cothen

35
Q

Who is Margrave Christian of Brandenburg?

A

Bach performed for him
Bach wrote works for his orchestra
Never paid Bach

36
Q

Describe the first movement of the Brandenburg Concerto No.2

A

Genre: Concerto Grosso
Key: F+
Form: Allegro in ritornello

Bright, assertive, joyful
Alternation of tutti and solo goroup
Trumpet outlines tonic triad
Contrapuntal lines move in continuous, seamless texture
Powerful rhythmic drive from beginning to end
Modulates from F+ to neighbouring keys, back to F+
4 instruments play ritornello (recurring): Trumpet, Oboe, Violin, Recorder
- Play ritornello theme in unison with first violins of accompanying group

37
Q

What 4 instruments played the ritornello (recurring) theme in Brandenburg Concerto No. 2?

A

Trumpet, Oboe, Recorder, Violin

38
Q

What are the 4 dances in the Baroque Dance Suite?

A

Allemande, Courante, Sarabande, Gigue

39
Q

Describe the Baroque Dance Suite

A

Dance music evolved into art form enjoyed for listening purposes
Contrasting dance pieces grouped, evolved into set of four standard dances unified by key/theme

Allemande - Germany, 4/4 time, binary form with 1+ pickup notes. 17th century - became stylized dance type regularly used as FIRST MOVEMENT of dance suite
Courante - French and Italian. Italian - fast triple meter. French - solemn and grave, 3/4 time, hemiola and syncopation. Both binary form, begin with upbeats and end on strong beats
Sarabande - Triple meter, slow and majestic, accented dotted note on second beat, begins with upbeat, cadences on third. Binary form, 2/4 bar phrases.
Gigue - Irish and English. Fast in binary form, last movement of mature suite. Part of lute and harpsichord repertoire

40
Q

Describe Water Music Suite in D+

A

Genre: Orchestral Suite
Key: D+
Allegro: A-B-A form
3 Suites, 22 numbers

Suite of fairs and dances, written to accompany a royal barge
July 7, 1717 - King George I barge up Thames River in London
History of music in London, Handel great with this
No continuou instruments, harpsichord couldn’t fit on barge
Lively rhythms, catchy melody
Opens with French Overture, includes variety of dance numbers not in standard suite order
Terraced dynamics - occasional echo effects
Study 2 movements: Allegro and Alla Hornpipe

41
Q

Describe the First Movement of “Water Music”

A

Allegro: A-B-A form
4/4 time
D+

A Section: Opening fanfare-like theme, played by trumpets
Answered in descending scales in violins

B Section: Dotted rhythm theme announced by trumpets, begins in A+ (dominant)
Dotted rhythm theme taken over by French horns, short motives exchanged between strings and bass

A Section: Returns to opening theme, varied theme, cadence in D+
Adagio played by violin links to next movement

42
Q

Describe the Second Movement of “Water Music”

A

Alla hornpipe
A-B-A form
3/2 time
D+

Disjunct theme in strings and double reeds, with trills, answered by trumpets and French horns in D+
Moderate, spritely tempo

B Section: Strings and woodwinds only (no brass)
Fast moving string part, syncopated winds in B-

A section: Repeat first section, ends at close of section in D+

43
Q

Describe Sonata in D+

A

By Domenico Scarlatti
3/8 time
Binary form

Modulates to A+ by end of first section, returns to D+
Left hand octaves
Right hand typical repeated notes, fast passages in thirds, suspensions, syncopation, sequences
Terraced dynamics - shift in dynamics from one level of volume to another (vs crescendos possible with later instruments)